Episodes

  • Im Gespräch mit ... Franziska Sittig
    Sep 14 2025

    Zweifellos markiert der 7. Oktober eine historische Wasserscheide, haben die öffentlichen Feiern des Hamas-Pogroms doch deutlich gemacht, dass das »Nie-Wieder« der deutschen Erinnerungskultur frommes Wunschdenken ist. Eines der größten Rätsel dabei ist, wie und warum ausgerechnet Universitäten, die im letzten Jahrzehnt sich alle Mühe gegeben haben, sich als safe spaces zu etablieren, zu Horten eines neuen, nicht selten militanten Antisemitismus werden konnten. Dass mein Blick hier auf Franziska Sittig gefallen ist, ist insofern nicht erstaunlich, als sie als Studentin an der Columbia University aus nächster Nähe – und mit großer Verwunderung - hat beobachten können, wie noch am Folgetag studentische Hamas-Unterstützer sich auf dem Campus zusammenrotteten, unterstützt von einigen Mitgliedern der Professorenschar selbst. Und weil sie diese Ereignisse für verschiedene Zeitungen und Magazine aufnotiert hat, haben wir uns zu einem Gespräch darüber zusammengefunden. Als Boomer lernt man durchaus Erstaunliches dabei: dass man heutzutage von Zionazis spricht und auf TikTok Videoshorts zirkulieren, die sich die Leugnung des Holocaust zur Aufgabe gemacht haben.

    Franziska Sittig ist Collegiate Associate am Manhattan Institute. Sie studierte in Heidelberg und an der Columbia University in New York City. Sie veröffentlichte Beiträge für die Frankfurter Allgemeine Zeitung, für die Zeit, die Jüdische Allgemeine, Focus Money, Cicero sowie das US-amerikanische City Journal.

    Franziska Sittig hat veröffentlicht

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    53 mins
  • Im Gespräch mit ... Frank Urbaniok
    Aug 24 2025

    Wohl kein Thema hat die Öffentlichkeit in den letzten Jahren stärker verstört als die Migration, die, im Namen der Menschlichkeit, letztlich in eine Form der inneren Zwietracht, ja, des symbolischen Bürgerkriegs eingemündet ist. Hätte schon die Kölner Silvesternacht die Anhänger der Willkommenskultur lehren können, dass man in Gestalt unzähliger Neubürger durchaus neuartige Probleme gewärtigen muss (wie den Taharrusch dschama'i beispielsweise), war die Verführung, sich dem Rausch des moral grandstanding hinzugeben, doch allzu groß. So groß jedenfalls, dass die classe politique sich kurzerhand weigerte, die selbstgeschaffenen Realitäten zur Kenntnis zu nehmen – während auf der anderen Seite das vielgescholtene „Pack“, in einer verstockten Schweigespirale befangen, sich dem Populismus ergab oder sich damit begnügte, in Leserbriefen das double speak des Einmann zu zergliedern. Die Folgen des gesellschaftlichen Schismas sind allüberall zu besichtigen: Invektiven sind zu einer politischen Währung geworden, während bürgerliche Tugenden in den Hintergrund gerückt sind. In jedem Fall muss der politische Beobachter diagnostizieren, dass der Verlust der äußeren Grenzen die innere Ausgrenzung zur Folge gehabt hat. Dass in dieser noch immer aufgeheizten Debatte mein Blick auf Frank Urbaniok gefallen ist, hat damit zu tun, dass sich hier jemand zu Wort meldet, der, aller xenophoben Neigung unverdächtig, die Entstehung des Problems aus nächster Nähe – und mit professioneller Distanz - hat verfolgen können. Denn als Psychiater, der zuallererst mit persönlichkeitsgestörten Sexualstraftätern beschäftigt war, kann man sich nicht mit der moralischen Verurteilung begnügen, sondern gilt es zuvörderst zu verstehen, was den Betreffenden zu seinem Handeln veranlasst. Dass Urbaniok, der in seiner Eigenschaft als Chefarzt des Psychiatrisch-Psychologischen Dienstes in Zürich, aber auch als Supervisor und Gutachter Tausende von Straftätern kennengelernt hat, sich der Frage der Migration zuwandte, hatte damit zu tun, dass er zunehmend mit Tätern zu tun hatte, deren Handeln eine kulturelle Prägung aufwies. Mehr noch als dies aber frappierte ihn das dröhnende Schweigen seiner Kollegenschar - dass Kriminologen und Migrationsforscher, statt unangenehme Realitäten zur Kenntnis zu nehmen, dem den Schleier des Nichtwissenwollens vorziehen konnten. Genau dies hat ihn veranlasst, ein Buch zu den Schattenseiten der Migration zu verfassen, ein Buch, in das die Erfahrungen eines langen Berufsleben eingeflossen sind.

