By Siegfried Zielinski
The media at the moment are redundant. In an outline of advancements spanning the prior seventy years, Siegfried Zielinski’s [ . . . After the Media] discusses how the technique of technology-based verbal exchange assumed a systemic personality and the way idea, artwork, and feedback have been operative during this technique. Media-explicit pondering is contrasted with media-implicit proposal. issues of touch with an arts viewpoint comprise a reinterpretation of the artist Nam June Paik and an advent to the paintings of Jake and Dinos Chapman. The essay ends with appeals. In an summary of an actual philology of actual issues, Zielinski indicates chances of how issues may continue after the media. With a vade mecum opposed to psychopathia medialis within the kind of a manifesto, the booklet advocates for a contrast to be made among on-line life and offline being.
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Additional resources for [...After the Media]: News from the Slow-Fading Twentieth Century
2 1 . At the end of the text the editors a ttach i mp orta n ce to stati n g tha t the te xt was produced "on a n IBM Execu tive by Heidi Di:ih l . " The gesture of la ying open one's toolbox to public view is someth ing that a ccompa nies the avant-gardes of all the a rt s . � � 10 / / / : / 7 tolin>/ / WR . ��+-. Ks 10 1 02 1 03 104 105 1 06 1 07 108 1 09 Abb. 8 Strukture l l e Komplexitat Above the bisector toys and games, below technology p erfected to the point of a utomation: "As the condition for complexity en abling of crea tive u s a ge one lights on the fol lowin g postula t e : F u n ctiona l complexity m u st o u tweigh stru ctu ral compl e xity to a s u f ficiently stro n g d egre e .
With the Greek word " organum" B recht emphasizes the toolbox-character of the work . It can be read as a manual for a new kind of art production - and not just for theater. For Brecht the Short Organum is a ( self- ) critical review of his reflections on the interaction between drama and poetry, science and scholarship, and society. It is a theoretical outline for practical interven tions in the form of sagacious and quick-witted action in the aesthetic field. " I who am writing this write it on a machine which at the time of my birth was unknown .
Paradigm atically, the instrument simulates the core idea of technically based tel ecommunication. The message can be separated temporarily from the materia l body producing the message . The body of th e electrically am plified guitar no longer needs a resonating chamber; it has been degraded to the level of a frying pan. The lou d speaker, whose membranes now vibrate and produce audible sound, is connected to the instrument by a cable. Whether the cable is two or 200,000 yards long is imma terial; the message can be heard at the locati on where it is received .