Archief Etcetera

142 document(en) met "What" • Resultaten 121 tot 140 worden getoond • Toon volgende resultaten

Nr. 100, Februari 2006 • Nezha Haffou • De onmogelijke rouw van Union Suspecte
pp.124 145 2 Het personage van de gehandicapte Haider herinnert aan de gehandicapte jongen uit de film What’s eating Gilbert Grape

Nr. 100, Februari 2006 • Erwin Jans • Who’s afraid of representation?
Mroué laat de moordenaar verschillende motivaties voor zijn daad naar voren schuiven: financieel (‘My motives were financial, no more, no less: high cost of living, debts... what was I supposed to do

Nr. 100, Februari 2006 • Jacob Wren • Families are formed through copulation / Families...
FATHER They find what too difficult...What if one day the entire world woke up and found it too difficult to go on? MOTHER That’s the amazing thing about the world...didn’t like nearly as much, said yes anyway hoping to make the first boy jealous, had irrational feelings, didn’t pay attention in class (in fact I can’t even remember what class it was), came home, ate

Nr. 100, Februari 2006 • Elke Van Campenhout • Edito
knew what it was we were doing, it would not be called research, would it?’ Albert Einstein De ontwikkeling van kunst vindt vandaag de dag plaats in laboratoria, en heet...beheerst (en tot feiten reduceert), maar waar ze net als haar onderzoeksobjecten risico’s neemt: ‘… the question is not to decide what is scientific and what is not, that is, to demarcate science from non...Going from science to politics, is not, for her, going from stringent constraints to more relaxed ones, but keeping exactly the same objectives with a total indifference to what is science and what

Nr. 101, April 2006 • An van Dienderen • Afkicken van representatie
Afkicken van representatie MET ANTROPOLOGISCHE RIJLAARZEN DOOR DOCUMENTAIRE PROCESSEN Onze verslaving aan realistische representatiemodellen 'What is new is the interaction...Bill Nichols spreekt in dit verband over het belang van de indexicaliteit in het discours over documentaires: 'I use indexical to refer to signs that bear a physical trace of what they refer to, such

Nr. 103, September 2006 • Stef Lernous • Raffael Pascoe: auteurschap in de pornocinematografie
CUM two, U are free for what U want to be or do...Vett Lexter: ‘After that...I never expected... I think nobody...expected Raffi’s work to become so dark... so profoundly terrifying even... certainly darker than what anyone could have expected...Raffael Pascoe: ‘Diva knew what she was doing...and what she did was art

Nr. 103, September 2006 • Shelly Silver • Shelly Silver
photograph him, but I don’t know what he’s doing here; what he wants to show me...what I’m looking for –––––– He writes from London: I saw your profile and found it very inspiring...want him to show me what he wants me to see

Nr. 103, September 2006 • Anne Dekerk • Porno-drama: scènes voor pornografie
What you see is what you get (and that’s why you never get what you thought you saw).’ De dvd-hoezen van pornofilms tonen wat je kunt verwachten: twee maal fellatio, één maal anale penetratie

Nr. 103, September 2006 • Volkmar Sigusch • Neoseksualiteiten
Answer to the question: ‘What is enlightenment’], Works in 6 vols, vol

Nr. 103, September 2006 • (Cover) • (Inhoud)
40 Shelly Silver - Een visuele bijdrage van deze New Yorkse kunstenares, met fragmenten uit haar film What I'm Looking For. 46 Van Altamira tot Heather Brooke - Liv Laveyne struint onvervaard

Nr. 104, December 2006 • Jan Ritsema • Portret van een dooie kip als kunstenaar
they could know that art always should be the exception and not the rule) they only subsided the rule the what they could recognize as a performance his building they said was a project...theatre at work but not for them they left him out missing again and again this chance of making a difference that really could make a difference this chance to change addicted as they are to what they could...recognize to what they think they belong too and to what belongs to them to what is known to them their past rejecting what eventually might have been possible what is unknown to them a possible future

Nr. 104, December 2006 • Ina Wudtke(dj T-Ina Darling) • The Residency
Don’t make me paint a bitch Be true to the art Like a spark, in the dark Let it shine, bring it on, bring it on! I got the big call I got to know what’s on !calm down...Don’t make me paint a bitch Be true to the art Like a spark, in the dark Let it shine, bring it on, bring it on! I got the big call I got to know what’s on !calm down...Don’t make me paint a bitch Be true to the art Like a spark, in the dark Let it shine, bring it on, bring it on! I got the big call I got to know what’s on !calm down

Nr. 105, Februari 2007 • Christophe Van Gerrewey • Blanco
Someone handed me another glass of champagne and someone else lit a cigarette that had been dangling from my lips for the past half hour and what I found myself thinking less and less was ‘But maybe...What can I say, man, what can I say

Nr. 108, September 2007 • Bram De Cock • Kwade olifanten en happende kettingzagen
Picasso zei ooit: “If you know exactly what to do, then what’s the point in doing it?” En gelijk heeft hij

Nr. 108, September 2007 • Pieter Verstraete • Het exces in het luisteren. Performativiteit van...
completely unexpected moments, perhaps casting what was said earlier in a completely new light

Nr. 109, December 2007 • Bojana Cvejić • We hebben geen geld, dus moeten we...
Latour, Bruno, What is Given in Experience

Nr. 109, December 2007 • Jeroen Peeters • ‘Wij’ zeggen, een extreme oefening
Shame for what

Nr. 109, December 2007 • Manuela Zechner • Herinner je vandaag.
seems that the “internet”, this early precursor to what I grew up calling the “transpository”, was a particularly important site of activity for you then...Back then, that technology was not quite what it is today...But what was not quite possible yet, if I remember correctly, is the democracy function, in all the aspects we know today

Nr. 110, Februari 2008 • Birgit Cleppe • Maaksels versus baksels
Under what circumstances do we think things are real

Nr. 110, Februari 2008 • Jeroen Peeters • Rusteloze portretten
portrait portrays this advance and this movement before, this keel at, in the stream of what lies without, opens the thin and quickly erased wake of a “self