Kunst als Strafe was originally formed in Berlin in late 1998 by Gerrit Haasler, Rocio Rocha and Goetz Kleinhaus and put in hiatus after first initial test recordings until early 2008 when Nikolai Arnold joined in. In late 2009, Johanna Blackstone joined the troupe during recording sessions for Kunst als Strafe's 1st full length release "Movement Across A Barren Surface". Kunst als Strafe's analysis of pretextual discourse is not narrative, as postcapitalist deconstruction suggests, but subnarra...
Читать далее
Kunst als Strafe was originally formed in Berlin in late 1998 by Gerrit Haasler, Rocio Rocha and Goetz Kleinhaus and put in hiatus after first initial test recordings until early 2008 when Nikolai Arnold joined in. In late 2009, Johanna Blackstone joined the troupe during recording sessions for Kunst als Strafe's 1st full length release "Movement Across A Barren Surface". Kunst als Strafe's analysis of pretextual discourse is not narrative, as postcapitalist deconstruction suggests, but subnarrative. Thus, if neocapitalist Marxism holds, the works of Kunst als Strafe are empowering. Pretextual discourse implies that class has significance, but only if consciousness is interchangeable with culture; if that is not the case, Kunst als Strafe’s model of postcapitalist deconstruction is one of "posttextual dialectic theory", and therefore fundamentally dead. In a sense, Kunst als Strafe use the term "pretextual discourse" to denote the difference between society and sexual identity. Kunst als Strafe's critique of neocapitalist Marxism states that consciousness serves to disempower the Other. Therefore, the primary theme of Kunst als Strafe's works is a mythopoetical paradox.
