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, Hillsdale/NJ 1991 Bolter, Jay David/Grusin, Richard: Remediation. Understanding New Media, Cambridge/Mass. 2000 Bolz, Norbert: Inszenierte Welt, in: Platons Höhle, hg. von Michael Fehr u.a., Köln 1995, 159-166 Borgards, Roland: Die Wissenschaft vom Auge und die Kunst des Sehens. Von Descartes bis Sömmering, von Lessing zu A.W. Schlegel, in: Lan- ge, Thomas/Neumeyer, Harald (Hg.): Kunst und Wissenschaft um 1800, Würzburg 2000, 39-62 Borsche, Tilman: Der Herr der Situation verliert die Übersicht. Bemerkungen zu Platons Schriftkritik und Derridas Platonkritik, in

. Comparative and Critical Essays, Second Series. Hg. v. Clifford Davidson/John H. Stroupe, New York 1991. Dyson, Frances: Sounding New Media. Immersion and Embodiment in the Arts and Culture, Berkeley u. a. 2009. Edelman, Lee: »Against Survival: Queerness in a Time That’s Out of Joint«, in: Shakespeare Quarterly 62 (2) 2011, S. 148-169. Eggebrecht, Hans H.: »Musik und Sprache«, in: Albrecht Riethmüller (Hg.), Spra- che und Musik. Perspektiven einer Beziehung, Laaber 1999, S. 9-14. Ehlers, Renate: »Einleitung«, in: Ganz Ohr. Interdisziplinäre Aspekte des Zuhörens. Hg

language can be seen as the hyper medium that allows the com- munication of visual, auditory, haptic, olfactory or imagined impressions in a status ›as if‹. However, when photography, cinema or radio become more popular, writers espe- cially study other art forms to improve their use of language. By integrating some of the characteristics of the new media in their texts, the writers intend to reach a more authentic relation to reality or life. That in turn allows the sharpening of the potentials and deficiencies of their own medium, which is written language (cf

: Howes, David (ed.), The Empire of the Senses: The Sensual Culture Reader, Oxford and New York: BERG, pp. 318–335. Drobnick, Jim (2004): Aural Cultures, Toronto: YYZ Books. Dyson, Francis (2009): Sounding New Media: Immersion and Embodiment in the Arts and Culture, Berkeley: University of California Press. Of Unsound Mind and Body 125 Fredembach, Benjamin et al. (2009): “Learning of Arbitrary Association between Visual and Auditory Novel Stimuli in Adults: The ‘Bond Effect’ of Haptic Explo- ration.” In: PLoS ONE 4/3, March 30, 2018 (http

that this differ- entiation and hierarchization are not only present in recording or digital technol- ogies, in new media, even if Auslander’s example might suggest so. Nothing demonstrates this better than the example of Robert Boyle, one of the first natural philosophers and members of Royal Society of London. In his view, the capacity of experiments to provide facts depended not only upon their actual performance, but essentially upon the assurance of the relevant community that they had been performed in such a way. This presupposes that reliability of testi

overly stir- ring people’s imagination; in regard to leverage on the many, cinema, radio and TV shows succeeded theater in the twentieth century. In his famous essay on “The Work of Art in the Age of Its Technological Reproducibility,” from 1936, Walter Benjamin posited that a new media technology’s social success set up a potential of fundamentally chang- ing the way people perceived traditional art as well; but he also observed how the media corporations’ commercial strategies were focused on forms of addressing recipients that neutralized the politically

. LANDOW, George P.: Hypertext 3.0: Critical Theory and New Media in the Era of Globalization, Baltimore; London (The Johns Hopkins University Press) 2006. LANGELLIER, Kristin M.: „,You’re marked‘. Breast cancer, tattoo, and the narra- tive performance of identity“, in: Brockmeier, Jens; Carbaugh, Donal (Hrsg.): Narrative and Identity. Studies in Autobiography, Self and Culture, Amsterdam; Philadelphia (John Benjamins Publishing Company) 2001, S. 145-184. LANGELLIER, Kristin M.; PETERSON, Eric E.: Storytelling in Daily Life. Perform- ing Narrative, Philadelphia

mir organi- sierten Konferenz-Panel in Prag71 meinte Schäfer: »With the term ›participation‹, new media are framed as emancipating users and enabling them to do things that they were not able to do earlier. I do not fully agree with that, and I have written a book to deconstruct this popular notion of participatory culture and new media. What I try to do is to step back and find a non-normative description and definition of participation. I identified participation as a great legend of social interaction and cultur- al production online that is contributing

- stimmte Projekte in unterschiedlichen Medien realisieren und ineinander überführen. So zeichnet sich zum Beispiel die Arbeit des liquid penguin en- semble102 dadurch aus, dass Stücke unterschiedliche mediale Aggregatzustände 98 | Zum Beispiel das IRCAM in Paris, das STEIM in Amsterdam oder das ZKM in Karlsruhe. 99 | Zum Beispiel das Institut für Sonologie in Utrecht bzw. Den Haag oder das Elektro- nische Studio der TU-Berlin. 100 | Vgl. zum Beispiel Und Dixon, Steve: Digital Performance. A History of New Media in

studios that were not linked to broadcasting stations were e.g. the Siemens-Studio for Electronic Mu- sic in Munich or the Institute for Sonology, Utrecht. 100 | E.g., IRCAM in Paris, STEIM in Amsterdam oder ZKM in Karlsruhe. 101 | E.g., the Institute for Sonology in Utrecht that moved to the University of Den Haag in 1986, or the Studio for Electronic music at the Technische Universität Berlin. 102 | E.g., And Steve Dixon, Digital Performance: A History of New Media in Theater, Dance, Performance and Installation