not

media art undone conf @ TM 07.
Arns: drop ‘media’ from media art because we live media (via Kittler). media art is more contemporary than contemporary art.
Lialina: move media art to blogs.
Druckrey: force ourselves to start to think as art historians but by not becoming art historians but by re-writing the way art history has been written on our terms. Though I used this example of art in 1900 or october school, I don’t count them as an opposition. I just count them as those who have decided to speak for an entire 20st century, half of which belongs not to them but to us.

pavel skopal:
zdar, tu knihu ani autora neznám a popravdì dobrovolnì bych ji neèetl:)
ale zdá se, ¾e to mù¾e být v oblasti media studies/visual studies docela
dùle¾itý text,
na obalu knihy ji chválí Cubitt a Mirzoeff, to jsou ¹pièky, a dal¹í
známá figura, Steven Shaviro,
ji velebí tady: http://www.shaviro.com/Blog/?p=561
nemyslím, ¾e ji bude u nás nìkdo podrobnìji znát, ¹anci by jsi mìl mo¾ná
u lidí z pra¾ské katedry filmových studií –
Petra Hanáková, Kateøina Svatoòová, Sylva Poláková, nebo mimo obor filmu
tøeba Ladislav Kessner.

Beller recasts marx’s theory of alienation, and of value into a simple film setting

cinema, tv, video, computer, internet = deterritorialised factory
imaginal functions are part of perception
‘cinema’ as social relation = sociality
image is mise-en-scene of work
social theory needs become film theory
looking = (value-productive) labour
we labour in the image
‘attention theory of value’ ~ ‘labour’ = source of all value production
human attention = production of value for late capital
attentional biopower is transferred into capital
sociality = visuality
task of film theory = write political economy of culture as a mode of production
labour theory of value must be reformulated as attention theory of value

+ page-based notes @ mendeley @ umax’ windows

to je akoby nove medium ten internet, ako kedysi rec. medzi ludmi.

robi nam uz lepsie sa zhovarat cez internet, cez interface, skype, cez taketo medium ako osobne – cez rec.

odpovedame textom, obrazom, linkou, videom, fotkou. pouzivame ich v konverzacii.

ako guy o hansenovi
(G: so let’s do it!
D: we do it…)

mna to celkom oplyvnuje ked mi palo hovori ze by som mal byt sociologom

Marisa: ja sa na to divadlo dokazem pozerat len cez nejake medium.

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There are media theories (plural) because we do not agree on what media are. I propose that if a theory is a media theory, it should take as axiomatic that mediation is primary, and that everything else (sex, power, exploitation) are effects of mediation and its vicissitudes. If everything from architecture to sunshine mediates, we have the critical agenda mapped for us ­ issue sof reciprocation and mutuality, solidarity, dependence and contingency. Once that is set out, we disagree on other issues ­ modes of causality, interplay between media formations
https://lists.thing.net/pipermail/idc/2009-July/003817.html

In Anglophone and international media studies, “media” mostly stands for contemporary mass media, with traditional media studies covering news media, radio and TV and “new media” researching computing and Internet. | In the last decade, German humanities have developed a broad, general and transhistorical notion of media as “mediality” (“Medialität”) in which any material or imaginary carrier of information qualifies as a medium, from CPUs to angels. The notion of “medium” has thus replaced and superseded the older semiotic-structuralist term of the “sign”. | “Kulturwissenschaft” thus should not be mixed up with Anglo-American “cultural studies”. In the German context, it means cross-disciplinary humanities study of the arts and history of knowledge. | “cultural studies” of the Birmingham School were a straightforward adaption of the 1970s post-Frankfurt School German “Kultursoziologie”. | books of Anthony Grafton are Kulturwissenschaft while those of the Birmingham School are not
http://medienumbrueche.uni-siegen.de/groups/medienwissenschaften/weblog/38962/Antworten_von_Florian_Cramer.html

German media theory that emerged in the late 70s and early 80s | Siegen, Freiburg, Kassel | philosophical underpinnings: There must be reference, something outside of the text, beyond hermeneutics. The exodus of spirit out of humanities. Desire for reference. Then there is the substance concept. Obviously there is deconstruction of subject. Special interest in history and fascination for philosophical antropology and long cultural shifts (dating 50k-100k years back). Early pressure, and desire, ever since Humboldt and the way he designed the university system, to innovate. Ordinary knowledge needs to be taught in highschool or polytechnics. The university is a place for new thinking. This could explain why there is a permanent revolution inside the German universities ever since the post-war era. | Kittler laments the lack of technological knowledge in the humanities and is sceptical about the wishy-washy term ‘media theory’ that has been misused to such a vast extend.
http://networkcultures.org/wpmu/geert/2009/04/23/debating-german-media-theory-in-siegen/

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dobra tabulka – tech obrazy / linearne obrazy / tradicne obrazy / predmety / konkretne prezivanie
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spoznamkovane jednotlive kapitoly

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dobra tabulka: technické obrazy / text / obrazy / život