By Siegfried Zielinski
The media are actually redundant. In an summary of advancements spanning the prior seventy years, Siegfried Zielinski’s [ . . . After the Media] discusses how the technique of technology-based verbal exchange assumed a systemic personality and the way conception, paintings, and feedback have been operative during this strategy. Media-explicit pondering is contrasted with media-implicit notion.
Points of touch with an arts standpoint comprise a reinterpretation of the artist Nam June Paik and an creation to the paintings of Jake and Dinos Chapman. The essay ends with appeals. In an summary of an exact philology of tangible issues, Zielinski indicates probabilities of how issues may perhaps continue after the media.
With a vade mecum opposed to psychopathia medialis within the kind of a manifesto, the ebook advocates for a contrast to be made among on-line lifestyles and offline being.
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Additional resources for [...After the Media]: News from the Slow-Fading Twentieth Century
34. , p. 123. 50 function. ”36 At the end of a text written for Bit International magazine, which appeared from 1968 to 1972 in what was formerly Yugoslavia, Bense defines the idea of generative aesthetics with pragmatic clarity: “Its goal is to dismantle the process of producing art into a finite number of constructive steps. Thus it is a “definite” aesthetics. ”37 Intimate connections between machines and organisms that are capable of thought are, at the beginning of the 1960s, by no means outlandish excursions into an imaginary future.
Psychoanalysis and poetics are just two of the fields which, in the 1920s and 1930s, intensify their efforts to develop approaches that give a sharper profile to their diffuse fields of study and endow their elusive objects of study with the semblance of subjects amenable to scientific, that is, quantifiable methods, or even methods from engineering science. In the sector of communication via technical artifacts and systems, from the outset there is the intention of making operations and processes that are difficult to control more reliable, effective, and flexible, which were the frames of reference for these normative formulations to begin with anyway.
Sixteen years after the end of World War II, German tanks again roll through Berlin; this time against its own citizens in the Eastern part of the city. The acrimonious ideological and political struggles over the “right” consequences to be drawn from the twin disasters of Fascism and Stalinism culminate in the building of a wall, which will become much more than just an architectonic expression of the division of a city and a country. This edifice, which from the start had barbed wire and a lethal minefield, becomes the symbol of the Cold War; an emblem of the irreconcilability of the two worldviews of capitalism and socialism, which, as universalist principles, both press toward generalization.
[...After the Media]: News from the Slow-Fading Twentieth Century by Siegfried Zielinski