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3. New Media Let us return to the seminar on Kant. Reading Kant we claimed is not merely an exercise in textual interpretation, but is far more complex and bound up with many other activities that are best described as network- ing. The seminar is not limited to being an interaction between profes- sor, text, and students, but also includes, more or less explicitly, creating and maintaining associations with curricula, credit systems, colleagues, administrators, libraries, publishers, donors, alumni, faculties, and much more. When professors interpret Kant

4. The New Media Revolution and the Network Society We have followed ANT in defining human social order in terms of “technical mediation” instead of linguistic mediation and “interobjectivity” instead of intersubjectivity. These concepts emphasize the role that things, artifacts, and technologies play in constituting and sustaining human social order. They also emphasize the role things play in organizing and organizations. The work done in organization theory under the title of “communicative constitution of organizations,” as we saw in the

9 old media / new media – Das „System Peter Greenaway“ Vortrag, gehalten am 12. November 2009 in Weimar „I ain’t just interested in systems per se, I’m interested in the absurdity of systems.“ Peter Greenaway1 The absurdity of systems: Die „Absurdität der Systeme“ mag sicherlich mit Fug und Recht als Generalthema der Filme Peter Greenaways betrachtet werden – zumal wenn zum einen das Absurde, nach Camus, ja aus der „hoff- nungslosen Kluft“ zwischen der sinnbegehrlichen „Frage des Menschen“ und dem „vernunftlosen Schweigen der Welt“ entsteht2

ON IC M US IC M US IC TO N EW M ED IA A RT FR OM IN TE RA CT IV E LI VE EL EL EC TR ON IC M US IC T M US IC TO N EW FROM INTERACTIVE LIVE ELECTRO C MUSIC TO NEW MEDIA ART Jin Hyun Kim M IN TE RA CT IV E LI VE O NE W M ED IA A RT FR OM IN TE RA CT IV E IC TO N EW M ED IA A RT FR OM IN TE RA CT IV E C TO N EW M ED IA A RT FR OM IN TE RA CT IV E EW M ED IA A RT FR OM IN TE RA CT IV E LI VE IN TE RA CT IV E LI VE EL EC TR ON IC M US IC TO CT RO NI C M US IC TO N EW M ED IA A RT FR OM M ED IA A RT FR OM IN TE RA CT IV E LI VE EL EC TR

2 Manipulation der Medienkunst 53 illusionistischen Möglichkeiten von und mit Interfaces, aber auch der Simulation, Mimesis und der Repräsentation am Interface. 2.1 Eine haptisch interaktive Medienkunst zwischen participatory art, new media art und touching art Die Tautologie des Begriffs »Medienkunst« und die weite Fächerung der Berei- che, die unter »Medien« und »Kunst« eingeordnet werden können, zeigen sich in der Historie einer exakteren Namensgebung. Kacunko verweist dabei auf die noch genauer auszuführende, technikkonzentrierte Position von R.F. Malina und

RF AC E TE CH NO LO GY O F M ED IA TI ON IN NE W M ED IA A RT TR AN SP AR EN CY AN D OP AC IT Y: IN TE RF AC E TE CH NO LO GY O F M ED IA TI ON IN NE W M ED IA A RT TR AN SP AR EN CY AN D OP AC IT Y: IN TE RF AC E TE CH NO LO GY OF M ED IA TI ON IN NE W M ED IA A RT TR AN SP AR EN CY 45 Mediality of artistic computer-human interfaces In recent decades, computer-human interfaces (CHIs) have increasingly served as a technological condition for New Media Art and at the same time as an artistic subject. The design of experimental CHIs, with help of which

225 BLURRING THE BOUNDARIES - INTERACTIONS BETWEEN CHOREOGRAPHY, DANCE AND NEW MEDIA TECHNOLOGIES SCOTT DELAHUNTA The connections between dance and technologies can be looked at from five fundamental perspectives: • Historic: Separate but often overlapping contemporary arts practices; modern/ post-modern dance having evolved alongside the electronic and media arts • Creative: An artistic tool in particular in the form of the digital com- puter; technology integrated into a variety of genres such as music, film, graphic arts, etc. and to an increasing

. Julius Erdmann holds a PhD in Cultural Studies and Philosophy from the Uni- versity of Potsdam and the University of Paris 8. In his thesis, he analyzed the socio-semiotic dimension of pictorial signs on Facebook during the Tunisian Rev- olution. Erdmann holds a Bachelor’s degree in Romance Studies, Media Studies, and Psychology, and a Master’s degree in Philosophy. His research focuses on the semiotics of culture, the philosophy of culture, new media, and subcultural iden- tity. Erdmann is member of the advisory board of the German Society of Semiot- ics and leader

and the virtual field supported by new media gadgets, such as smartphones (Frith, 2015), change the content of our experiences and consequent- ly the functions of the body. Thus the body—both in its cultural and biological un- derstanding—seems not to represent a guarantee for individual limits anymore. Instead, it disrupts them, affirming itself as plastic (Mansfield, 2017, p. 355) by its very incorporation of new material elements and constant expansion. Hence one may acknowledge it as a malleable texture with negotiable boundaries, a terrain to be newly