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Das Beispiel der Vereinigten Arabischen Emirate

. Such visions may also, however, confirm (and allego- rize) the binary oppositions within the conflict zone and thus contribute ei- ther to a resurgent nationalism (on either side) or to the rendering of absolutist subject positions. The immediacy of grassroots media (and their distribution through the networks of new media platforms) may electrify distant (and differently located) publics just as they may repeat the mythical speech of top-down media forms. What critical tools exist, then, to parse the expanded field of visual culture and, particularly, its role

160 Nancy Roth Nancy Roth studierte Kunstgeschichte, Kunst, Deutsch und Ge- schichte und promovierte 1996 am Graduate Center der City Uni- versity of New York mit einer Arbeit zu John Heartfield. Sie ist Dozentin am Lehrstuhl für Kunst und Fotografie am University College Falmouth. Zu ihren jüngsten Publikationen zählen „Visual Consciousness: The Impact of New Media on Literate Culture“, in: Barry Sandywell/Ian Heywood, The Handbook of Visual Culture (Oxford: im Erscheinen) und die englische Übersetzung von Vilém Flussers „Ins Universum der technischen

. The words are weighty. Yet, I can’t help wanting to think about them, to probe them. I’m convinced that in my short time on earth there’s no way I’ll find the right answers. And besides, 100 different people can have 100 different answers. But as far as I’m concerned, this unending, seemingly pointless musing is also nothing more than a kind of creature instinct, instinctive activity individuals can’t refrain from engaging in, as natural as breathing and the simple reflexes. My major at university was new media art. I remained in this field for fully six or

-Through—China’s Contemporary Art, Hong Kong; Dynamics of Images, Beijing; Supernatural—China’s Photography in the New Century, New York; China’s Contemporary Art Today, Seoul, Korea (co-curated); Mixed Maze, London; Dao of Ink—Jizi’s Solo Exhibition, Beijing; ThisAbility—Inter- national New Media Art Exhibition, CAFA Art Museum, Beijing, 2009; Walking THE AUTHORS 225 Together—German & Chinese Contemporary Art Exhibition, Wuhan Art Museum, Wuhan, 2009, etc. Qiu Zhijie, born 1969 in Fujian Province, P.R.CHINA 1992 Graduated from The National Academy Of Fine Ar t. Printmaking depart- ment

digitale Technologie). 4.3 Transmedialität und "Remediation" Angeregt wird die Ausgestaltung des Transmedialitätsbegriffs durch Bolter/ Grusins Modell der "Remediation" als "representation of one medium in another".38 Damit bezeichnen Bolter/Grusin "the formallogic by which new media refashion prior media forms."39 Auch Bolter/Grusins "Remediation" wird letztlich von einer medienhistorischen Zeitachse her gedacht. Während "Remediation" auch die Anleihe von Stil- und Ausdrucksformen resp. deren Nachahmung umfasst (weiche lntermedialität), impliziert

students from China Academy of Art today, it is often hard to tell whether a work is made by students from the Department of New Media Art, the Department of Experimental Art, the Department of Print-making, or the Department of Sculpture. This is because their supervising teachers had defined too few limits for the work in advance. 1 | Taisho Tripitaka, Volume 37, No. 1751. THE SOUND OF ONE HAND: BET WEEN MEANING AND NO-MEANING 31 A graduating student in design at the Chinesisch-Deutsche Kunst- akademie2 of the China Academy of Art made a design for a dynamic

has the potential to lead to greater civic participation and breed democratic values. At the same time, it’s bound to have an impact on our reality and sense of ‘the first person’. Cao Fei260 Q: Do you think of your work more as cultural criticism or as taking on a more of an open, playful approach to new media and aesthetics? A: By adopting an embracing, joyful, immersive approach and through all sorts of observation, cooperation and experimentation, I think the work ultimately achieves a kind of critical cultural function. Q: So, how did you go about

-Hombach, Klaus [Hrsg.]: Bildwissenschaft: Disziplinen, Themen, Methoden, Frankfurt am Main, 2005, S. 52-68 Bogost, Ian: Art, In: Bogost, Ian [Hrsg.]: How to do things with videogames, Min- neapolis, Minn. [u.a.], 2011, S. 9-18 Böhn, Andreas [Hrsg.]: Karlsruher Studien zu Technik und Kultur, Band 2: Tech- niknostalgie und Retrotechnologie, Karlsruhe, 2010 Bolter, Jay David und Grusin, Richard: Remediation. Understanding new media, Cambridge, MA [u.a.], 1999 Bolter, Jay David und Grusin, Richard: Remediation – Zum Verständnis digitaler Medien durch die Bestimmung ihres

-organized the series panels Sound of the Times. The Authors 273 Gao Shiming is a curator and critic based in Hangzhou. He is currently the director of the School of Intermedia Art, China Academy of Art. He is associate professor of contemporary art theory and curatorial studies. As a curator, he has organized many exhibitions, including: “The Migration of Asian Contemporary Art and Geo-politics, 2002-2003;” “Techniques of the Visible”: the 5th Shanghai Biennale, 2004;” “Asian Time”: New Media Art Exhibition, 2005; “The Yellow Box”: Contemporary Art and Architecture in