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- Volume 2, Issue 1, 2011
Empedocles: European Journal for the Philosophy of Communication - Volume 2, Issue 1, 2011
Volume 2, Issue 1, 2011
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The pragmatics of calling advertising art: Four systems theoretical approaches to art and advertising
More LessDue to the fact that advertising is produced, distributed, and received together with other elements of mass media, it stands to reason to include advertising in the media system – as did Niklas Luhmann. Given that most advertising is for commercial purposes, however, one might as well model advertising as a subsystem of the economica system – as did Siegfried J. Schmidt. Most advertising is indeed commercial, yet advertising is not necessarily limited to commercial purposes. Advertising neither follows the guiding values of the media system nor those of the economic system exclusively. Therefore, advertising can reasonably be regarded as an autonomous social system – as did Guido Zurstiege. To emphasize the fact that, as a service provider, advertising has to account for different system logics, it can also be considered a zone in which the guiding principles of different systems are brought down to a common denominator – Gabiel Siegert and Dieter Brecheis have explicated this approach. Against the background of these four different systems theoretical approaches to advertising research this paper focuses on the power struggles and conflicts inherent in the advertising process.
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Space for interference
Authors: Per Gunnar Eeg-Tverbakk and Kjetil A. JakobsenThe article presents and discusses an ongoing fellowship project entitled ‘Space for Interference’, conducted under the Norwegian Programme for Research Fellowships in the Arts. Two concrete site-specific art projects produced under Space for Interference serve as a point of departure for an investigation into methods of interference and the forms of address that artists use when intervening in other specialized fields in society. The institutions that provide the site for an art project have different social functions. We ask what may be their motivation for allowing artists access to their physical environments, apparatuses, procedures, systems and discourses. The fact that the artists’ projects in these contexts function as a means of self-observation for the institutions seems obvious. Nevertheless, we seek to investigate the various economic and political factors that allow these institutions to include potentially critical activities, which aim to modify or transgress their systems, and thereby displaying how they are malleable and mobile bodies. One assertion we make is that by doing so the involved institutions prove to be modern, self-critical and flexible, thus complying with political requirements to adapt to the rapidly changing environments of the information and communication age. The perspective from systems theory in the Luhmannian tradition has proved useful since it shows how the issues of art may also be the problems of science, business, politics and the law in the complex and decentered social universe of today. The issues of contingency, insecurity, paradox and autoreflexivity, surplus meanings and the complexity and decentering of the subject are at the heart of contemporary art. Systems theory provides a way to link such practices theoretically with scientific discourse and with the advanced problem solving and criticality of other social domains, like politics, business and the media industries.
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Observing the media? A post-Luhmannian perspective on modern and contemporary art
More LessThe article aims to show that the theory of open and autopoietic systems may be applied in such a way as to transcend the sterile opposition between autonomy aesthetics and culturalism. A theory of contemporary and modern art as an observational system is outlined. Art is seen as specializing to an increasing degree in cannibalizing the discourses and modalities of media & communication industries. Art is thus a parasitical observer (Serres 1980). Why should one affect a shift in framework? What are post-Luhmannian optics on contemporary arts and media able to do beyond what post-structuralist and postmodern optics already achieve? Post-structuralist aesthetics deal with contingency, insecurity, paradox and autoreflexivity, surplus meanings, and the complexity and decentering of the subject. Switching to systems theory allows us to treat such issues without building a wall of irrationality around the arts and the humanities. It handles these important issues in a systematic manner which links up with scientific discourse and with the advanced problem solving and criticality of other social domains, like politics, business and the media industries. Notably the rigueur and self-reflectivity of the conceptual framework allows us also to define limits of our approach. What is it about art which aesthetics cannot and should not explain?
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Aesthetics and mediation
By Jörg MullerThis article reflects on the role of aesthetic concepts for cultural and social analysis. More specifically it addresses the fundamental ambiguity that surrounds the discussion of aesthetics as being both the poison and cure for a critique of contemporary society. Aesthetic concepts often figure as a reservoir of resistance and transformation while simultaneously constituting a crucial affirmative force of the existing social order. This ambiguity then results in unfruitful oscillations between either hailing the critical potential of aesthetics or lamenting its conservative momentum. In order to address this paradoxical situation, it will be argued that these opposed usages of aesthetics can be unfolded through the concept of ‘mediation’. Drawing on postmodern art and the aesthetics of the sublime (Lyotard, Deleuze), as well as on cybernetics and systems theory (Luhmann), enables us to understand difference as both aesthetic sensibility and as dynamic principle. It therefore becomes clear that the singularity of aesthetics is at the same time a constitutive, productive force and as such intimately tied to the existing (social) order. Understanding mediation and aesthetics as two sides of the same coin may lay an untapped potential for critical analysis of the social.
