Disruption in the Arts最新文献

Disruption, Photography, and the Idea of Aesthetic Resistance 破坏、摄影和审美抵抗的思想

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-009

Marie-Sophie Himmerich

引用次数: 0

Expansions of the Instant: Disruptions of Time in Contemporary German Literature 瞬间的扩张:当代德国文学中的时间中断

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-008

Johannes Pause

{"title":"Expansions of the Instant: Disruptions of Time in Contemporary German Literature","authors":"Johannes Pause","doi":"10.1515/9783110580082-008","DOIUrl":"https://doi.org/10.1515/9783110580082-008","url":null,"abstract":"Time stands still in Thomas Lehr’s novel 42. A cosmic “disruption” (Lehr 2005: 35) has caused a single moment to linger on for all eternity, time as an ephemeral experience has been suspended, brought to a standstill in the interface of a single, everlasting moment. The novel tells the story of the “chronified” (Chronifizierten), a small group of randomly assembled protagonists, who, for reasons that remain unknown to them as well as the reader, can continue to move through this frozen world, enclosed in their own small temporal spheres, in which their own private time goes on ticking as usual. The “time zombies,” as they call themselves, soon begin to lead a nomadic existence: they traverse the world, which has become a mere backdrop, in which aircrafts hang motionless in the eternally cloudless sky and people remain frozen in mid-step. The visual presence of an – in principle – familiar reality, which is one of the major effects of the scenario, enters into a strangely incongruous relationship with its “unreality,” with the mystery that the world of the eternal present seems to harbor. For in Thomas Lehr’s work, time has stood still around midday, of all times, so that all of Europe is lit by never-ending bright sunlight, which literally illuminates reality right into the last nook and cranny. This maximum degree of visibility, this visual monumentalization of the existing world, is bound up with a deep ontological doubt: everything that is so clearly visible here suddenly seems like a facade, a copy, like a gigantic museum of the world, lacking the “wintery air of real reality”; it seems more like a “sculpture garden,” populated by “mummies,” “wax figures” and “shop window mannequins of a decorator suffering from delusions of grandeur” (Lehr 2005: 236, 33–34, 53 & 63). Leitmotifs involving metaphors of art, images, and photography are used to describe this world, thus alluding to a context drawn from the theory of the media: the world brought to a standstill appears as the purest “summer painting, across which a brilliant photo-realist has scattered his highlights, his intimate hues and life-like shadows,” like a “painting by Spitzweg,” or rather “a film by Spitzweg, [...] in which in principle everything would be able to move,” were it not fixed in the immobility of a single snapshot (Lehr 2005: 11, 124 & 132). And elsewhere, concerning a spontaneous remark made by a “chronified” child, we read: “It seems to have been photographed, crystallized and fixed in place by the ad-","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114429806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Christoph Schlingensief’s Image Disruption Machine Christoph Schlingensief的图像干扰机

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-016

L. Koch

引用次数: 0

Scandalous Expectations: Second Order Scandals in Modern Society 丑闻期望:现代社会的二级丑闻

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-003

Moritz Mutter

引用次数: 0

Disrupted Arts and Marginalized Humans: A Commentary on Friedrich Kittler’s “Signal-to-Noise Ratio” 被颠覆的艺术与被边缘化的人类——基特勒“信噪比”评论

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-021

Tobias Nanz

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Disruption in the Arts: Prologue 艺术的颠覆:序曲

