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Kunst und Medialität
art, science & business
140 pages
24 illustrations
With contributions by Gisela Febel, Michael Glasmeier, Jay David Bolter & Richard Grusin, Cornelia Lund, Joachim Paech, Frédéric Moser & Philippe Schwinger, Gerhart Schröder
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The results of the two symposia that the University of Stuttgart’s International Center for Culture and Technology Research (IZKT) and Akademie Schloss Solitude organized on the topics of Mediality and Model (January 2002) and Art and Mediality (June 2003) are published here in Art and Mediality. The volume’s authors search for a theory of the modern within the framework of a theory and history of mediality. The book’s central thesis is the question of whether the medial paradigm has perhaps already existed since the beginning of the modern era and is deeply rooted in its development process. Tracing the genealogy of mediality opens the possibility of more closely determining the location of art in the historical process of the modern. In this way, Gisela Febel shows an example of how the moment the appearance of mediality becomes the actual location of art in Broodthaers’ »Un coup de dé jamais n’abolira le hazard«. Michael Glasmeier approaches the connections between Magritte, Foucault and Broodthaers from the same perspective. According to Jay David Bolter and Richard Grusin, who speaks in a context of »remediation«, today’s media find themselves in constant exchange with earlier media, just like each early medium at the time of its invention. In this sense, Cornelia Lund shows how still images of photography, the unmoving, have turned into a film strategy. With his exploration of avant-garde films, Joachim Paech shows »the reflexive repetition of the medium as a form in film itself«, to which the most important means of expression became something that finds itself again in the reflexive strategy in today’s postmodern mainstream films. Writing on the installation »Affection Riposte«, which he exhibited with Philippe Schwinger in February 2002 at Akademie Schloss Solitude, Frédéric Moser describes the mechanisms of the dispositives, in which theater, installation, performance film and video each evoke the hope that is ultimately excludes their intermedial interrelations. Gerhart Schröder, who considers Moser & Schwinger’s »cunning games with mediality« writes how these make the distance of the ironic view visible – the consciousness of its conditions.