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Vom Schwarz-Weiß-Kontrast zur dividuellen Kompositkultur

Abstract

I discuss current shifts in cultural understandings under postcolonial conditions with particular regard to the French-African-Antillean area. Through a short reconstruction of culture constitutive approaches, their continuation and criticism in the Antillean area and furthermore the Afropolitan interpretations by Mbembe,Enwezor and African artists, I come to the conclusion that we need an epistemological shift in the cultural studies discourse itself. Along the lines of the affirmative- critical aesthetic of the mentioned African theorists, curators and artists, I advocate that the cultural studies discourse distances itself from descriptions in terms of cultural contrast, of the same and the other, of white and black and so on. I argue that the discourse should abandon the idea of unified or oppositional cultures and instead emphasize the „composite-cultural", i.e. the entanglements of respective personal or societal forms of articulation and existence as well as profile the types of symbolic interpenetration, the temporally and aesthetically conditioned „dividuation". With examples from the African art context, I attempt to outline certain dividual procedures and to stress the fact that nowadays even western articulations are bound to endure forced cultural participation [Zwangsteilhabe]: Instead of discursive contrasts we are in need of analyses of the respective participation and (self-)dividuation processes.

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Politics of Imperceptibility: Philosophy, Post-Feminism and New Media Arts

Abstract

The essay discusses Deleuze and Guattari’s notion of becoming-imperceptible and raises the question to what extent it can be interpreted in terms of feminist politics and seen as a specific strategy for new media arts. Although the notion of becoming-imperceptible was condemned by second wave feminists, recent post-feminists representing the third wave argue not for politics of visibility but for politics of invisibility. Examining the practices of Lithuanian feminist media artists, the essay argues that becoming-imperceptible in new media arts means not an escape from visibility or a drive toward annihilation but a new conceptual strategy: becoming-imperceptible creates the potential for social and political change. This new conceptual strategy can be related to the new quality of the image: in this regard there is a close affinity between Deleuze and Guattari’s notion of becoming-imperceptible and the notion of the crystalline image which appears in Deleuze’s film theory: both notions engender duration, temporality and qualitative change. Therefore the essay claims that the crystalline image does not represent the world but recreates this world through multiple, changing and virtual images.

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Narrative des Anthropozän – Systematisierung eines interdisziplinären Diskurses

Abstract

The Anthropocene concept originates from earth system sciences and conceptualizes humanity as a planetary geophysical force. It links current action-oriented time horizons to Earth historical deep time and implies non-separability of natures-cultures. The Anthropocene concept has resonated in debates in natural and social sciences, the humanities and the broader public, serving as an inter- and transdisciplinary bridging concept. Based on an analysis of numerous texts from multiple scientific disciplines and media, this contribution distinguishes five narratives of the Anthropocene: the disaster narrative, the court narrative, the Great Transformation narrative, the (bio-)technological and the interdependence narrative. The five narratives articulate very different perspectives and experiences and transport divergent political, economic, ethical and anthropological values and interests; this is also shown in alternative conceptualizations such as Eurocene, Technocene, Capitalocene or Plantationocene. The analysis reveals that the narratives share significant structural characteristics concerning story, plot, protagonists, spatial and temporal structure and action-oriented emplotment which together can be referred to a meta-narrative of the Anthropocene. Since the partly overlapping, partly contradictory narratives compete for legitimation and dominance in science and the broader public, the findings raise the question whether this struggle will stabilize or undermine the Anthropocene meta-narrative in the long run.

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Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films

: The Temporal Turn in Contemporary Art. New York, London: Bloomsbury. Schrader, Paul 1972. Transcendental Style in Film: Ozu, Bresson, Dreyer. Berkeley: University of California Press. Thompson, Kristin; Bordwell, David 2003. Film History: An Introduction. 2nd ed. New York: McGraw-Hill. Valkola, Jarmo 1993. Perceiving the Visual in Cinema: Semantic Approaches to Film Form and Meaning. Jyväskylä Studies in the Arts 42. Jyväskylä: University of Jyväskylä. Valkola, Jarmo 2000. Aesthetic & Cognitive

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Exploring Cross-Media Audience Practices in Two Cases of Public Service Media in Estonia and Finland

Environments. PhD thesis. University of Sydney. Duffett, Mark 2013. Understanding Fandom: An Introduction to the Study of Media Fan Culture. New York: Bloomsbury. Eco, Umberto 1990. I limiti dell’interpretazione. Milano: Bompiani. Evans, Elisabeth 2015. ‘Layering Engagement: The Temporal Dynamics of Transmedia Television’. - Storyworlds: A Journal of Narrative Studies 7, 2, 111-128. Fiske, John 1989. ‘Moments of Television’. - Ellen Seiter, Hans Borchers, Gabriele Kreutzner, Eva-Maria Warth (eds.), Remote

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’Žena I Svet’ and ‘Hrvatica’: An Analysis of Two Women’s Magazines in Interwar Serbia and Croatia (1925-1941)

Hrvatskoj (povijesni presjek i današnja situacija). University of Zadar. Department of Sociology. HALPERN, J. M., KASER, K., & WAGNER, R. A . (1996). Patriarchy in the Balkans: Temporal and cross-cultural approaches. The History of the Family, 1(4), 425-442. HERRMANN, F., & LÜNENBORG, M . (2001). Tabubruch als Programm. Privates und Intimes in den Medien. Opladen: Leske+ Budrich. HERVE, F . (1982). Brot und Frieden-Kinder, Küche, Kirche. Frauenbewegung in der Weimarer Republik. Geschichte der deutschen Frauenbewegung, Köln, 119-153. HORVAT, V

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