Nico Baumbach
Biographic Data
| ID | 486605 |
|---|---|
| NAME | Nico Baumbach |
| GIVEN NAMES | Nico |
| FAMILY NAME | Baumbach |
| SIGNATURE | BAUMBACH N |
| AFFILIATIONS | Columbia University |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Sameness-Machines
To try to say something of interest about memes means to be confronted with a certain conceptual incoherence. Even if we stick to the vernacular definition of meme as a specific kind of internet object that combines image and text—and not, as Richard Dawkins initially defined it in 1976, as any “unit of cultural transmission”—the word still carries the baggage of its pseudo-scientific origins, which attempted to apply the logic of Darwinian evolu…
Art and Class Struggle
What do we need to know about “art” or “class struggle” before considering their relation to one another? Could you describe a specific work or text that might serve as an illustration of class struggle or as an exploration of the problem of representing it? Let us say that visual art, broadly speaking, does express the worldview of the dominant class. What kind of art then expresses the worldview of, say, hedge fund managers? Does the dialectic …
Cinema/Politics/Philosophy
Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable
Revisiting Postmodernism
This interview was conducted with Fredric Jameson on 13 March 2014 in New York City and has been lightly edited for clarity. On the occasion of the thirtieth anniversary of the publication of "Postmodernism; or, The Cultural Logic of Late Capitalism" in the New Left Review, Jameson looks back at the essay and considers the current state of capitalism, theory, art, and culture in relation to the concepts he adopted in 1984. Jameson is Knut Schmidt…
Cinema and Agamben: Ethics, biopolitics and the moving image
A complete collection of Italian philosopher Giorgio Agamben's published writings explicitly about cinema would run scarcely 20 pages, but anyone who knows his provocative 1992 essay ‘Notes on Gest...
Nature Caught in the Act: On the Transformation of an Idea of Art in Early Cinema
In a well-known anecdote, Georges Melies, an audience member at the first screening of projected film in the Grand Cafe in Paris, 1895, is said to have encountered the potential of cinema and his own destiny as a filmmaker in the detail of moving leaves in the background of the Lumieres’ film Le Repas de Bebe (Baby’s Meal).1 In 1944, in what was to be his final interview, delivered from a hospital bed, D. W. Griffith claimed, ‘[w]hat the modern m…
Revisiting Postmodernism
This interview was conducted with Fredric Jameson on 13 March 2014 in New York City and has been lightly edited for clarity. On the occasion of the thirtieth anniversary of the publication of "Postmodernism; or, The Cultural Logic of Late Capitalism" in the New Left Review, Jameson looks back at the essay and considers the current state of capitalism, theory, art, and culture in relation to the concepts he adopted in 1984. Jameson is Knut Schmidt…
Nature Caught in the Act: On the Transformation of an Idea of Art in Early Cinema
In a well-known anecdote, Georges Melies, an audience member at the first screening of projected film in the Grand Cafe in Paris, 1895, is said to have encountered the potential of cinema and his own destiny as a filmmaker in the detail of moving leaves in the background of the Lumieres’ film Le Repas de Bebe (Baby’s Meal).1 In 1944, in what was to be his final interview, delivered from a hospital bed, D. W. Griffith claimed, ‘[w]hat the modern m…
Nature Caught in the Act: On the Transformation of an Idea of Art in Early Cinema
In a well-known anecdote, Georges Melies, an audience member at the first screening of projected film in the Grand Cafe in Paris, 1895, is said to have encountered the potential of cinema and his own destiny as a filmmaker in the detail of moving leaves in the background of the Lumieres’ film Le Repas de Bebe (Baby’s Meal).1 In 1944, in what was to be his final interview, delivered from a hospital bed, D. W. Griffith claimed, ‘[w]hat the modern m…
Cinema and Agamben: Ethics, biopolitics and the moving image
A complete collection of Italian philosopher Giorgio Agamben's published writings explicitly about cinema would run scarcely 20 pages, but anyone who knows his provocative 1992 essay ‘Notes on Gest...
Revisiting Postmodernism
This interview was conducted with Fredric Jameson on 13 March 2014 in New York City and has been lightly edited for clarity. On the occasion of the thirtieth anniversary of the publication of "Postmodernism; or, The Cultural Logic of Late Capitalism" in the New Left Review, Jameson looks back at the essay and considers the current state of capitalism, theory, art, and culture in relation to the concepts he adopted in 1984. Jameson is Knut Schmidt…
Cinema/Politics/Philosophy
Nico Baumbach revisits the much-maligned tradition of seventies film theory to reconsider: What does it mean to call cinema political? He explores how cinema can condition philosophy through its own means, challenging received ideas about what is seeable, sayable, and doable
Art and Class Struggle
What do we need to know about “art” or “class struggle” before considering their relation to one another? Could you describe a specific work or text that might serve as an illustration of class struggle or as an exploration of the problem of representing it? Let us say that visual art, broadly speaking, does express the worldview of the dominant class. What kind of art then expresses the worldview of, say, hedge fund managers? Does the dialectic …
Sameness-Machines
To try to say something of interest about memes means to be confronted with a certain conceptual incoherence. Even if we stick to the vernacular definition of meme as a specific kind of internet object that combines image and text—and not, as Richard Dawkins initially defined it in 1976, as any “unit of cultural transmission”—the word still carries the baggage of its pseudo-scientific origins, which attempted to apply the logic of Darwinian evolu…
Aesthetics (5 works) · Art (5 works) · Art history (4 works) · Law (4 works) · Philosophy (4 works) · Political science (4 works) · Politics (4 works) · Epistemology (3 works) · Literature (3 works) · Movie theater (3 works)