Der US-Politologe Mark Lilla sieht die Schwäche der Linken darin, dass sie jedes Nationalgefühl als Rassismus stigmatisiert. Statt Snobismus fordert er konkrete Politik.
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Der US-Historiker Mark Bray über die Antifa-Bewegung, die Ausbreitung von faschistoidem Denken und seine Absage an den Dialog mit Rechtsradikalen.
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Ein Gespräch über Utopien, Feel-good-Pianisten und präparierte Klaviere.
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Der britische Filmemacher zum Brexit, den Versäumnissen Europas und seinem Wunsch nach Klassenkampf.
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Laurie Anderson tourt seit Jahrzehnten mit ihrem experimentellen Programm "The Language of the Future" und stellt der Komplexität der Gegenwart die Simplizität des Momentes gegenüber.
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Music critic Simon Reynolds believes we suffer from a „Retromania“ and that our culture is only a copy of former cultures.
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Artist and novelist Douglas Coupland popularized the term “Generation X” and is a keen observer of modern life. We do recycle previous generations’ culture, he says, but that’s a blessing, not a curse.
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France’s literary enfant terrible, Frédéric Beigbeder, blames J.D. Salinger for his fear of old age. As therapy, he wrote a bold novel about eternal youth and ephemeral love.
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Mercury Prize-winning band The Young Fathers push for racial equality and want racists to come to their shows. To them, that’s not contradictory, but necessary.
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“The UK is independent, but not isolationist”, says former British Prime Minister John Major. He discusses Britain’s future, diplomatic neuroses, and penalty shots.
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Jacques Attali is one of France’s leading intellectuals and an expert on issues ranging from classical economics to classical music. He thinks we can learn a lot from “Game of Thrones” and that Germany’s economic success is an example to study but not to follow.
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French economist Thomas Piketty has put inequality back on the map and is being hailed as the Karl Marx of the 21st century. He shares his thoughts on a globalization gone wrong, a Eurozone parliament and our obsession with economic growth.
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David Shrigley draws like a child, and yet he has become one of Britain’s most prominent and acclaimed artists. He blames it on the limits to his creativity and explains where the boundaries of good taste lie and why Monet would suck in the digital age.
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