By Siegfried Zielinski
The media at the moment are redundant. In an outline of advancements spanning the prior seventy years, Siegfried Zielinski’s [ . . . After the Media] discusses how the technique of technology-based communique 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 idea.
Points of touch with an arts standpoint contain 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 overview of an actual philology of actual issues, Zielinski indicates probabilities of how issues might continue after the media.
With a vade mecum opposed to psychopathia medialis within the type 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
C. 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.
Dwoskin (1975), p. 59; the author is a founding member of the London Filmmaker Coop. 59 Cut-up from The Third Mind (1965), at the bottom right are the signatures of the authors Burroughs and Gysin (Paris 1986).
Wittgenstein, Zettel, §326–7. ”20 In 1948, a year after his appearance before the McCarthy House Committee on Un-American Activities, Bertolt Brecht publishes his revised and condensed instructions for dramatic art in the scientific age. He calls it A Short Organum for the Theater. In the title Brecht reestablishes a connection to the texts of Aristotle, whose aesthetics he had energetically opposed with his concept of Epic theater. With the Greek word “organum” Brecht emphasizes the toolbox-character of the work.