Der vorliegenden Studie Die dialektische Lebenskunst von Guy Debord, Verworfener & Kulturschatz liegt eine interdisziplinäre Untersuchung des Gesamtwerks jenes französischen Radikalen zugrunde. Debords kohärentes Bestreben hatte darin bestanden, zu einer Leidenschaft der Existenz zurückzufinden, wie sie als Grundlage zur Umwälzung des verarmten Alltagslebens dienen sollte. Zugleich Ehre und Pläsier war es ihm dabei, der „Gesellschaft des Spektakels“ - 1967 in einem strategisch eingesetzten ‚Theoriebuch‘ in Form von Zweckentfremdungen analysiert - zu schaden, wo er nur konnte. Kategorisierungsversuche seiner Tätigkeiten und Umtriebe ‚unterlief‘ der Wahlpariser regelmäßig. Lediglich den Einordnungen als Filmemacher und Enragé stimmte er zu. Interpretationsschwerpunkte liegen auf der Begutachtung von Bildmanifesten und Selbstporträts, wozu seine sieben Filme zählen. Im Rahmen eines an Gerald Raunig und Bazon Brock angelehnten Theoriedesigns, wird sein provokantes Vorgehen in neun Kapiteln (I – IX) als Gesamtkunst-Experiment und Lebenskunstwerk beschrieben. Fundamental ist hierbei das Diktum Brocks, dass ein Totalkunstwerk ein Postulat seiner eigenen Verwirklichung darstellt. Die Gliederung des Stoffes folgt dem romanhaften Werdegang eines Initiators zweier Avantgardeformationen sowie dem Vollzug einer ‚Überwindung‘ der Kunst in deren Reihen. Das Gravitätszentrum aller Aktivitäten und ein Scharnier der Abhandlung ist die klandestine Rolle, welche die Situationistische Internationale bei der Verwirklichung der Mai-Revolte 1968 in Frankreich spielte. / In its character the study Guy Debords Art of Living, Accursed Poet & Cultural Treasury is an interdisciplinary examination of this French radical’s strange and obscure ways. His coherent achievement may be judged as an approach to regain a lost passion of existence in order to revolutionize everyday life. Debord found pleasure and pride in his lifelong ambition to demolish the so-called “Socitey of the Spectacle”, which he analyzed in his infamous book by the same title, first published in 1967. Often quoted since, rarely described as the invention and event it was. Debord defended himself againt categorization. But he agreed on being titulated a filmmaker and enraged person in the tradition of a perverted French Revolution. Following a theory-design, paying references to Gerald Raunig and Bazon Brock, his provocative approach is discussed in nine chapters (I-IX). Baring in mind that – according to Brock – a total work is a postulate of its own realization. The script follows the novel-like progress of a co-founder and lustful destroyer of two avantgarde-troups. All of the group activities are gravitating around what happened in Paris at the heyday of May 68.

This paper investigates the science fiction novels of Swedish crime writer Per Wahlöö, most famous for his collaboration with his writing partner Maj Sjöwall on the ten Martin Beck mysteries. During two important years, 1964 and 1968, Wahlöö wrote the novels Murder On the 31st Floor and The Steel Spring, set in a near future land ruled by a social fascist power structure where political opposition is eradicated. The pretexted notion of this paper is that these novels consists of extensive quantities of criticism against the Swedish welfare state and the monopoly-capitalistic Swedish press during the sixties. Through the lens of science fiction theory and the notion of the novels as historical sources this paper concludes that Per Wahlöö´s science fiction becomes a bridge between the classic Swedish detective novel and the new social critic crime fiction in the style of Sjöwall-Wahlöö and others. The novels are also representations of the historical process in the mid-sixties during the radical turn: the sci-fi novels as social criticism of the contemporary society – an utopian flare. Other conclusions of this paper are the connections between Wahlöö´s novels and marxist critical theory as well as their relation to the Swedish labour literature´s view on the individual in the modern society. Especially Murder On the 31st Floor forebodes a lot of the radical marxist criticism so widely spread in the latter part of the sixties.

The liberal tradition has borne great fruits since the dawn of the modern era by emphasizing the value of equality and personal liberty, and by developing a theory of rights. Despite its incredible success, many authors have been pointing to fissures in the liberal structure, including practical and theoretical problems with state neutrality, with the state’s stance vis-à-vis different cultures, and with liberalism’s purported radical individualism. It is my belief that the gains of liberalism can be reconciled within a new theory that better answers to such critiques. Citizenship Beyond Liberal Neutrality begins with an analysis of contemporary debate between liberalism and its critics. This leads to a discussion of the state’s relationship toward cultural identities, and to a discussion of the meaning of citizenship within a liberal-democratic state. What we need, I argue, is a civic identity that is both capable of judging cultural practices, and capacious enough for a citizenry characterized by reasonable pluralism. This common identity, moreover, provides a locus for attachment that is often found wanting in contemporary liberal theory. I draw on relevant insights from virtue theories, constitutional patriotism, and an ‘analogical’ understanding of public reason to inform a new, liberal-like conception of citizenship. In order to exemplify this conception, and to bolster the case for it, I consider how such a philosophy could play out with respect to two public policy areas that are central to citizenship, namely education and immigration. Distilled to its simplest, I argue for a theory of citizenship that admits a conception of the good, that can promote virtue while respecting autonomy, and that can provide a basis for civic unity.

