[...After the Media]: News from the Slow-Fading Twentieth by Siegfried Zielinski

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 thought, artwork, and feedback have been operative during this approach. Media-explicit pondering is contrasted with media-implicit suggestion.

Points of touch with an arts point of view 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 actual philology of tangible issues, Zielinski indicates chances of how issues may well 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 life and offline being.

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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.

With the observation, description, and the declared aim of more effective communication for the masses by technical means one can now acquire political merit and even earn money. This is an important step along the road to the means whereby technical communication is realized in taking on a strategic character. In the course of their propagation they will be called “mass communication,” which literally means one transmitter simultaneously 13. Shannon (1948). See also in this connection Mc Quail and Windahl (1981).

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. It can be read as a manual for a new kind of art production — and not just for theater.

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