By Siegfried Zielinski
The media are actually redundant. In an summary of advancements spanning the earlier 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 approach. Media-explicit considering 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 tangible issues, Zielinski indicates chances of how issues may possibly continue after the media.
With a vade mecum opposed to psychopathia medialis within the kind of a manifesto, the publication 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
31 Attenuated figures gracefully stride or solemnly stand within exhibition spaces where visitors eye them eagerly as sculptural wonders. The Swiss master of designed empty space’s quintet of awesome beauty, La Place (City Square) is created 1948/1949. At about the same time Francis Bacon begins to paint his bold, raw pictures with their metamorphosed, contorted, screaming faces which are exhibited for the first time in 1949. In the same year Mark(us) Rothko(witz), who comes of a Latvian-Jewish family, embarks on his radical large-format canvases with rectangles of color.
In the age to come art will create entertainment from that new productivity which can so 20. Schlesinger (2003) p. , quotation p. 5. Part 2 is devoted to the Theory of Regularity and Coordination, and Part 3 the Technology of Art Production. 21. Brecht on Theatre. The Development of an Aesthetic, ed. and trans. John Willett, Methuen: London, 1964, §16, p. 184. ”22 In 1948 Alan Turing writes his report “Intelligent Machinery” for Great Britain’s National Physical Laboratory. The core of the report is a description of a thinking machine, which is not trivial but capable of learning.
It is an outstanding archaeology of the Modern era, long before this label existed for work in the field of cultural studies. The book’s associative linkage of discourses that were previously conceived of as separate will become paradigmatic for processes characterized by cultural techniques. In Germany, authors such as Wolfgang Schivelbusch (The Railway Journey: The Industrialization and Perception of Time and Space) and Christoph Asendorf (Batteries of Life: On the History of Things and Their Perception in Modernity) later draw on Giedion’s method and, in turn, influence an even younger generation of culture and media studies scholars.