    Frank Urbaniok ist ein deutsch-schweizerischer forensischer Psychiater. Er war in den Jahren 1997 bis 2018 Chefarzt des Psychiatrisch-Psychologischen Dienstes des Kantons Zürich. Zudem lehrt er an der Universität Konstanz Forensische Psychiatrie.

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    1 hr and 11 mins
  • Talking to ... Peter Fleming
    Jul 19 2025

    It is difficult to ignore how Capitalism has slipped into a deep values crisis – and indeed, you might be forgiven for thinking we are in a Potemkin village, a zombie economy sustained only by memories of a glorious past or by cash injections from central banks. For this reason alone, our conversation with Peter Fleming was extremely valuable, as he, with his keen sense of fundamental upheavals, recognized the signs of the times early on. Observations like how work has become little more than a mythological narrative for reassuring ourselves of our sense of importance and self-worth, or that universities have turned into dark zones in our era of Human Capital—sometimes jokingly called Whackademia—and that in this morally decayed environment, it is almost impossible to cling to the specter of the homo economicus as the ideal of utility-maximizing rationality. In this sense, it’s only logical that Peter Fleming's dirge ends with a reflection on Capitalism and Nothingness. And while this may be a somewhat somber topic, we found our conversation with him to be very enjoyable and entertaining.

    Peter Fleming is a Professor of Organization Studies at the University of Technology, Sydney. During his time in London, where he taught Business and Society at City University, he chaired the London Living Wage Symposium at the House of Commons. His work has been recognized with several awards.

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    1 hr and 10 mins
  • What does it mean to be literate?
    Jun 29 2025

    Following our presentation of the »Labyrinth of Signs,« parts I and II, we now provide a deeply reflective yet light-hearted post-mortem discussion between us to help you understand what it means to be literate. Martin’s concept of Psychotope becomes more understandable as our conversation progresses; it becomes clear how essential the Alphabet is in enabling us to be literate in our thinking, writing, and discourses, revealing that we are essentially working with an outsourced, historical unconscious in how it shapes us through its use. This is evident from the fact that the origin of Symbolic Logic remains a gaping blank space in Philosophy—even more so: it’s hidden within the conspicuousness of its absence. Something I’ve come to know as the Burckhardtian leitmotif of »The Philosopher’s Shame

    It’s also no coincidence that »Geist der Maschine« features a chapter on how Sigmund Freud developed his concept of the unconscious, which we’ve also translated into English and will be posting soon. For now, it suffices to say that this chapter explains how and why Freud excluded the 19th century’s material culture (meaning its Logic of an Electrified/Telegraphic Society), which fulfilled his metaphysical needs, while simultaneously introducing something like a black box unconscious of the Unconscious into the World as its Psychotope.

    Hopkins Stanley

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    47 mins
  • How to animate your Bedroom
    Jun 15 2025

    The title’s rhetorical question is a tautology. After all, it's evident that when we dream, our bedroom transforms into a space that’s magically filled with all kinds of creatures. In this sense, the engaging little experiment showcased in our short video simply translates our dreamwork into daylight. If we must insist that artificial intelligence is not the creation of some alien, hostile force, it’s because this misconception has long become endemic. When commentators go so far as to view AI as a singularity, a trans-humanist super-intelligence—or worse, a new biological species—they are operating under a profound misunderstanding. This misunderstanding mainly arises because the History of Digitization has remained a blank page thus far. This is why we will present our readers with chapters detailing the events that have shaped the style and spirit of this history over the next few weeks. Our failure to confront this history and its implications for so long may explain the discomfort many of us feel as we contemplate the consequences of this revolution in our lives. Reflecting on the progress made in recent years, driven by projects like OpenAI, Claude, Gemini, and Ollama, it's clear that our working world—indeed, the capitalist value system itself—is facing the crisis Nietzsche described as the devaluation of values. However, in our case, we are dealing with an economic rather than a moral logic of devaluation. Instead of seeking comfort in doomsday rhetoric, it makes much more sense to dare to look in the mirror. While you may encounter your own nightmares, on the other hand, you’re also confronting a dream machine—one that can produce the most wondrous results.