The liberal tradition has borne great fruits since the dawn of the modern era by emphasizing the value of equality and personal liberty, and by developing a theory of rights. Despite its incredible success, many authors have been pointing to fissures in the liberal structure, including practical and theoretical problems with state neutrality, with the state’s stance vis-à-vis different cultures, and with liberalism’s purported radical individualism. It is my belief that the gains of liberalism can be reconciled within a new theory that better answers to such critiques. Citizenship Beyond Liberal Neutrality begins with an analysis of contemporary debate between liberalism and its critics. This leads to a discussion of the state’s relationship toward cultural identities, and to a discussion of the meaning of citizenship within a liberal-democratic state. What we need, I argue, is a civic identity that is both capable of judging cultural practices, and capacious enough for a citizenry characterized by reasonable pluralism. This common identity, moreover, provides a locus for attachment that is often found wanting in contemporary liberal theory. I draw on relevant insights from virtue theories, constitutional patriotism, and an ‘analogical’ understanding of public reason to inform a new, liberal-like conception of citizenship. In order to exemplify this conception, and to bolster the case for it, I consider how such a philosophy could play out with respect to two public policy areas that are central to citizenship, namely education and immigration. Distilled to its simplest, I argue for a theory of citizenship that admits a conception of the good, that can promote virtue while respecting autonomy, and that can provide a basis for civic unity.

The liberal tradition has borne great fruits since the dawn of the modern era by emphasizing the value of equality and personal liberty, and by developing a theory of rights. Despite its incredible success, many authors have been pointing to fissures in the liberal structure, including practical and theoretical problems with state neutrality, with the state’s stance vis-à-vis different cultures, and with liberalism’s purported radical individualism. It is my belief that the gains of liberalism can be reconciled within a new theory that better answers to such critiques. Citizenship Beyond Liberal Neutrality begins with an analysis of contemporary debate between liberalism and its critics. This leads to a discussion of the state’s relationship toward cultural identities, and to a discussion of the meaning of citizenship within a liberal-democratic state. What we need, I argue, is a civic identity that is both capable of judging cultural practices, and capacious enough for a citizenry characterized by reasonable pluralism. This common identity, moreover, provides a locus for attachment that is often found wanting in contemporary liberal theory. I draw on relevant insights from virtue theories, constitutional patriotism, and an ‘analogical’ understanding of public reason to inform a new, liberal-like conception of citizenship. In order to exemplify this conception, and to bolster the case for it, I consider how such a philosophy could play out with respect to two public policy areas that are central to citizenship, namely education and immigration. Distilled to its simplest, I argue for a theory of citizenship that admits a conception of the good, that can promote virtue while respecting autonomy, and that can provide a basis for civic unity.

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Den här uppsatsen undersöker punken och några aspekter av dess visuella identitet. Genom att söka några av dess konsthistoriska rötter finner man att situationism och dadaism ofta nämns som konströrelser med ett uttryck som punken bygger vidare på. Det kan förklaras genom bland annat att Malcom McClaren och Jamie Reid, som låg bakom lanseringen av Sex Pistols, hade en situationistisk bakgrund. Reids arbete med till exempel skivomslag åt Pistols har också lagt grunden för föreställningen om vad punkestetik är. Med analyser av God Save The Queen 1977 och Nowhere Buses 1972 har jag sökt att ge en förklaring till hur de bilderna kan tänkas fungera utifrån en mottagarkontext av frustrerade, arbetslösa ungdomar i slutet av 70-talet. Säkerhetsnålen som en symbol inom punken kan förstås som en kritik av konsumtionssamhället. Den tvetydiga användningen av svastikan på kläder och flygblad är mer svårtolkad, den kan ses utifrån sitt rent provocerande värde eller som att den tillhör en gammal värld och därför är utan betydelse. Från detta har jag följt punkens förgreningar mot en politiskt medveten subkultur där aktivism, anarkistisk teori och D.I.Y.-filosofi är rådande. D.I.Y. (Do It Yourself) är en viktig aspekt av punkens utveckling. Punken påverkar även andra konstnärliga uttryck som syns hos till exempel den samhällskritiske konstnären Banksy. Det går också att se ett kulturhistoriskt intresse för den ursprungliga punken, som nu blivit en del av kulturarvet. Utifrån bland annat den ideologiska förförståelsen som framträder i min undersökning har jag analyserar två verk av den svenska konstnären, och punkmusikern, Ella Tillema. På verket Mitt Hjärta Är En Bomb 2009 har jag lagt en feministisk blick och Den Postapokalyptiska Skapelseberättelsen (Partyt är Över) 2011 har analyserats utifrån en mottagarkontext med förståelse för anarkistisk aktivism, djurrättsfrågor och dess symboler. Punken som subkultur kan förstås som en motkultur och punkestetik som en motestetik. En slutsats som min undersökning leder till är att punkestetik kan ses både som förhållningssätt och som stil, D.I.Y.-aspekten är betydelsefull i båda avseenden. Som förhållningssätt handlar det bland annat om att inte vara en passiv konsument, utan vara delaktig och det blir i sin praktik till en slags samhällskritik. Identitet och tillhörighet är en viktig del av för att förstå punkestetik som stil. Stilen skapas dels utifrån bilder som haft stort genomslag inom subkulturen, till exempel Reids. Dels utifrån en teknisk amatörism, i vissa fall skenbar, som markerar D.I.Y.-praktiken där alla har möjlighet att vara delaktiga. Det är dock min mening att stil och förhållningssätt inte kan särskiljas om man vill förstå vad punkestetik är.

