ABSTRACT The careful insights of Carl Schmitt’s Die Buribunken resonate so strongly with the dominant post millennial Weltanschauung that it could be supposed that he was prophetic rather than merely philosophical. Indeed, the Buribunken project has so clearly established itself in the Lebenswelt that it would seem that world history is being written backwards. The ‘heightened self-awareness’ of a great life demonstrated by Ferker is now the model of the post-millennial, so that ‘every single one of [their] seconds can be recorded’ – not in an ink-written diary, but in a digital image. The temporal distortion of ‘history’ and ‘present’ should not disturb us – even though the ink immortalising Ferker’s cremated remains will, in the course of time, be digitised and take its place among the modern artefacts of history (if this has not already been done). The surveillance facilitated by Schnekke to result in historico-philosophical self-reflection built upon ink to incorporate film, photographs, and certainly implicitly, ejusdem generis, digitisation. There is a paradox in Buribunkian success, however. This chapter will consider the negative space at the heart of Buribunkdom – the loss of the unrecorded moment.

中文翻译：

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负空间——Buribunkology 核心的悖论

摘要 卡尔·施密特 (Carl Schmitt) 的《布里班肯之死》(Die Buribunken) 的细致见解与占主导地位的后千禧年世界观产生了强烈共鸣，以至于可以假设他是预言性的，而不仅仅是哲学性的。的确，布里本肯计划在生活世界中如此清晰地确立了自己的地位，以至于世界历史似乎正在倒退。Ferker 所展示的对伟大生活的“高度自我意识”现在是后千禧一代的典范，因此“[他们] 的每一秒都可以被记录”——不是在墨水写的日记中，而是在数字图像。“历史”和“现在”的时间扭曲不应该打扰我们——即使使弗克火化遗体永生的墨水会随着时间的推移，被数字化并在现代历史文物中占据一席之地（如果还没有这样做的话）。Schnekke 促成的监视导致了建立在墨水之上的历史哲学自我反思，以结合电影、照片，当然还有隐含的 ejusdem generis 数字化。然而，Buribunkian 的成功存在一个悖论。本章将探讨 Buribunkdom 核心的负面空间——失去未被记录的时刻。