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The aesthetics of falling: Contingency in avant-garde art from Charles Baudelaire to Lars von Trier
More LessThis article presents how the act of falling has been used as a metaphor for invention within avant-garde art and aesthetics. It takes Lars von Trier’s documentary The Five Obstacles (2003) as its point of departure and seeks to historically contextualize the figure of falling by discussing Charles Baudelaire’s essay ‘De l’essence du rire et généralement du comique dans les arts plastiques’/‘On the Essence of Laughter’ (1955 [1855–1857]). The article also discusses the fascination with falling in early cinema, stressing how cinematic representations of the fall highlight the new medias potential for grasping general modern conditions like motion, speed and contingency. To think of art in terms of falling makes it possible to see a link between cinematic popular culture and so called high modernism. The article concludes with a discussion of the relationship between control and contingency within film aesthetics in the digital age. I will also discuss the aesthetics of Oulipo writers like George Perec and Raymond Queneau, and artists like Jackson Pollock and John Cage as exponents of what can be called an aesthetics of contingency.
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The communicative value of forgetting
More LessThis article argues that sights of objects in the world and its representations makes time disappear into space. Space as the oblivion of time. The main purpose of the article is to show the dialectic of memory and forgetting within individual consciousness. Forgetting is not the loss of memory but an essential component of memory itself. Forgetfulness, like memory, embodies also its temporality: the three temporal figures of forgetting are the return, the abeyance and the recommencement. Among the diseases of memory we distinguish partial and global amnesias, and hypermnesias. The phenomenon of ‘illusion of memory’ or ‘false memory’ shows the insufficiency of the naturalistic or cognitivistic theory of memory. In this respect we have to evaluate the theory of forgetting as the effacement of traces. The paper defends rather a pragmatic approach by studying the ‘exercise of memory’ in all its forms, especially blocked memory, manipulated memory and commanded memory.
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Communication, literature, cultural memory: The case of Sir John Beaumont
More LessLiterary-communicational theory offers a foundation for two types of literary criticism whose workings are basically ameliorative: mediating criticism, which seeks to bridge the gaps between writers and readers who are differently positioned; and communicational criticism, which offers an ethical assessment of literary writing as communication. The present article illustrates the processes of mediating criticism, by trying to help its own readers understand the religio-historical sitedness of the early-seventeenth-century English Catholic poet, Sir John Beaumont. More extensively, the article pays attention to Beaumont’s use of cultural memory, as an illustration of communicational criticism. In some of his poems, Beaumont was communicationally exclusive, appealing to past history in a defensive spirit, as part of an effort to purify and strengthen a Catholic identity under threat. Elsewhere, he resorted to cultural memory in communicational gestures that were more inclusive, and of three different kinds. Sometimes his Catholicism went on to the offensive, and he arrogated a common memorial ground in a coercive, missionary spirit. Sometimes his inclusivity may strike a present-day reader as disingenuous, in that it involved a self-disguising, self-betraying acquiescence in the royal court’s dominant, non-Catholic discourse. Sometimes the play of cultural memory was altogether more dialogical in spirit: an inclusiveness which was neither aggressive not self-demeaning, but which invited readers to compare notes in the hope of viable co-existence.
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Technological rabbits and communication turtles
More LessThe purpose of ‘Technological rabbits and communication turtles’ is to place the subject of commercial and scholarly publishing in a larger historical and philosophical context; one that takes seriously differential frames of everyday operations and also long term values being serviced. The dramatic changes in electronic information processing have created new fields of communication as an empirical science. Its successes cannot be disputed. At the same time, concerns over the legacy of publishing itself, its higher moral aims that date back to the development of language as such, has been opened to new scrutiny. Issues of judging, evaluating, and generalizing, have been opened to scrutiny. This essay argues that both empirical research and ethical theory are needed in an open society. Public policy and common interests are best served by exploring how technology and morality intersect. In sum, rabbits and turtles each have a right to live in the animal kingdom, and no less, in the human realm of that kingdom as well.
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Domestication of suffering: The politics of pity and communion through ICTs
More LessThe ability to bear witness to human trauma and devastation through technologies in the new media age endorses suffering as a form of mass spectacle which can negotiate distance between an exterior world as well as the unfamiliar and the unknown. Our engagements with these forms of mediated suffering in postmodernity can be public and complex and conditioned by both media power and our ability to domesticate suffering in the private confines of our homes. This article reviews the domestication of suffering historically in mainstream media. It contends that mediated suffering has become an entrenched ritual in the media landscape and is a multi-faceted device which can be functionalist and therapeutic yet too pervasive to be rendered meaningful in people’s everyday lives.
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