[pt] Quando Rem Koolhaas, um dos arquitetos mais paradigmáticos da atualidade, se pergunta O que aconteceu com o urbanismo?, coloca-se em evidência uma latente crise no domínio em questão. Crise de identidade? Crise formal? Crise institucional? Operando no campo de estudo e investigação sobre o meio urbano e a relação da disciplina da arquitetura com a produção de pensamentos, de espaços e políticas nas cidades, essa pesquisa mobiliza conceitos-chaves, palavras de força para articular a reflexão sobre a condição atual da arquitetura e alguns significados adotados em seus discursos. Segue-se uma linha de pensamento crítico em relação ao urbanismo funcionalista – à sua mentalidade cientificista, prognóstica, de certa moral produtivista –, e seus desdobramentos na atualidade, em contextos urbanos marcados pela hegemonia de um sistema capitalista avançado. Identifica-se tal crítica retrospectivamente com ideias veiculadas pela teoria situacionista, da década de 1960, associando-a também com conflitos apontados nos discursos de Henri Lefebvre sobre políticas do espaço – sobretudo no que toca contrapontos entre agentes presentes na prática espacial, trazendo debates entre os conceitos de espaço de representação, espaço público e o espaço cotidiano. Tais categorias, citadas acima, permeiam discursos interdisciplinares, possibilitando, a partir de investigações de casos que se entrelaçam, discussões sobre aspectos em que o campo da arquitetura poderia ser enriquecido por abordagens de usos e fenômenos urbanos - ou apropriações - que voltam a atenção para as relações sociais, comportamentais, corporais e temporais do espaço, em detrimento das fortes correntes de ordenamento funcionalista e produtivista. Coloca-se em questão o papel atribuído do arquiteto como definidor de usos e significados de espaços abordando situações que colocam em cheque o conceito tradicional de projeto como instrumento de síntese, antecipação e controle. / [en] When Rem Koolhaas, one of the most paradigmatically architects of nowadays, questions himself Whatever happened to urbanism?, one puts in evidence a latent crises in actual domain. Identity crises? Formal crises? Institutional crises? Operating in the studies and investigations field of urban environment and the relationship between the architectural discipline with the production of thoughts, spaces and policies in the cities, this research mobilizes key-concepts, guidelines to articulate the reflection about the current condition of architecture and some of the meanings adopted in its discourse. Following a critic line of thoughts towards functionalist urbanism – towards its scientific, prognostic mentality, with a certain productivist moral – and its deployments in actuality, in urban contexts marked by the hegemony of advanced capitalist system. One may identify this critic retrospectively with the ideas addressed by the situationist theory, in the 1960 decade, also associating it with conflicts pointed out by Henri Lefebvre s discourse about space politics – especially when it comes to the oppositions between agents present in the space practices, bringing up debates about the spaces of representation, public spaces and the everyday space. Those categories, listed above, permeate interdisciplinary discourses, making possible, with a web of case studies, discussions about aspects in which the architectural field might be enriched by the approach of urban uses and phenomenon - or appropriations - that turn their attention to social relations, behavior, corporeal or temporal relations within space, instead of favoring prevailing conducts of functional and productivist planning. One questions the assigned role of the architect as the uses and meanings of space definer, by approaching situations that quarrel the traditional concept of project as an instrument of synthesis, anticipation and control.

Längst ut på piren i Värtahamnen har jag velat skapa Operastaden, en mikrostadsdel som är en egen värld helt uppbyggd kring opera. Hit skulle alla operarelaterade verksamheter flytta, såsom operahögskolan och baletthögskolan.  Mellan byggnaderna skulle folk springa i sina scenkläder, dekorer skulle lastas in och ut, och sångarna skulle värma upp sina stämmor på gården. Platsen skulle genomsyras av operaproduktion, och ta intryck av den dramatiska omgivande produktionsmiljön i hamnen. Inåt platsen skulle allt vara smyckat som dekorer, och scenografier och olika miljöer skulle vara uppbyggda för att vara experimentscener, där det blir oklart om vem som är besökare och vem som är skådespelare. Ta ett bad poolen i Mallis-miljö, eller picnica vid sjön bland tonerna från Verdi, operans förtrollade värld gör att du inte längre behöver bry dig om vad som är fantasi eller vad som är verklighet.  Opera är inte längre begränsat till om du har råd att betala en biljett, eller om du är för rastlös för att sitta i stolen genom alla tre akter.

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