Brechts Frankfurter Rede Der Rundfunk als Kommunikationsapparat (November )/Diskussionen, Wirkungen In seinem Vortrag Der Rundfunk als. I spent a while this morning hunting for the full text of Brecht’s article about the book gives it as “Der Rundfunk als Kommunikationsapparat” in. Bertolt Brecht,“Der Rundfunk als Kommunikationsapparat,” Bertolt Brecht, Gesammelte Werke, ed. ElisabethHauptmann, vol.8 (Frankfurt am Main: Suhrkamp.
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On this principle the radio should step out of the supply business and organize its listeners as suppliers. This may be called proximity: If you only know what is going on at the level of the hard economic facts and kommknikationsapparat of production, if you know what kind of machines and organizations are used to produce goods, you can predict with what kind of society you have to deal with and how it will develop further.
Interaction via ser is impossible — true interaction is only possible if the persons are present, able to answer to each other without directing scripts or schemes.
Here is my CV. All we need, are advanced modern technologies. Playful Interactions with Visual Technologies in Digital Art, Games, Narratives and Social Mediaa five year, ERC-funded project that explores how new algorithmic images are affecting us as a society and as individuals. At first inBrecht merely smiled at the discovery of the radio. Please attribute to Paul S.
The technical apparatus of film establishes a symmetry between the perceptions of the audience and those of the producers. The contrary is true, he suggests: This is the abolition not only of the Old European difference subject and object, but also —— very explicitly —— of the essential differences among “biologically inspired system theories”; namely, the difference between self—reference and external reference.
Der Ozeanflug – Wikipedia
That is to say, it would be if it knew how to receive as well as to transmit, how to let the listener speak as well as hear, how to bring him into a relationship instead of isolating him. So here is a positive suggestion: III The media are new, the utopian dreams old. The new technology, he says, has rbecht bourgeois art: This is the same as the online version up till the bit that says Brecht repeats stuff.
It is an jommunikationsapparat of distribution, it merely allocates. Sound and image, voice and text exist only as a surface effect, also well—known to consumers under the pleasant name of the kommunikationssapparat.
That prognostic qualities one could call the Marxist heritage of early German media theory.
Symptom and cause of this change was the conversion of the conditions of communication —— forced by media—technologies —— from passive consumption to active participation. Benjamin, Brecht, and Enzensberger as well were focusing their attention on the technical opportunities of such media as the radio, the film or, later on, the television to link a multitude of people in non hierarchic, interactive networks.
While are most radios crippled so they can only receive and not also send? As a consequence of this interactive organization of the masses, the whole society will reorganize too — and, I am following the list Enzensberger gave, society will be deliberative and emancipative instead of totalitarian and repressive, it will not manipulate consumers but mobilize and stimulate active participation, it will not alienate individuals from each other but bring them together in collectives S.
New media are unilateral, mono-directional, one point to many points brechht, Baudrillard states. Angelic telepathy makes all mediating systems of symbols superfluous, and eliminates all differences between inside and outside, between self—reference and external reference; mind—reading permits no lie, no mask, no role, no hypocrisy, no illusion, and no distinction between information and message.
German media theory and their ancestors: Benjamin and Brecht
Browse my other publications or talks and presentations on social media, electronic literature, electronic art. This means making the listener not only listen but also speak; not to isolate him but to place him in relation to others.
Art as it has been known since the end of the eigthteenth century becomes obsolete by an new technical medium. Friedrich Kittler, Grammophon, Film, Typewriter A person wishing to look into things closely will be unable to avoid technology, the rundfukn obvious matter. Each article I found that cited it had a different reference, and most of them were not complete.
Kool KillerBerlinp. Norbert Bolz, for instance, predicts that the asymmetry and distance between producer and recipients will be electronically liquidated in the hyper—medium of the hyper—text: Bolz goes on to explain: Friedrich Kittler articulates the paradox: Enzensberger shares with his predecessors Benjamin and Brecht this conviction that one could forecast development on a firm basis, and together they are joining a genuine teleological and more or less Marxist perspective on history.
As early as — that is, well before Benjamin — Brecht links the analysis of the new medium kommunikationsapparat film to utopian expectations. Notify me of follow-up comments by email. It must also be emphazised that —— according to Kittler — the “theory of mechanical self—reproduction” passes “ine vitably into technical practice” Friedrich Kittler, Die Nacht der Substanz. Already inBolz wrote: This new unity of body and media, continues Bolz, facilitates the reorganization of social life in the medium of a collective body: Imagine Lonelygirl15 with Verfremdungseffekt.
Which looks more correct. First, members of the audience assume the same attitude towards the actors in the film kommubikationsapparat a editor or a cameraman Any child could tell you [not to mention Brecht: A sensational affair, but what for? This faith of German media theory in revolutionary social consequences of technical opportunities is an heritage of their ancestors, first of all a legacy of Brecht and Benjamin. Just read the blueprints of the circuits, the media technologist Friedrich Kittler is advising.