Stefano Harney | Kunsthochschule für Medien Köln (original) (raw)
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Papers by Stefano Harney
n-1edicoes.org
Translated by Ana Cláudia Holanda and Haroldo Saboia
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LIttoral Law, 2024
Black Shoals/Black-Scholes In the late 1960's and early 1970s, at the University of Chicago, with... more Black Shoals/Black-Scholes In the late 1960's and early 1970s, at the University of Chicago, within the frame of that institution's particular and foundational contributions to the development and refinement of neoliberalism, two mathematicians, Fischer Black and Myron Scholes, constructed a model for understanding the dynamics of a financial market containing, and increasingly dominated by, derivative instruments. In finding a way to measure the risk of a deal within the time frame of the deal, investors were allowed to hedge their bets on the bets that other investors made, thereby allowing this cascading structure of hedged bets and externalized risks to constitute a category of commodity all its own.
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New Naratif, 2021
How Singapore imposes scarcity through an artificial meritocracy.
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E-Flux, 2021
Conversation on Formless Formation (Minor Compositions, 2021) by Hypatia Vourloumis and Sandra Ru... more Conversation on Formless Formation (Minor Compositions, 2021) by Hypatia Vourloumis and Sandra Ruiz, with Stefano Harney and Fred Moten
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A Black Intellectual's Odyssey
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South Atlantic Quarterly
The Le Mardi Gras Listening Collective is a group of friends who listen to music together and is ... more The Le Mardi Gras Listening Collective is a group of friends who listen to music together and is named after a bar in Pittsburgh where the collective was conceived. In this article we consider ways by which music might be a mode of planning opposed to individuation and measure, and beyond the instrumentalities to which music itself is often submitted. We do so by thinking about how jazz—where it takes on the improvisatory character of the busker, rehearsal, or jam—becomes a form of love. We consider the song as an expression of antagonism that the song itself cannot contain. We ask if we might conceive music as a mode of criminality opposed to the violence and discipline imposed upon the body by capital. We look to understand capitalism by situating the plantation system at its center. We ask what sort of place our listening takes place in and how the song might inhabit it. We wonder what it might mean for all of this to remain unresolved, and how to remain attuned to that irresolut...
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Discover Society, 2021
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Educational Philosophy and Theory, 2020
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The Chronic - Chimurenga, 2015
Are the creative industries turning the tide against urban development in the global South, gobbl... more Are the creative industries turning the tide against urban development in the global South, gobbling up space, agency and voice in the pursuit of distorted trends of progress? Stefano Harney and Tonika Sealy, founding members of Ground Provisions, an educational and curatorial collective in Barbados, argue that nouveau creative compradors are getting rich through cultural reappropriation. "Creative industries" is an increasingly popular term which refers to a range of economic activities that contribute to generating information, knowledge and cultural identity, including film, music, architecture, fashion, education, digital technologies and gaming development. "Underdevelopment", on the other hand, is a term that is rapidly being forgotten. We find this curious, particularly because, in our contention, the creative industries are busy underdeveloping cities across the global South. It is easy to understand the ideological power of the creative industries and the pull of the idea of creative cities as a development strategy in countries of the global South with large and often vulnerable urban populations. But it is also easy to see the structural distortion produced by this fashionable, "industrial" strategy. Anyone who goes to an art museum or a concert hall or a festival in most countries in the global South will surely notice a dual economy: there are people who sell art and make a lot of money, and there are people who sell the tickets, the beer, or the chicken, who do not. This is not going to change no matter how big the festival gets, and no matter how much chicken gets sold. It might be better to have the chance to sell beer than not sell beer. But to support the strategy of creative cities amounts to making the same argument made by colonisers, who claimed that colonial countries would develop despite selling cheap and buying dear. In the creative industries, not only does the beer seller sell cheap, she also buys dear. The creative industries do nothing to slow underdevelopment. When the economy of the many is structured to serve the few, that economy and its people are underdeveloped, even as overdevelopment looms directly above them. This is also why one can see the appeal of the creative industries to policy makers and the ruling classes. It will make a comprador class rich, as it already has in Mumbai, Cape Town, and Shanghai. And yet, unlike the comprador class that relied on metropolitan support and alliance, this new rich class is fully integrated and employs the fruits of its
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Social Text, 2009
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Afterall: Journal Art, Context, and Enquiry, 2018
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Business Ethics: A European Review, 2013
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Discusses the origins of logistics in racial capitalism, the slave trade, and colonialism, and th... more Discusses the origins of logistics in racial capitalism, the slave trade, and colonialism, and the way these origins continue to structure, logistics, shipping, supply chains, resilience, surveillance, migrancy etc
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Ground Provisions, 2014
Program by Ground Provisions in Singapore in 2014
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The Futures of Black Radicalism edited by Gaye Theresa Johnson & Alex Lubin, 2017
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Extended interview
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Extended interview
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n-1edicoes.org
Translated by Ana Cláudia Holanda and Haroldo Saboia
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LIttoral Law, 2024
Black Shoals/Black-Scholes In the late 1960's and early 1970s, at the University of Chicago, with... more Black Shoals/Black-Scholes In the late 1960's and early 1970s, at the University of Chicago, within the frame of that institution's particular and foundational contributions to the development and refinement of neoliberalism, two mathematicians, Fischer Black and Myron Scholes, constructed a model for understanding the dynamics of a financial market containing, and increasingly dominated by, derivative instruments. In finding a way to measure the risk of a deal within the time frame of the deal, investors were allowed to hedge their bets on the bets that other investors made, thereby allowing this cascading structure of hedged bets and externalized risks to constitute a category of commodity all its own.
