Dictionary of war ‫פלוריאן שניידר‬

is a collaborative platform for creating concepts on the topic of "war", to be invented, arranged and
presented at a public, two-day event. The aim is to introduce a series of concepts that either play
an important role in the contemporary discourse of war, have so far been neglected, or have yet to
be created.

At each edition, 25 concepts are presented in 30 minutes time slots, in alphabetical order and
without a break; they are video recorded by several cameras, live mixed, encoded in real-time and
published on the internet.There are no restrictions with regard to format and each person invited to
create a concept is free to decide about the title, genre, medium in which the concept will be
produced.

"At least, when we create concepts, we are doing something." The idea of DICTIONARY OF WAR, is
loosely based on the theory of concepts proposed by Deleuze and Guattari: Concepts must be
invented, created, produced; concepts refer to problems without which they would be meaningless.
It is not about definitions or limiting meaning, anecdotes, original opinions or entertainment, but
rather about developing the tools with which to attain new ideas.

DICTIONARY OF WAR is a project that started in 2006. Until today five editions have been organized
in Frankfurt, Munich, Graz, Berlin and Novi Sad featuring 125 concepts presented by a wide range
of activists, architects, artists, composers, choreographers, dancers, filmmakers, generals,
journalists, philosophers, scientists, theorists from across the globe.

DICTIONARY OF WAR is about polemics in various respects: It seeks confrontation with a reality that
is characterised by the concealment of power relations the more that one talks about war and
peace. But it is also about finding out to what extent war may function as an “analyzer of power
relations” that constitutes current changes.

Changes that have been producing ever new wordings: The new war, post-modern war, global war,
immanent war - all sorts of labels that indicate that the juridical model of sovereignty would seem
to have had its day: war as an armed confrontation between sovereign nation states is a thing of
the past.

While this still refers to conflict between different interest groups that are defined by the degree of
their intensity and extension, unlike in the past war serves to regulate rather than destroy or renew
existing power relations.

War is a “constitutive form of a new order” that no longer knows an inside or outside, that not only
destroys but also produces life. In this new world order there is no difference between war and non-
war: war is perpetual and everywhere.

So like so many things, war too seems to be subject to a deregulation process that radically
challenges old certainties. DICTIONARY OF WAR sets out to oppose war and, at the same time, calls
for "desertion" from a war of words in which facts are created with such force in their
communication and propaganda that they can no longer be challenged.

The aim of DICTIONARY OF WAR is to make the creation or revaluation of concepts transparent into
more or less open processes in which we can and need to intervene; at the same time, the aim is to
develop models that redefine the creation of concepts on the basis not of interdisciplinary but rather
undisciplined, not co-operative but rather collaborative processes.

DICTIONARY OF WAR consists of a stringent concept on three levels:

1. Presentation

Every concept will be presented in twenty minutes, the conceptual personae may use this period as
they wish. At least twenty-five concepts will be created per event in this way. The formulation and
selection of the respective concept, the determination of its content, and the decision with regard to
the format and mode of the lecture is incumbent on the conceptual persona invited. The concepts
will be presented in alphabetical order over two days, each day session lasting approximately
seven-hours. The stage set is adapted to the respective premises but will be founded on a concept,
as yet to be devised, that will be based on a few recurrent elements that the conceptual persona
may arrange in the period available. The respective concepts and conceptual personae will be
announced by an off-stage speaker. The speakers will be accompanied onto the stage by a host,
who will be available throughout for support, e.g. with technical matters.

2. Documentation

All created concepts will be documented. Two video cameras and a video mixer will be available for
this throughout the events. The aim of the documentation is to make the lectures available on the
Internet, and as such accountable and reproducable beyond the actual event. The documentation is
explicitly not about creating another independent artistic contribution. However, such contributions
may of course be submitted as supplements or additional material. If possible, the conceptual
personae are asked to provide their manuscript. The documentation may also feature additional
material exceeding the twenty-minute time-frame. The video recordings of the presentations will be
published under a creative commons licence on the Web shortly after the events. They will thus be
available as material for ongoing editing, comment and discussion, although, of course, always
referring back to the original contribution and its conceptual persona.

3. Publication

Following the four DICTIONARY OF WAR events, a book will be published by Merve-Verlag, Berlin, to
present the 100 concepts, appropriately adapted by the author where necessary, in printed form.