Lorenz Engell | Bernhard Siegert (Hrsg.)

Zeitschrift für Medien- und Kulturforschung

Schwerpunkt: Entwerfen

Herausgegeben von Lorenz Engell und Bernhard Siegert

Zeitschrift für Medien- und Kulturforschung 3/1/2012

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Beschreibung

Bibliographische Angaben

Einband
DOI	10.28937/ZMK-3-1
Auflage	Unverändertes eJournal der 1. Auflage von 2012
ISBN
Sprache
Originaltitel
Umfang	229
Erscheinungsjahr	2012
Reihe	Zeitschrift für Medien- und Kulturforschung 3/1/2012
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

Einzelartikel als PDF

Lorenz Engell | Bernhard Siegert

Editorial

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Gertrud Koch

Film als Experiment der Animation

Sind Filme Experimente am Menschen?

The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.

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Bruce Clarke

Embodied Mediation: AVATAR and its Systems

This paper examines the fictive technology that drives avatar in relation to other networks named by the text. A narrative realization of , the avatar in avatar is the organic metamorphosis of a media system, a hybridic biocybernetic apparatus generating significant existential contradictions. avatar is also an allegory of the media technology that went into its own production. The desire to remediate disembodied mediations, to turn signs back into objects, rests on what is actually and always possible, the transformation of objects into signs.

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Andreas Gelhard

Das Dispositiv der Eignung

Elemente einer Genealogie der Prüfungstechniken

This paper argues that during the 20th century the dispositive of guilt (which operates with the principal distinction permitted/forbidden) is restructured as a dispositive of aptitude, which relies on the principal distinction able/not able. In this context, the (applied psychology), which emerges at the turn of the century and the technologies of examination it developed play a significant role. This can be demonstrated with reference to the works of William Stern (selection of students), Hugo Münsterberg (work psychology) and Kurt Lewin (social management). Furthermore, it can be shown that the dispositive of ability can also integrate those psychological techniques that originally were not conceived for ability testing.

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Martin Heidingsfelder

Wird die Wissenschaft aus den Plagiatsfällen lernen?

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Georg Stanitzek

Wahrheit und Diebstahl

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Raffello Santi

Brief an Papst Leo X. betreffend die Bewahrung, Vermessung und zeichnerische Aufnahme der antiken Baudenkmäler Roms [um 1518]

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Peter Heinrich Jahn

Kommentar zum so genannten Brief Raffaels an Papst Leo X.

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Friedrich Kittler

Stuttgarter Rede über Architektur

The paper proposes the consideration of architecture(s) as a media system, instead of imposing man as its ultimate reference and known measure. A media history of architecture – which remains to be written – should therefore search for formal correspondences between techniques of drafting and those of buildings, in which practice and product coincide.

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Mario Carpo

Digitaler Stil

In architecture digital tools began to be used relatively early. Since the early 1990s, theories of digital sketching prepared the way for the and even anticipated it in some cases. Having moved mainstream, the most recent digital technologies seem to foster a new and comprehensive style of digital fabrication – albeit none that the architects would have had in mind, nor one that would please all architects.

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Sean Keller

Architecture after Drafting

Over the last two decades drawing has been displaced from its dominant role in architecture by a range of computational representations. This article offers a critical response to Mario Carpo's recent argument that this shift returns architecture to an 〉autographic〈 mode of practice not seen since before the Renaissance. In contrast, I suggest that architecture today should be thought of through Rosalind Krauss's model of a post-medium art.

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Barbara Wittmann

Papierprojekte

Die Zeichnung als Instrument des Entwurfs

In the history of artistic, technical and architectonical design, drawing has largely been identified with certain techniques of projection. However, the actual productive potency of drawing can hardly be reduced to an act of stabilization and transferal. Drawing also means to draw over, to cross out, to start anew, and therefore: to keep drawing. What is, then, the benefit of drawing as a tool for designing?

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Adrian Mackenzie

Technical Objects in the Biological Century

How does a computer operating system such as Linux differ from a microbe? This paper explores how technical objects are envisaged in the »century of biology«. Via the work of Gilbert Simondon, it asks what modes of existence biotechnical objects will display. The processes of abstraction and concretisation taking place in the field of synthetic biology offer one way to address these questions.

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Ann-Sophie Lehmann

Taking the Lid off the Utah Teapot

Towards a Material Analysis of Computer Graphics

This article argues that the impact of digital images on visual culture can only be understood if the specific materiality of these artefacts is taken into account. An analysis of the famous distinguishes five material layers, including making, coding, forensic and epistemic materiality, as well as the notion of trans-materiality. Each layer is developed in relation to theoretical concepts of materiality in media studies, art history, computer science, and anthropology.

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Anke Hennig

Dinge teilen

Russian constructivism's motif of an »insurgence of things« leads to the imperative of a liberation of things, which turns away from their representation and declares a Bilderverbot (prohibition of representation) in order to create new things for »new men.« These things – for example, clothing and articles of daily use – overleap the opposition between object and thingness. Their essence, as contemporary Russian phenomenology (Gustav Špet, Nikolaj Žinkin) affirms, is not constituted by any »ideal object«, but by social usage, which involves it in an interminable metamorphosis.

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Christoph Asendorf

Philosophie im Tiefenraum

Die Schule von Athen als Weltentwurf Raffaels

The agents in Raphael's belong as much to antiquity as they do to the Renaissance. This is also true with respect to the large hall in which they move. Already these observations show that, while depicting a distant world of the past, Raphael also works through questions of his own time. Architecture and agents are meticulously related to one another, so that the interplay of spatiality and philosophical concepts represents the idea of a harmonic world-order. This conception of the world, however, will last only for a short time – even in the work of Raphael.

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