History of NewMedia 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:
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 newmedia. 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 newmedia. 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 newermedia. 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 newmedia 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 newmedia and
that might serve as appropriate synonyms of variable
are mutable and liquid. lnstead of identical copies, a
newmedia object typically gives rise to many different
” program allowed the project to be
perceived in a wider discursive space on newmedia. Technical equip-
ment for SSTV, which wasn’t widely used and was seldom owned by
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. Newmedia 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 NewMedia, 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.
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
newmedia a chance to prepare a program or action in advance, and then
to participate in an evening
contemporary art, pho-
tography and newmedia, 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