Lorenz Engell | Bernhard Siegert (Hrsg.)

Zeitschrift für Medien- und Kulturforschung

Schwerpunkt: Offene Objekte

Herausgegeben von Lorenz Engell und Bernhard Siegert

Zeitschrift für Medien- und Kulturforschung 2/1/2011

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Bibliographische Angaben

Einband
DOI	10.28937/ZMK-2-1
Auflage	Unverändertes eJournal der 1. Auflage von 2011
ISBN
Sprache
Originaltitel
Umfang	207
Erscheinungsjahr (Copyright)	2011
Reihe	Zeitschrift für Medien- und Kulturforschung 2/1/2011
Herausgeber/in	Lorenz Engell Bernhard Siegert
Hersteller nach GPSR	Felix Meiner Verlag GmbH Richardstraße 47 D-22081 Hamburg Telefon: +49 (40) 29 87 56‑0 Fax: +49 (40) 29 87 56‑20 E-Mail: info@meiner.de

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Lorenz Engell | Bernhard Siegert

Editorial

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Friedrich Balke

Schriftkörper und Leseübung: Nietzsche als Stichwortgeber der Medien- und Kulturwissenschaft

As philologist and philosopher, Nietzsche paves the way for an understanding of inscriptions and their surfaces, of character strings and their manipulations, without which contemporary research on medial gestures, techniques and dispositives of writing and reading would not be conceivable. The paper shows that and why Nietzsche's own reading and writing revives the practice of ancient : his aphorisms and fragments collect and organize what Nietzsche read and thought, not in order to confine it to the timeframe of its genesis nor to make it an object of exegesis, but to test its potential of being reactivated in discursive practices that bind the subject to a certain truth.

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Claus Pias

On the Epistemology of Computer Simulation

The paper suggests to analyze the history of scientific computer simulations with respect to the history of media. After presenting some ideas concerning the peculiarities of computer simulation, two examples (management simulations of the 1960s; traffic-related and epistemological simulations of the 1990s) are interpreted. From them, further questions concerning the status of scientific knowledge, the genesis of epistemological concepts and their critique are derived.

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Eric Alliez

Der Guattari-Deleuze-Effekt

In order to understand the collaborators' mutual impact in a joint project that began with Deleuze and Guattari's transgression of classical psychoanalysis and advanced to their complete remodeling of philosophy, the notion of a »Guattari-Deleuze-effect« is more adequate than the presumption an unilateral »Guattari-effect« upon Deleuze. Furthermore, Deleuze's and Guattari's concerted efforts leave the paradigms of »interpretation« and »structure« behind; in their critique of Lacan, Deleuze and Guattari turn away from the primate of language as structure and the postulate of an always already constituted subject that is cut off both from the real and from collective processes of individuation. Finally, the concept of a heterogeneous »matter of expression,« which, borrowed from Hjelmslev, allows opening up the opposition between linguistic sign and matter, as well as the concepts of »desiring-machine« and »assemblage«, clear the way towards a becoming-political of philosophy, understood as reappropriation of collective subjectivity's means of production.

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Gilbert Simondon

Einleitung zu Die Existenzweise technischer Objekte

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Michael Cuntz

Kommentar zur Einleitung aus Gilbert Simondons Du mode d'existence des objets techniques

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Antoine Hennion

Offene Objekte, Offene Subjekte?

Körper und Dinge im Geflecht von Anhänglichkeit, Zuneigung und Verbundenheit

»Attachments« do not belong to the vocabulary of action. Incommensurable and situational, they are at once constraining and indeterminate, deployed in bonds that all do something, but among which none is independent for itself. Instead of distinguishing clearly between dependent and determining things, the paper passes to a less trenchant but infinitely more productive approach to distributed action, conceived as a (make [someone] do [something]) disseminated in networks. The essential, then, is not to liberate oneself from the attachments, but to sort the good ones from the bad, by leaning not on grand overarching principles but on the immanent justice in things. But how can we judge the quality of an »attachment«? Drawing on cases of sportsmen, drug addicts, and music lovers, this contribution aims to clarify what an »attached« morality could look like, a morality which would be made of the fabric of uncircumventable ties.

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Peter Geimer

Vorhang, Lampe, Sessel, Uhr

Auf der Suche nach den Dingen der Recherche

Philippe Michel-Thiriet's , published in 1999, contains beside biographical data a »lexicon of characters« and a »lexicon of places in the Recherche.« There is, however, no »lexicon of objects:« No directory of the furniture in the parlor of Madame Verdurin, no comment on the »enmity of the violet curtains« in the Hotel of Balbec, the Queen of Naple's forgotten fan or the hanging lamp in the dining room in Combray. Are these objects thus not part of the novel? Are they mere accessories and requisites? Or are they simply not classifiable in the systematic categories of a lexicon? But why? The paper addresses these questions and tries to give the objects in the attention that usually only the novel's protagonists receive. At the same time, it deals with the legacies of Proust's existence that are occasionally identified with the objects in the novel. But how can a real object enter a novel? And does it ever find its way back out?

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Anke te Heesen

Objet sentimental

The year 1979 marks a turning point for cultural studies: Carlo Ginzburg introduces the term »securing of traces« to historiography. In Cologne, Daniel Spoerri und Marie Louise von Plessen initiate the second , an exposition that explores the reconstruction of past stories via arranged objects. The paper focuses on an exhibition strategy that dedicates itself to the cultural technique of »reading traces«, produced by an emphasis on the trivialities of everyday.

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Stefan Höhne

Tokens, Suckers und der Great New York Token War

Both in ancient myths about the passage of the dead to Hades and in the New York subway, small coin-like artifacts shape decisively transitory practices and subjects alike. The numerous conflicts and subversions surrounding these objects reveal their openness as configured by the assemblages in which they develop. Thus, understanding what assemblages are and what effects they produce, one might understand the social effectiveness of artifacts more clearly.

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Ute Holl

Klang-Objekte zwischen Ding und Kreatur

Noten zum Eselsschrei in Robert Bressons AU HASARD BALTHAZAR

The paper presents the donkey's bray in Robert Bresson's film (F 1966) that disturbs the montage insistently as an open sound object and puts it in the context of bioacoustics. The donkey's hee-haw diversifies noise in such a way that the borderline between object and creature becomes permeable. Bresson's passion proves to be an experiment to perceive the acoustic channels of communication as transformers of animals, spaces and that kind of transmission that researchers informed by cybernetics call »language«.

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Katrin Pahl

Doublings and Couplings

The Feeling Thing in Valéry and Kleist

Via an analysis of Valéry's metalepsis and Kleist's hybrid aesthetics, this essay offers an account of feelings as . Through doublings and couplings, Kleist's theater presents emotionality as in the double sense of the thing that feels (a human body, for example) and the thing that feeling is (a dagger, for example): as an open, complex, and dynamic assemblage of human and para-human actants that responds to its incongruence with itself.

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Uwe C. Steiner

Actio, Narratio und das Gesicht der Dinge

Working with the example of the jar and other, wandering and deceitful objects of literary history, this paper tries to translate the reciprocal presupposition of openness and closure to a configuration of theory of action, figuration and narration. It thus deals with the question, how literarily open objects act. According to Luhmann and Latour, action can be connected to concepts of description: Be it that communication is reduced to action and only thus attributable to an agent, or that symbolic reference, attribution and recording account for significant strands in human and non-human contexts of action. Drawing upon selected examples from literary history, the paper pursuits such translations of narration into action and vice versa.

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