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New Media and Transformations in Knowledge (II) Kim H. Veltman New Media and Transformations in Knowledge (II) Meta-Data How is the enormity of this challenge to be dealt with in practice? It is generally assumed that meta-data offers a solution. The meta concept is not new. It played a central role in the meta-physics of Aristotle. In the past years with the rise of networked computing, meta has increasingly become a buzzword. There is much discus- sion of meta-data, meta-databases, and meta-data-dictionaries. 1 2There is a Metadata Coalition, Meta Council

New Media and Transformations in Knowledge (I) Kim H. Veltman New Media and Transformations in Knowledge (I) Introduction As media change so also do our concepts of what constitutes knowl- edge. This, in a sentence, is a fundamental insight that has emer- 1ged from research over the past sixty years. In the field of clas- sics, Eric Havelock (Havelock 1963), showed that introducing a written alphabet, shifting from an oral towards a written tradition, was much more than bringing in a new medium for recording knowledge. When claims are oral they vary from

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Inhalt Claudia Gemmeke / Hartmut John / Harald Krämer Vorwort 9 Harald Krämer Einleitung 11 Information Martin Warnke Informationstechnologie – das digitale Monopol 21 Kim H. Veltman New Media and Transformations in Knowledge (I) 35 Michael Giesecke Herkunft und Zukunft der Museen als kulturelle Informationsspeicher 63 Bazon Brock Imaging 79 Von der In-Formation zur Kommunikation 5 Kommunikation Beatrice von Bismarck Demokratisierte Vermittlungen? 93 Neue Medien, Kunstinstitutionen und künstlerische Praxis Gudrun Gersmann Schöne Welt der bunten

.” 160 Ibid., p. 8. 081THE END OF PHOTOGRAPHY scholars – along with Vilém Flusser, he mentions Jean Baudrillard, Paul Virilio and Norbert Bolz – Stiegler emphasizes the importance of photography in the constitution of a general media theory project. Photography, as a representational system, existed before the advent of digital technologies and the fact that it was an image – a well-known concept theorized for centuries – permitted the apprehension of new media, a rather abstract object, through something familiar in form and use. Networks, computing mechanisms

Jay David Bolter und Richard Grusin im gleichnamigen Band »Remediation« als Charakteristikum primär von Neuen Medien beschreiben, die ältere analoge Medien adaptieren, um Unmittelbarkeit zu simulieren, wird hier zusätzlich auch umgekehrt das Zitieren digitaler Medien im Analogen zum Thema. Siehe Jay David Bolter/Richard Grusin, Remediation. Understanding New Media, Cambridge, Mass.: MIT 1999, S. 6. Mediating Dematerialization 255 Abbildung 1: dOCUMENTA (13). Das Logbuch/The Logbook, Einband Der erste Teil des Logbuchs zeigt eine Auswahl digitaler Schnappschüsse

, retouched or created through digital imaging tech- nologies, we have established a personal and somewhat arbitrary dif- ferentiation between “digital picture,” “digital photograph” and “digital image,” as well as between “digital imagery” and “digital photography.” Critical and theoretical discourse reflecting on the appearance of computers and new media often has, as mentioned above, made use of one or either term without clearly defining it. “Digital photography,” for example, has almost become synonymous with “post-photogra- phy,” addressing a corpus where digital

online, Onlinedo- kument, http: / / artsandbusiness.org.uk / media%20library / Files / Research / Digital- Audiences / Digital-audiences-for-arts-and-culture-november2010.pdf [letzter Zu- griff 12.08.2011]. National Endowment for the Arts: Audience 2.0: How technology influences arts participation,Washington 2010, Onlinedokument, http: / / www.arts.gov / research / new-media-report / New-Media-Report.pdf [letzter Zugriff 12.08.2011]. Neuman, Linus: „Twitter-Revolution in Ägypten?“, in: Netzpolitik.org 2011, Onlinedo- kument, http: / / netzpolitik.org / 2011 / 20181

. Even though the visibility of Japanese art in a supposedly globalized art world does by no means correlate with its economic performance,4 there is certain evidence that at least in ‘new media art’ Japan is more present than in other fields of contemporary art.5 So what are the premises for media art’s importance in Japan? What are the 3 | Graham Thompson, “Economic globalization?”, in: David Held ed., A globalizing world? Culture, economics, politics (London: Routledge 2000), 86- 126, p. 110-111. 4 | Ulf Wuggenig, “Fiktionen, Mythen, Realitäten. Zentren

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, Nutzen. Konferenz im Heinz Nixdorf Museum, Paderborn 1998. Museum and the Web (=archive & museum informatics Pitts- burgh / PA) seit 1997. Museum, Movie, Multimedia. Artefakt und Öffentlichkeit, Bremen 1999. Museums and New Media, Brüssel 1999. Museology for Tomorrow’s World. Proceedings of the international Symposium held at Masaryk University, Brno, Oct. 9–11, 1996, hg. v. Zbynèk Z. Stránský, 1997. Vom Holzschnitt zum Internet. Die Kunst und die Geschichte der Bildmedien von 1450 bis heute, hg. v. René Hirmer, Ostfildern 1997. Zauberformel Interaktivität? Museen