By Siegfried Zielinski
The media at the moment are redundant. In an summary of advancements spanning the previous 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, paintings, and feedback have been operative during this method. Media-explicit pondering is contrasted with media-implicit proposal.
Points 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 summary of an exact 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 lifestyles and offline being.
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Additional info for [...After the Media]: News from the Slow-Fading Twentieth Century
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. By these means the imperfections can be avoided or even overcome, at least in fields that are not averse to formalization.
The Swiss master of designed empty space’s quintet of awesome beauty, La Place (City Square) is created 1948/1949. At about the same time Francis Bacon begins to paint his bold, raw pictures with their metamorphosed, contorted, screaming faces which are exhibited for the first time in 1949. In the same year Mark(us) Rothko(witz), who comes of a Latvian-Jewish family, embarks on his radical large-format canvases with rectangles of color. They seem like alchemy transported into the sphere of art.
Umberto Eco is still grateful to him for this today. Balestrini, who very reluctantly attended an engineering college but quickly dropped out,41 impressively demonstrates how one can even generate new narrative literature from existing literary phrases using a clever algorithm in Tristano. 42 The cofounder of the Gruppo ‘63 and Neoavanguardia does not succeed in producing a bestseller using this concept. With Antonio Negri and many others Balestrini is accused of armed subversion and involvement in the assassination of Aldo Moro.