•  5
    Kino und das Affektiv-Performative
    Internationales Jahrbuch Für Medienphilosophie 3 (1): 191-214. 2017.
  •  16
    Antonioni's approach to filmmaking provides a clear example of philosopher Wilhelm Wurzer's notion of *filming*, a term Wurzer uses neither to signify the specific practice of filmmaking, nor in the sense of a 'quantitative proliferation of images' that carry out the calculative and productivist goals of the visual in a technocratic society. [1] *Filming* denotes, among other things, 'an imaginal mode of discerning which releases the imagination toward radical disinterestedness... imagination's …Read more
  •  28
    This essay looks at Fassbinder's Berlin Alexanderplatz to trace the film's transformation of a mechanistic scientific discourse into affective indeterminacy. Through patterns of repetition of a key event, the film considers its protagonist as a complex web of constantly shifting forces – a network of biological, social, political and semiotic flows coalescing in a body that exists in a state of perpetual oscillation between force and mutilation, ecstasy and pain. The role of physics and other ma…Read more