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-001

L. Koch, Tobias Nanz, Johannes Pause

{"title":"Disruption in the Arts: Prologue","authors":"L. Koch, Tobias Nanz, Johannes Pause","doi":"10.1515/9783110580082-001","DOIUrl":"https://doi.org/10.1515/9783110580082-001","url":null,"abstract":"The essay collection “Disruption in the Arts” examines, from a comparative perspective, the phenomenon of aesthetic disruption within the various arts in contemporary culture. It assumes that the political potential of contemporary art is not derived – at least not solely – from presenting its audiences and recipients with openly political content. It rather derives from using formal means to create a specific space of perception and interaction: a space that makes hegemonic structures of action and communication observable, thus problematizing their self-evidence and ultimately rendering them selectively inoperative. The contributions in this volume conceptualize various historical and contemporary politics of form in the media, which aim to be more than mere shock strategies, and which are concerned not just with the “narcissistic” exhibition of art as art, but also, and above all, with the creation of a new “common horizon of experience” (Stegemann 2015: 156). In doing so, they combine the analysis of paradigmatic works, procedures and actions ranging from E.T.A. Hoffmann to Steve McQueen, with reference to central theoretical debates in the fields of literature, media, and art of the twentieth and twenty-first centuries. By applying the concept of disruption from media and communication studies (Shannon and Weaver 1949) to configurations and constellations in the aesthetic domain, they show on the basis of concrete examples how, within a conflict-bound social frame of reference, textual, visual, auditive or performative strategies disclose their own ways of functioning, intervene in automated processes of reception, and thus work directly or indirectly to stimulate a sense of political possibilities. Thus, if in what follows “disruption” is to be distinguished as a meta-category for the critical and artistic analysis of our times, the first thing that needs to be emphasized is the productive character of disruptions. Disruption designates interruptions – thus, not the definitive collapse or the destruction of habitual practices of reception and/or decoding. In the mode of disruption, the latter are not only rendered temporally dysfunctional but also rendered visible in the same stroke; to paraphrase a thought of Martin Heidegger, they exit the mode of a self-evident ready-to-hand (Zuhandenheit) and move into the problematizing mode of present-at-hand (Vorhandenheit) (Heidegger 2006: 73–75; see also Rautzenberg 2009: 165– 175). Analogous to the “mediality of media,” which becomes palpable in the course of disruptions (Kümmel and Schüttpelz","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"190 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126037878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Contributors 贡献者

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-022

引用次数: 0

Disruptive Storytelling. Notes on E.T.A. Hoffmann 破坏性的故事。E.T.A.霍夫曼笔记

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-006

Tanja Prokić

引用次数: 0

The Red Telephone: A Hybrid Object of the Cold War 红色电话:冷战的混合对象

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-015

Tobias Nanz

{"title":"The Red Telephone: A Hybrid Object of the Cold War","authors":"Tobias Nanz","doi":"10.1515/9783110580082-015","DOIUrl":"https://doi.org/10.1515/9783110580082-015","url":null,"abstract":"One wrong word, a moment of inattention or a technical malfunction could have unthinkable consequences. At stake is nothing less than the complete devastation of the Soviet Union and the United States. The interpreter-translator and first-person narrator of the short story “Abraham ’59 – A Nuclear Fantasy” (Aiken 1959: 18–24) is sitting with the American President in a room in the basement of the White House and has just been informed of a dramatic situation. A bomber squadron of the US Air Force has not returned from a routine flight and – now beyond the reach of American fighter-interceptors –, acting on its own authority, has announced a nuclear attack on Moscow in order to force the US leadership to go to war against the Soviet Union. But the President has no intention of giving in to the extortion. He wants to contact Nikita Khrushchev “via transatlantic telephone” (Aiken 1959: 23) and, if the Soviet defense cannot stop the attack, offer New York as a compensatory sacrifice, in accordance with the biblical formula, “an eye for an eye, a tooth for a tooth.” The American ambassador in Moscow and the Soviet ambassador to the UN in New York have now been brought into a conference call on the red telephone. According to the plan, if the connection to Moscow is severed by the detonation of the atomic bombs, the President would then order the bombing of New York, which in turn could be verified by the disruption of the telephone connection. The destruction of their own city would provide credible proof that the US attack on Moscow was an accident, instigated by pilots who are clearly mentally disturbed, from whom one would have in fact expected “fanatic devotion to their superiors” (Aiken 1959: 20). The situation facing the American Commander-in-Chief can be described using ideas from game-theory dating from that period, which were further developed by specific think tanks in order to be applied to crisis situations in the Cold War. The narrator of the short story refers in his recollections to the “new-model theorists of Cold War” (Aiken 1959: 18), who had developed a series of formulas","PeriodicalId":395841,"journal":{"name":"Disruption in the Arts","volume":"197 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124408677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Ekstasis and Paradoxa. The Miracle as Disruption 停滞与悖论。奇迹即颠覆

Disruption in the Arts Pub Date : 2018-08-21 DOI: 10.1515/9783110580082-004

Mario Grizelj

引用次数: 0