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.” 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

, 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

. 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

Art Institute of Chicago/Yale University Press, 2011 Wolf, Herta, Paradigma Fotografie. Fotokritik am Ende des fotografischen Zeitalters, Frankfurt am Main, Suhrkamp, 2002 Wolf, Herta, Diskurse der Fotografie. Fotokritik am Ende des fotografischen Zeitalters, Frankfurt am Main, Suhrkamp, 2003 THE DIGITAL: HISTORIES AND THEORIES Anton, Saul, “Net Gains: a Roundtable on New-Media Art,” Artforum, Vol. 39, No. 7, March 2001 Beau, Frank, “Le désordre numérique,” in Cinéma et dernières technologies, Bruxelles, De Boeck Université (coll. Arts et Cinéma

Scientific 2006), 327-356 FUSING LAB AND GALLERY246 Lovink, Geert, “New Media, Art and Science. Explorations beyond the Offi- cial Discourse”, in: Scott McQuire, Nikos Papastergiadis, eds., Empires, Ruins + Networks (Melbourne: Melbourne University Press 2005), 86- 105 Luckner, Andreas, Heidegger und das Denken der Technik (Bielefeld: tran- script 2008) Luhmann, Niklas, Die Kunst der Gesellschaft (Frankfurt a.M.: Suhrkamp 1997) Luhmann, Niklas, Soziologische Aufklärung. Vol. 3: Soziales System, Gesell- schaft, Organisation (Wiesbaden:VS Verlag für Sozialwissenschaften

Filmwis- senschaft selbst längst in Frage gestellt und durch phänomenologische, feministi- sche oder filmhistorische Differenzierungen ergänzt wurde.10 Es gibt den Zuschauer ebenso wenig wie es das Kino gibt, wenn man Fragen nach dem Zusammenhang von Spectatorship und Gender, nach den Besonderheiten des proto-narrativen frühen 8 Alternative Modelle, diese Konstellation zu denken, finden sich bei Jay David Bolter/ Richard Grusin: Remediation. Understanding New Media, Cambridge Mass. 2000; Anne Friedberg: The Virtual Window. From Alberti to Microsoft, Cambridge Mass

of “fascination for the Internet, cyberspace and virtual reality”242 would not have been sufficiently considered. Florian Rötzer’s following essay243 explains somehow differently that the pro- ject aims to explore the implications of the “digitization of photogra- phy” in a “new media system,” addressing “the understanding of photography and its characteristics,” rather than investigating its “ar- tistic or aesthetic qualities.”244 The aim is not, however, to study the “spectrum of possible interventions into the photographic image” – a concept Rötzer

example argued that because of its mutability, digital photography was not different from painting. See The Reconfigured Eye. Visual Truth in the Post-Photographic Era, op. cit., p. 7. In his retrospective study Language of New Media (2001), Lev Manovich still argues that “the mutability of digital data impairs the value of cinema recordings as documents of reality.” See Lev Manovich, The Language of New Media, Cambridge (MA)/London, The MIT Press, 2001, p. 259. THOMAS RUFF’S GENERATED PHOTOGRAPHS AND THE LIMITS OF REPRESENTATION 305 in the visual modification

, Anna: An introduction to the ‚do-it-yourself‘ artwork, in: Anna Dezeuze (Hrsg.). The ‚do-it-yourself‘ artwork. Participation from Fluxus to new media. Manchester University Press: Manchester; New York 2010, S. 1-21. Die surrealistische Gruppe: Frage-Antwort [Telegramm nach Moskau], in: Wolf- gang Asholt/Walter Fähnders (Hrsg.). Manifeste und Proklamationen der euro- päischen Avantgarde (1909-1938). Metzler: Stuttgart; Weimar 1995, S. 397. Diederichs, Joachim: Allan Kaprow. Unveröffentlichte Inauguraldissertation. Abtei- lung für Geschichtswissenschaft der Ruhr

With Papers, 1907-1984“. Onlinedoku- ment: http://www.oac.cdlib.org/findaid/ark:/13030/kt0d5nf0x2/entire_text/ (29.4.2015). Busch, Julia M. (1974): A decade of sculpture. The New Media in the 1960s. The Art Alliance Press, S. 41. Cage, John M (1961 [=1939]): Silence: Lectures and Writings, Wesleyan Uni- versity Press: Middletown, S. 8. Carlson, Marvin (1993): Places of Performances. The Semiotics of Theater Ar- chitecture, Cornell University Press, S. 1-60. Centro de Artes Visuales del Instituto Torcuato Di Tella (1968): La nueva veta: la Figura, 1963