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New Naratif, 2021
How Singapore imposes scarcity through an artificial meritocracy.
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E-Flux, 2021
Conversation on Formless Formation (Minor Compositions, 2021) by Hypatia Vourloumis and Sandra Ru... more Conversation on Formless Formation (Minor Compositions, 2021) by Hypatia Vourloumis and Sandra Ruiz, with Stefano Harney and Fred Moten
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A Black Intellectual's Odyssey
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South Atlantic Quarterly
The Le Mardi Gras Listening Collective is a group of friends who listen to music together and is ... more The Le Mardi Gras Listening Collective is a group of friends who listen to music together and is named after a bar in Pittsburgh where the collective was conceived. In this article we consider ways by which music might be a mode of planning opposed to individuation and measure, and beyond the instrumentalities to which music itself is often submitted. We do so by thinking about how jazz—where it takes on the improvisatory character of the busker, rehearsal, or jam—becomes a form of love. We consider the song as an expression of antagonism that the song itself cannot contain. We ask if we might conceive music as a mode of criminality opposed to the violence and discipline imposed upon the body by capital. We look to understand capitalism by situating the plantation system at its center. We ask what sort of place our listening takes place in and how the song might inhabit it. We wonder what it might mean for all of this to remain unresolved, and how to remain attuned to that irresolut...
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Discover Society, 2021
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Educational Philosophy and Theory, 2020
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The Chronic - Chimurenga, 2015
Are the creative industries turning the tide against urban development in the global South, gobbl... more Are the creative industries turning the tide against urban development in the global South, gobbling up space, agency and voice in the pursuit of distorted trends of progress? Stefano Harney and Tonika Sealy, founding members of Ground Provisions, an educational and curatorial collective in Barbados, argue that nouveau creative compradors are getting rich through cultural reappropriation. "Creative industries" is an increasingly popular term which refers to a range of economic activities that contribute to generating information, knowledge and cultural identity, including film, music, architecture, fashion, education, digital technologies and gaming development. "Underdevelopment", on the other hand, is a term that is rapidly being forgotten. We find this curious, particularly because, in our contention, the creative industries are busy underdeveloping cities across the global South. It is easy to understand the ideological power of the creative industries and the pull of the idea of creative cities as a development strategy in countries of the global South with large and often vulnerable urban populations. But it is also easy to see the structural distortion produced by this fashionable, "industrial" strategy. Anyone who goes to an art museum or a concert hall or a festival in most countries in the global South will surely notice a dual economy: there are people who sell art and make a lot of money, and there are people who sell the tickets, the beer, or the chicken, who do not. This is not going to change no matter how big the festival gets, and no matter how much chicken gets sold. It might be better to have the chance to sell beer than not sell beer. But to support the strategy of creative cities amounts to making the same argument made by colonisers, who claimed that colonial countries would develop despite selling cheap and buying dear. In the creative industries, not only does the beer seller sell cheap, she also buys dear. The creative industries do nothing to slow underdevelopment. When the economy of the many is structured to serve the few, that economy and its people are underdeveloped, even as overdevelopment looms directly above them. This is also why one can see the appeal of the creative industries to policy makers and the ruling classes. It will make a comprador class rich, as it already has in Mumbai, Cape Town, and Shanghai. And yet, unlike the comprador class that relied on metropolitan support and alliance, this new rich class is fully integrated and employs the fruits of its
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Social Text, 2009
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Afterall: Journal Art, Context, and Enquiry, 2018
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Business Ethics: A European Review, 2013
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Discusses the origins of logistics in racial capitalism, the slave trade, and colonialism, and th... more Discusses the origins of logistics in racial capitalism, the slave trade, and colonialism, and the way these origins continue to structure, logistics, shipping, supply chains, resilience, surveillance, migrancy etc
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Ground Provisions, 2014
Program by Ground Provisions in Singapore in 2014
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The Futures of Black Radicalism edited by Gaye Theresa Johnson & Alex Lubin, 2017
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Extended interview
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Le Monde Diplomatique Brasil, 2024
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New Black Agenda Report, 2023
Roberto D. Sirvent of the New Black Agenda Report posed the following interview questions to us o... more Roberto D. Sirvent of the New Black Agenda Report posed the following interview questions to us on the publication of our book All Incomplete, a collaborative effort of Fred Moten, Zun Lee, Denise Ferreira da Silva and Stefano Harney. Fred Moten and Stefano Harney answered the questions on behalf of the collaboration.
