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History of New Media in Theater, Dance, Performance Art, and Installation. Cambridge/Mass./London: MIT Press 2007. Fischer-Lichte, Erika/Kolesch, Doris/Warstat, Matthias (Hg.): Metzler Lexikon Thea- tertheorie. Stuttgart/Weimar: Metzler 2005. Foucault, Michel: Dits et Écrits. Schriften, Bd. IV, 1980-1988. Frankfurt am Main: Suhrkamp 2005. Freud, Sigmund: Gesammelte Werke, Bd. 12. Hg. von Anna Freud. Frankfurt am Main: Fischer 1999. Haraway, Donna: Die Neuerfindung der Natur. Primaten, Cyborgs und Frauen. [orig. 1989] Hg. von Carsten Hammer und Immanuel Stieß

, manipulating it, working it into a new configuration with con- temporary dance. They meet in theory. I work in several worlds of dance: I am a choreographer and dramaturge of mixed forms, dance theatre and new media. I physically study ballet and butoh. My research spans Asian traditional and con- temporary dance theatre forms. My area of concentration is in Japanese contem- porary performance, dance theatre, and new media. The dances I study are not on the agenda here, and neither are the theories they require, which must reflect the overlapping of Euro

policed for copyright infringement if such a track were released in its own right. After all, both collage and quotation are accepted techniques in the visual arts. Of course radio has adapted to, been enabled by, and has in return influenced the development of newer media. These relatively recent technologies have brought new opportunities to radio: especially the Internet with its dynamic interconnectivity. Internationally distrib- uted communities are crucial to the development of radio as art. Networks and hubs have become as important as individual

media, radio and television. The invention of wireless telegraphy and radio signalling was of fundamental importance for Marinetti’s theory of »wireless imagination« that formed the basis of his literary reform programme of 1912. The Italian government had regulated its radio communication services in a law of 1910 and had placed it under strict State control (Monteleone). In 1924, the first public radio station was installed. Marinetti was amongst the first writers to compose dramas for this new media and became a regular contributor to its programmes. On 18

der so genannten "Modularität" von Daten basierendes Prinzip ist die "Variabilität". Diese bestehe darin, dass "das neue Medien- objekt nicht etwas für jetzt und immer Fixiertes ist, sondern etwas , das in verschiedenen, potentiell unendlichen Versionen existiert": "T\ew media [ ... j is characterized by variability. (Other terms that are often used in relation to new media and that might serve as appropriate synonyms of variable are mutable and liquid. lnstead of identical copies, a new media object typically gives rise to many different versions

” program allowed the project to be perceived in a wider discursive space on new media. Technical equip- ment for SSTV, which wasn’t widely used and was seldom owned by 226 personal households, was supplied by Estron Industries (Edmonton, Alberta) and Queale Electronics (Victoria, BC). During the live trans- missions, the audio signals generated by the Robot 530 were transmitted by way of a common telephone line to Simon Fraser University’s Depart- ment of Communications Studies, which could establish a satellite connection with NASA’s ATS-1 satellite via its

observed in sociopolitically motivated agitprop films deploying the subjectivity and authenticity of accounts in a suggestive manner. Of course, the problem of manipulation in oral history interviews exists in art as well. Participative Radio Projects in the Art Field In the context of artistic research and oral history, the issue of par- ticipative and collaborative work is central. New media formats, like web radio, podcasts for local radio stations, and audio archives, therefore become an important topic within research work. For our research proj- ect Vedi alla

, die ‹computer‹ genannt wurden, tabellari- sche Formelrechnungen anfertigten. Vgl.: Hagen, Wolfgang: Computerpolitik. In: Bolz, Norbert/Kittler, Friedrich/Tholen, Christoph (Hrsg.): Computer als Medium, a.a.O., S. 139-160: S. 139. 32. Manovich, Lev: The Language of New Media, a.a.O., S. 26. 33. Vgl. Mainzer, Klaus: Computer – Neue Flügel des Geistes? Die Evolution computer- gestützter Technik, Wissenschaft, Kunst und Philosophie, a.a.O., S. 3. 34. Vgl. Johnson, Steven: Interface Culture, a.a.O., S. 25. 35. Vgl. Biggs, Simon: Multimedia, CD-Rom, and the Net. In

and Soviet communism during the Cold War, Britain proposed a model of balanced consumption that, in the case of broadcasting or experimental architecture, did not offer much choice. 195 Shortly after Radio Caroline went on air, several members of Archigram began incorporating radio broadcasts into their experiments at the Light / Sound Workshop at the Hornsey College of Art. Founded in 1965, Hornsey’s Light / Sound Workshop offered individuals interested in new media a chance to prepare a program or action in advance, and then to participate in an evening

contemporary art, pho- tography and new media, political iconography, art and media theory, history of science. Longstanding editor of the paperback series kunststück; co-editor of the Collected Writings of Aby Warburg. Recent book publications: Fotografie, Film, Video. Beiträge zu einer kritischen Theorie des Bildes (Photography, Film, Vi- deo. On a Critical Theory of the Image) (2006), Werkstatt und Wissensform (Workshop and Form of Knowledge) (2010, ed. with M. Wagner). See: http://www.hfbk-hamburg.de and http://www.kunstgeschichte.hu-berlin.de FDILI ALAOUI, SARAH