    Eigentlich läuft die rhetorische Frage des Titels auf eine Tautologie hinaus. Denn es ist evident, dass, wenn wir träumen, unser Schlafzimmer der Ort ist, der, ganz von selbst, von allen erdenklichen Wesen animiert ist. In diesem Sinn ist auch das kleine, höchst unterhaltsame Experiment, dass sich in diesem kleinen Video niedergeschlagen hat, nichts anderes als eine in die Tageshelle übersetzte Traumarbeit. Wenn man gleichwohl darauf beharren muss, dass die Gebilde der Künstlichen Intelligenz nicht auf eine fremde, feindliche Macht zurückgehen, so weil dieses Missverständnis längst endemisch geworden ist. Wenn sich Kommentatoren dazu versteigen, in der KI eine Singularity, eine transhumanistische Superintelligenz – oder ärger noch: eine neuartige biologische Spezies zu erblicken, hat man es mit einem tiefen Missverständnis zu tun. Dieses Missverständnis rührt nicht zuletzt daher, dass die Geschichte der Digitalisierung bis heute eine Leerstelle geblieben ist – weswegen wir in den nächsten Wochen unseren Lesern die Kapitel präsentieren werden, die in dieser Geschichte stil- und geistprägend sind. Dass man sich dieser Geschichte – und ihren Implikationen - so lange nicht gestellt hat, mag das Unbehagen erklären, das die meisten Zeitgenossen heimsucht, wenn sie darüber nachdenken, welche Folgen diese Revolution für ihr eigenes Leben haben mag. Schaut man sich die Fortschritte an, die sich in den letzten Jahren (forciert durch Projekte wie OpenAI, Claude oder Gemini oder Ollama) Bahn gebrochen haben, ist evident, dass unsere Arbeitswelt, ja, das kapitalistische Wertesystem hier vor jener Bewährungskrise steht, die Nietzsche als Entwertung der Werte gefasst hat, nur dass man es in diesem Falle nicht mit einer moralischen, sondern einer durchaus ökonomischen Entwertungslogik zu tun hat. Anstatt hier Trost in einem Weltuntergangsvokabular zu suchen, ist es sehr viel sinnvoller, den Blick in den Spiegel zu wagen. Mag sein, dass man hier den eigenen Alpträumen begegnen, anderseits hat man es mit einer Traummaschine zu tun – die ganz wunderbare Ergebnisse zeitigen kann.

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    5 mins
  • Imagination Unleashed
    Jun 3 2025

    Who comes up with something like that? (Carmela Soprano)

    It's been a good two years since we entered the world of AI-generated images, and during this time, tools like DALL-E and Leonardo.ai have become familiar companions in image production. And during this period, we’ve been exploring the artistic capabilities of our own Company Machine, the in-house metaphor machine we developed, which can translate texts and conversations into truly surprising images from scratch. This is why we were very curious to test the much-hyped Google VEO software, using images from our Company Machine that are pretty unusual themselves. Here is a little demonstration of what you can count on in the future. Count on? No, that's the wrong word. It might be more appropriate to speak of the anticipation of a magic mirror that translates what it receives into gestures—amounting to nothing less than the complete unleashing of the Imagination’s power. The following is the result of a compilation of a fun day Hopkins, Martin, and I spent together trying to teach this ex nihilo Image World to walk.