The interview questions were for BAR's Book Forum. However, the interview was not published and so it is made available here.
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Journal of Architectural Education, 2022
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E-Flux, 2021
Interview to mark the publication of new book by Stefano Harney and Fred Moten, All Incomplete, b... more Interview to mark the publication of new book by Stefano Harney and Fred Moten, All Incomplete, brought out by Stevphen Shukaitis of Minor Compositions.
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The College Hill Independent, 2020
Interview with Fred Moten and Stefano Harney
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The New Inquiry, 2018
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Full-Stop
Interview of Stefano Harney on race, study and logistics in conversations with Michael Schapira a... more Interview of Stefano Harney on race, study and logistics in conversations with Michael Schapira and Jesse Montgomery for Full Stop magazine
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Interview of Fred Moten and Stefano Harney with Transversal Texts
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Interview by artist MPA with Fred Moten and Stefano Harney
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An Interview on "Algorithmic Institutions" in Vienna 2015 for "Algorithmic Regimes" hosted by Fel... more An Interview on "Algorithmic Institutions" in Vienna 2015 for "Algorithmic Regimes" hosted by Felix Stalder and Konrad Becker
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Videos on concepts of undercommons, logistics and logisticality, on study, the biobargain, specu... more Videos on concepts of undercommons, logistics and logisticality, on study, the biobargain, speculative practice, militant preservation, study...
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Class War University
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Ephemera
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Ephemera
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The Chronic, 2015
Free to download: http://chimurengachronic.co.za/the-alternative-is-at-hand/
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Archive Books, 2021
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Los Abajocomunes, 2018
Créditos libro Abajocomunes: Página legal Texto original en inglés: Fred Moten y Stefano Ha... more Créditos libro Abajocomunes:
Página legal
Texto original en inglés:
Fred Moten y Stefano Harney
Coordinación editorial:
Yollotl Gómez Alvarado
Traducción:
Juan Pablo Anaya
Cristina Rivera Garza
Marta Malo
Traducción Entrevista:
Aline Hernández
Luciano Concheiro
Juan Pablo Anaya
Entrevista”Conversación”
Aline Hernández
Luciano Concheiro
Juan Pablo Anaya
Yollotl Gómez Alvarado
Cristina Rivera Garza
Corrección de estilo:
Saùl Hernández
Revisión Ortotipográfica:
Ingrid Ebergenyi
Dibujos:
Jazael Olguín Zapata
Rodrigo Treviño
Dominique Pérez Ratton
Diseño Gráfico:
Juan Leduc
Con aportaciones de:
Diego Aguirre.
Formación en Markdown y LaTeX:
Daniel Cuevas
Epub:
Babel
Revisión y corrección:
Francisco Estrada Medina y Daniel Cuevas
Primera edición en Inglés:
Minor Compositions / Autonomedia.
http://www.minorcompositions.info
Colofón
Impreso en la risográfica “LAEL” en la Cooperativa Cráter Invertido.
Impresión de portadas: José Cuellar Ofsset
México D.F
Tiraje de 777 ejemplares.
Se llegó tarde y temprano.
Versión impresa publicada por:
Cooperativa Cráter Invertido
Joaquín García Icazbalceta 32b
Col. San Rafael, Ciudad Monstruo, México
http://www.crateinvertido.org
Versión digital publicada por:
La Campechana Mental
Rancho Electrónico, México.
https://campechana.nomia.mx/
Pàgina de agradecimientos
Agradecimientos:
A todos los integrantes del círculo de estudio “Subrayado Común”
Fondeada por:
Stefano Harney y Fred Moten
Cooperativa Cráter Invertido
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Transversal.at, 2022
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Minor Compositions, 2021
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Les sous communs: planification fugitive et étude noire , 2022
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Results of the 2007 financial scandals on ordinary people
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Financial Times
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Times Higher Education
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Times Higher Education
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Times Higher Education
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Tilápia-Azul , 2024
This is the English version of an introduction in Portuguese to a conversation between the theori... more This is the English version of an introduction in Portuguese to a conversation between the theorist, translator, and art worker Viniciux da Silva and the artist and art worker Jandir Jr. We are grateful to them for the chance to introduce their conversation, to be published in Tilápia-Azul
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