Ilinca Iurascu

Associate Professor

Research Interests

Artistic and Literary Theories
Arts and Cultural Traditions
Arts and Technologies
critical theory
Cultural Studies
film studies
German literature
Media and Society
media archeology
media theory
Theories and Philosophies
visual studies

Relevant Degree Programs



Master's students
Doctoral students
Postdoctoral Fellows
Any time / year round

media theory; cutlural studies; Frankfurt School; film history; history of the book; German cultural studies; comparative literature; history of technology

I support public scholarship, e.g. through the Public Scholars Initiative, and am available to supervise students and Postdocs interested in collaborating with external partners as part of their research.
I am open to hosting Visiting International Research Students (non-degree, up to 12 months).

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Graduate Student Supervision

Master's Student Supervision (2010 - 2020)
The world is real: writing, counting, and reading in the art of Hanne Darboven (2017)

This thesis seeks to approach the work of German artist Hanne Darboven (1941-2009) through the operations of writing, counting, and reading. In the language of New German Media Theory, these operations are known as elementary cultural techniques. I will trace the thematization of these techniques by analyzing Hanne Darboven’s art through what are known as her text formulations (schreibe, beschreibe nicht, schreibe rechnen/rechne schreiben, and gedankenstrich). These formulations are all inherently tautological, an aspect which links them to the recursivity of cultural techniques. These techniques are “articulations of the real,” ontic operations that exist a priori of the ontological concepts they generate, producing a difference between established pillars of meaning. Though many critics of Darboven see her art as the evocation of transcendental concepts like history and time, my research will show that Darboven is ultimately concerned with how these operations ground her process in the fabric of the world. Darboven’s art is not a rational realization of the values of the Enlightenment, nor is it a mathematical proof with infinite variations. It is rather a recursive system that is infinite only in its repetition of its own process, which is also a personal method of coping with daily life invented by the artist.

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