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    4 mins
  • In the Labyrinth of Signs - I
    May 28 2025
    The following text is part one of the second chapter from Martin’s second book, titled »Vom Geist der Maschine. Eine Geschichte kultureller Umbrüche«, published in 1999.Martin BurckhardtIn the Labyrinth of the Signs IThe Gods are from the Field of the Real(Jacques Lacan)Dazzled by the BlindingWhat is it like to look into the sun? To feel small sparks burning into your eyes, expanding into rings, into a glaring brightness mixed with blackness, shimmering red, the feeling of growing tension. Tears gather under the retina, like a burn blister that will eventually burst under the mere pressure of a blink. And with the watery vitreous humor, my eyesight will also drain away. I imagine this loss: almost a relief, no more burning, just this liquid running down my cheek and leaving a taste in the corner of my mouth. But I can still see: pulsating, bullet-like flashing points. Are they specks of sunlight or already the first holes in my eye? It doesn’t matter, who knows? Basically, I'm no longer sure whether the radiation comes from outside or rather from the depths of my skull, a volcanic magma that wells up and, at the moment of discharge, causes my gaze to explode and fly off in all directions—as if, at the moment of dazzlement, I could see with a thousand eyes, like an insect. A piercingly bright pain, but this pain is accompanied by an equally clear thought, the amazement that here, where the light shines brightest, the path leads into the darkness of Myth.Black. Nothing else. A calm black that stretches into infinity. And yet, this blink of an Eye [Augenblick] isn't accompanied by total darkness. Maybe it's because of the little noises making it feel like this blackness keeps changing color. Incidentally, it isn’t entirely dark to me either, but as if a residual radiation emanates from things, an almost imperceptible inner light. It takes time to get used to it. No, that's wrong, because you don't need time anymore. With your eyesight, time also runs out into timelessness. Everything returns to itself, like a kind of rhythm, so that it doesn't matter which tense I choose: I was, I am, or I will be. At the beginning, one sentence kept incessantly wandering through my mind: Fame is the Sun of the Dead—now I know it refers to that moment when there can only be light and shadow. In fact, this last and ultimate flashing blink describes the point at which the objective becomes one with the apocalyptic. There is the Bomb's blinding flash, casting a final, merciless glance at the World and simultaneously burning the body that its radiation has reduced to nothing into the ground as a shadow. Nunc stans.No, here the shadows aren't burned in, much less anything else that can be grasped. As my eyes (or what remains of them) adjust to the diffuse residual light, I notice that a black sun is shining here too—or are there several? But perhaps the word ›Sun‹ is wrong, because these luminous bodies are more like Cyclops' eyes. Like spotlights, they roam through the darkness, creating multiple exposures, image overlays, and blurred streaks of movement.Perhaps it’s this very presence-of-mind gaze that leads us to the Myth’s essence: that the individual body becomes invisible as an individual, composed of those silhouettes that the Cyclops' headlights, as its »pursuers«, cast onto the walls. Perhaps the Myth can be thought of as a layer of film, as a never-ending gaze in which large, intergenerational periods of time are inscribed. It would be misleading for the Myth to be interpreted as a face, or even as an individual being. If a name appears, it stands as a choir leader who embodies a long genealogy, a face assembled from many faces like that of a wanted poster. As in the receptive surface of the film, it’s only what’s inscribed in the Myth that corresponds to the substrate's receptivity (the exposure time): la longue durée. Just as the first photographs took hours until reality had burned itself into the image, and how a pedestrian could walk through the scene without leaving the faintest trace of his presence, so too can Myth be understood as a surface that remains unconcerned with passers-by and ephemera, anecdotes and episodes. When, on the other hand, something becomes visible in the picture, IT is because it is a condensation and crystallization of time. This explains how the one-and-the-same figure can appear multiple times, in different roles and stages of life. Like a long-exposure photograph, the Myth absorbs time, juxtaposes the sequential, and thus equates the different levels of history. The images may be dark, blurred, and shaky, but what is conveyed is pure architecture. There’s nothing random or arbitrary about them; rather, everything shares the same torpidity and heaviness inherent in our buildings and institutions. As an edifice of thought [Bauwerk des Denkens], Myth has always been Mytho-Logos.It may seem as if the idea of a single Myth is erroneous, since so many myths ...
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    16 mins
  • Talking to ... Daniel Markovits
    May 23 2025

    At a time when productivity theater, task masking, and sham production have become commonplace, it is clear that we’re facing a profound crisis of work, indeed, of everything considered valuable in our society. Therefore, it isn’t surprising that the principle of performance itself has come under criticism. This crisis has drawn our attention to Daniel Markovits, whose work explores whether the widely revered meritocracy is actually a trap. Consider that the term meritocracy was coined just over sixty years ago, suggesting that this could mark the beginning of the gradual erosion of its meaning. Because the Ivy League university system, whose tuition fees increase each year—so much so that it's questionable whether many students could ever repay them with their ›hands,‹ or more accurately, with their minds—favors only those who have access to the necessary financial resources, while excluding those born into less comfortable circumstances. As a result, it is becoming increasingly clear that we’re currently dealing with an incestuous ruling class in which our elite universities exhibit the characteristics of a closed society primarily focused on self-reproduction. Nevertheless, it seems that this pale cast of thought is affecting the students and graduates of these elite institutions. Why else would it be seen as good form to portray oneself as demonstratively overworked compared to those in lower castes? This brings us back to where we began: the question of whether all this might be a significant productivity charade against our discontent with Modernity.

    Daniel Markovits (born August 4, 1969) is the Guido Calabresi Professor of Law at Yale Law School and the founding director of the Yale Center for the Study of Private Law. His book The Meritocracy Trap was named one of the best books of 2019 by The Times.

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    1 hr and 7 mins