Uploaded June 2026 | Updated September 2026, 2 weeks ago
http://www.egs.edu
Course Introduction:
This seminar brings together film director Joshua Oppenheimer — whose documentaries The Act of Killing and The Look of Silence, and post-apocalyptic musical drama The End, have explored the mechanisms of self-deception underpinning mass violence and denial — and philosopher Srećko Horvat, author of After the Apocalypse.
Horvat redefines the apocalypse not as a distant end-time scenario but as a revelation of the present: climate breakdown, nuclear threat, pandemics, rising authoritarianism, and extreme inequality expose a world already in crisis. The apocalypse is not something to come — we are already living after it. Oppenheimer’s The End refuses the consolation of futurity. Set after ecological collapse, it follows a wealthy family surviving in a bunker, clinging to the rituals and narratives that protect them from guilt and responsibility. By staging the apocalypse as a musical — a form whose beauty has always moved us, and always kept us from seeing clearly — Oppenheimer turns the genre of consolation against itself: the loveliness that draws us in is the same loveliness that makes denial possible.
The seminar will explore the apocalypse as a condition of the present rather than a fantasy of the future. Both Horvat and Oppenheimer have spent their working lives confronting systems of violence and the stories we tell to make them livable — from ecological devastation to genocides, occupations, and war. But the deeper subject of their work has not merely been the obvious perpetrators alone. It is the rest of us: the ways we all, in everyday life, participate in and naturalize exploitation; the narratives that render invisible what we would rather not see. In a world where systems of violence are revealed and rationalized away in real time, the question is not only how the powerful profit, exploit, and absolve themselevs — but how we all do, and how we move from complicity toward subversion and active resistance.
https://pact.egs.edu/schedule/
http://www.egs.edu
Course Introduction:
This seminar brings together film director Joshua Oppenheimer — whose documentaries The Act of Killing and The Look of Silence, and post-apocalyptic musical drama The End, have explored the mechanisms of self-deception underpinning mass violence and denial — and philosopher Srećko Horvat, author of After the Apocalypse.
Horvat redefines the apocalypse not as a distant end-time scenario but as a revelation of the present: climate breakdown, nuclear threat, pandemics, rising authoritarianism, and extreme inequality expose a world already in crisis. The apocalypse is not something to come — we are already living after it. Oppenheimer’s The End refuses the consolation of futurity. Set after ecological collapse, it follows a wealthy family surviving in a bunker, clinging to the rituals and narratives that protect them from guilt and responsibility. By staging the apocalypse as a musical — a form whose beauty has always moved us, and always kept us from seeing clearly — Oppenheimer turns the genre of consolation against itself: the loveliness that draws us in is the same loveliness that makes denial possible.
The seminar will explore the apocalypse as a condition of the present rather than a fantasy of the future. Both Horvat and Oppenheimer have spent their working lives confronting systems of violence and the stories we tell to make them livable — from ecological devastation to genocides, occupations, and war. But the deeper subject of their work has not merely been the obvious perpetrators alone. It is the rest of us: the ways we all, in everyday life, participate in and naturalize exploitation; the narratives that render invisible what we would rather not see. In a world where systems of violence are revealed and rationalized away in real time, the question is not only how the powerful profit, exploit, and absolve themselevs — but how we all do, and how we move from complicity toward subversion and active resistance.
https://pact.egs.edu/schedule/



![Sha Xin Wei. Replacing thought by algorithm, gesture by mechanism, organism by golem. 2018
http://www.egs.edu Sha Xin Wei, Professor of Philosophy at The European Graduate School / EGS. Saas-Fee, Switzerland. June 25, 2018. Public open lecture for the students of the Division of Philosophy, Art & Critical Thought.
Sha Xin Wei is Director of the School of Arts, Media, and Engineering, as well as the Director of Synthesis, at Arizona State University in Phoenix, USA. His research interests are essentially interdisciplinary; he focuses on topological media, visualisation technologies, intersections between mathematics and humanities, and the critical study of media arts and sciences.
Sha Xin Wei studied mathematics at Harvard University and then completed his MA and PhD at Stanford University. His doctorate at Stanford University was devoted to “differential geometric performance and the technologies of writing in mathematics, computer science, and history and philosophy of science.”[1] It already reflected the interdisciplinary interests he continues to pursue in his career.
In 2001, he founded the Topological Lab at the Georgia Institute of Technology in Atlanta. He describes it as “a fresh and unique atelier for art based research about how to make the places in which we live richer but not more complicated.”[2]
Before he became a Professor and Director of the School of Arts, Media, and Engineering at Arizona State University in 2014, Sha Xin Wei was an Associate Professor of Fine Arts and Computer Science at Concordia University in Montreal (2005-2013). He was also the Canada Research Chair in Media Arts and Sciences.
Sha Xin Wei is a co-editor of two journals: Artificial Intelligence and Society and Creative Interfaces and Computer Graphics.
His most recent monograph is entitled Poiesis and Enchantment in Topological Matter. It is published by MIT Press in 2013 and inspired by various (and diverse) thinkers such as Whitehead, Simondon, Deleuze, Guattari, Heraclitus, Bergson, North, Stengers, Serres, and Badiou. Xin Wei introduces the main argument of his work in the following way: “I argue for an approach to materiality inspired from continuity, field, and philosophy of process, based on ethico-aesthetic as well as technoscientific grounds. This project investigates what could be implied by continuous, or more precisely topological , approaches to media and matter in the concrete setting of installation-events. Another motive is to explore the ethico-aesthetic consequences of topologically creating performative events and computational media, drawing from the critical studies of science and technology. This project is a philosophical investigation that is conducted in a poetic mode of installation or event-based art and technology. This project is a philosophical investigation that is conducted in a poetic mode of installation or event-based art and technology.”[3]
Together with Chris Salter and Laura Farabough, Sha Xin Wei founded Sponge art group (1997). He is the author and co-author of numerous art projects including: TGarden responsive environments (Ars Electronica, DEAF, MediaTerra Athens, SIGGRAPH); Hubbub speech-sensitive urban surfaces; Softwear gestural sound instruments; WYSIWYG gesture-sensitive sounding weaving (ICMC, CLICK Festival Denmark); Ouija movement studies; Cosmicomics video installation (Elektra Montreal); eSea reactive wall (eArts Shanghai); and IL Y A video membrane (Rotterdam, San Francisco, Berkeley, Montreal), and Time Lenses installations (Beall Center Irvine, Musée des arts et métiers Paris).
[1] https://graycenter.uchicago.edu/experiments/alternate-reality-a-pervasive-play-project/sha-xin-wei
[2] https://artsmediaengineering.asu.edu/content/sha-xin-wei-named-director-school-arts-media-engineering
[3] Sha Xin Wei, Poiesis and Enchantment in Topological Matter, The MIT Press, Cambridge, 2013, pp. vii-viii. Sha Xin Wei. Replacing thought by algorithm, gesture by mechanism, organism by golem. 2018](https://i.ytimg.com/vi/VGq78gm-Kks/mqdefault.jpg)






