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 communique assumed a systemic personality and the way idea, paintings, and feedback have been operative during this strategy. Media-explicit considering is contrasted with media-implicit notion.
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 probabilities 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 life and offline being.
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Extra resources for [...After the Media]: News from the Slow-Fading Twentieth Century
10, 15, and 14, trans. C. 36. Bense (1965), pp. 11–13, trans. C. 37. Bense (1968), p. 81, which first appeared in IBM-Nachrichten 180, 1966, pp. 294–296; I am indebted to Margit Rosen for valuable information, trans. C. ” Source: The popular German magazine Hobby. Das Magazin der Technik, no. 22, 1970. Intelligent machines hold out the promise that they will not make the same mistakes as the people who invented them. Artificial designs, exact sketches, defined rules and their precise execution do not only apparently compensate for the imperfections of nature, as Adorno and Horkheimer and Lacan each propagated in their own way.
30 Although this text by the student of Canguilhem and Merleau-Ponty has an enormous influence on philosophy in postwar France, particularly on Gilles Deleuze, it is not available in German translation until 2012. Three paradigms in particular underpin Simondon’s philosophical reflections on technology: technical objects like machines must be understood as heterogeneous constructions; technical objects have to be conceived in terms of ensembles; and technical objects are not fixed once and for all but are subject to continual change.
In opposition to the Marxist existentialist Jean-Paul Sartre and others who cling to the sovereign subject, a new generation of thinkers appears who combine structuralism, critique of power, Bataille’s heterologies, the relative undogmatic Marxism of Althusser, which is influenced by Lacanian psychoanalysis, and Heidegger’s philosophical thought into a “Gay Science” in the Nietzschean sense. From this they develop their own individual planets — Roland Barthes focuses on the arts, literature, and the signatures of the profane; Michel Foucault on history and power; Jacques Derrida on language and the text.