By Siegfried Zielinski
The media at the moment are redundant. In an summary of advancements spanning the prior seventy years, Siegfried Zielinski’s [ . . . After the Media] discusses how the technique of technology-based conversation assumed a systemic personality and the way concept, artwork, and feedback have been operative during this procedure. Media-explicit considering is contrasted with media-implicit concept. issues of touch with an arts point of view 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 exact philology of tangible issues, Zielinski indicates chances of how issues might continue after the media. With a vade mecum opposed to psychopathia medialis within the type of a manifesto, the publication advocates for a contrast to be made among on-line lifestyles and offline being.
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Extra resources for [...After the Media]: News from the Slow-Fading Twentieth Century
In t h e 1 9 3 0 s B ense studied subj ects in and science s and received his how both the arts doctorate for the disserta tion " Quantenmechanik und D aseinsrelativitat " ( " Quan Mechanics and Relativity of Dasein he focuses on issues of poeto -logics . tum " ). After the war (Art: the ba ckground is a work by Lu (Bayerischer Rundfunk - B avarian Broadcastin g ) , Max B ense in the TV progra m Kunst: Bin schwindendes Phanomen A disappe aring phenomenon ) , in cio Fonta n a , BR November 2, 1 9 6 6 .
With the observation, description, and the declared aim of more effective communication for the masses by tech nical means one can now acquire political merit and even earn money. This is an important step along the roa d to the means whereby technical communication is realized in taking on a strategic cha ra cter. In th e course of their propagation they will be called "mass communication, " which litera lly means one transmitter simultaneously 13 Shannon ( 1 948) . See also in this connection Mc Quail a n d Windahl (l 98 1 ) .
Knilli had studied mechanical engineering, psychology, and ra dio-semiotics (Deutsche Lautsprecher, 1 970 ) . In the mass media s ection of the first issue of S PRITZ, Helm ut Krapp engages with the " contra sts be tween images a n d language, " which in the age of the spread of the Internet remains an abiding theme; Heinz Schwitzke offers one of his many contributions to the "language of radio plays . " At the same time, a few hundred kilometers south-west of Berlin, Max Bense is working on what Hollerer excludes; namely, the " countable, mechanical principles" of language 31 W.
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