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The world of finance exerts a huge influence over our lives, being responsible for economic turmoil and seemingly interminable peaks and crashes. Whereas money was once a simple means of exchange, today it is a commodity in itself and as 'capital' exerts power over individuals, degrading work to tradable labour. Can we find a new way of understanding money today, so that we can begin to overcome its destructive aspects?
In November 1984 a remarkable discussion took place at the Meeting House in Ulm, Germany. It featured the radical artist Joseph Beuys, two professors (of Financial Sciences
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Produktbeschreibung
The world of finance exerts a huge influence over our lives, being responsible for economic turmoil and seemingly interminable peaks and crashes. Whereas money was once a simple means of exchange, today it is a commodity in itself and as 'capital' exerts power over individuals, degrading work to tradable labour. Can we find a new way of understanding money today, so that we can begin to overcome its destructive aspects?

In November 1984 a remarkable discussion took place at the Meeting House in Ulm, Germany. It featured the radical artist Joseph Beuys, two professors (of Financial Sciences and Political Economics) and a banker. Beuys would appear to be out of place among these heavyweight academics, professionals and authors. But rather than being intimidated by his fellow panellists, Beuys - also a social and political activist - demonstrates his groundbreaking thinking on the subject, and his ability to bring fresh perspectives. Here for the first time is a transcript of this debate, together with analysis by Ulrich Rösch, which will be of equal interest to artists, economists and spiritual seekers.


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Autorenporträt
JOSEPH BEUYS - alchemist, social visionary and artist - was born in 1921 in Germany. In 1961 he became Professor of Monumental Sculpture at the Dusseldorf Academy, but was expelled in 1972. Following his first gallery 'action' in 1965, 'Teaching Paintings to a Dead Hare', his international reputation grew. In 1979 he was honoured with a major retrospective at the Guggenheim Museum, New York. He died in 1986, just after receiving the prestigious Lehmbruck Prize. Beuys left behind him not only numerous large-scale installations and site-works, hundreds of provocative multiples and small objects, thousands of drawings, documented social sculpture forums about energy, new money forms and direct democracy, but above all a methodology and ideas like 'parallel process' and 'social sculpture'.