|Andreas Broeckmann on Thu, 10 May 2012 15:27:02 +0200 (CEST)|
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|<nettime> (fwd) Call for Papers, Special issue: Media aesthetics|
http://www.zfmedienwissenschaft.de/index.php Call for Papers, ZfM Nr. 8 (1/2013) Special issue: Media aestheticsGuest Editors: Erich HÃrl (Ruhr-UniversitÃt Bochum), Mark B. N. Hansen (Duke University)
âThe aesthetic power of feelingâ, wrote the late FÃlix Guattari, seems to be âon the verge of occupying a privileged position within the collective assemblages of enunciation of our era.â In discerning a ânew aesthetic paradigmâ he was not anticipating something along the lines of the primacy of the institutionalised arts within the social field, but rather a kind of âproto-aesthetic paradigmâ, traversing all universes of value and existential territories, from the arenas of science and the ethico-political, to the modalities and practices of subjectivation. This general aestheticisation which Guattari had in mind at the end of the 1980s may be regarded as one of the first descriptions of a fundamental upheaval in the history of technology and sensation, a change taking place during the second half of the twentieth century, but especially since the 1990s, and one which potentially shifts the meaning of aesthetics as such: under the new media-technological conditions we observe a proto-aesthetic dressing of the present. This means a fundamental prioritising of the problem of perception and ultimately of all the sensations and affects which underpin the faculty of perception â such that media aesthetics may well become a fundamental problem of media studies. At the same time, the aesthetic question thereby proves increasingly to be a techno-ecological question of the networked and sensory environments in which sensation occurs.
The possible sensorial and sensational facts which characterise the new aesthetic â or more precisely, media-aesthetic â regime, range from streams of time-objects, as they spread hyperindustrialised and technologised audiovisual objects on the basis of numerical transfer standards, to the rise of sensory milieus (e.g. RFID), to the algorithmic environments of the software agencies of ubiquitous media, ubiquitous computing, ambient intelligence and calm technologies. We are witnessing the transformation of the âtechnological unconsciousâ (Nigel Thrift), and with it the transformation of the aesthetic conditions and means by which the world appears â the general backgrounds of existence and experience, and thus the meaning of the world.
This special issue of ZfM sets out to clarify the historical-systematic contours as well as the political implications of the new aesthetic paradigm. This necessitates focusing on the key technical-medial scenes of the current sensorial caesura, outlining the associated conceptual challenges and issues of politics of terminology, in order thereby to contribute to the redescription of media-aesthetics under technological conditions, in particular those of the new era of social and mobile media in the network age.
The following central questions are to be addressed: What are the core problems of media aesthetics that are associated with the technical-medial transformation of the present, and what are the corresponding media-aesthetic perspectives? What is the meaning of experience, perception, sensation, subjectivity under these new media-aesthetic conditions? Does the outline of an original media-aesthetic question emerge, on the ground of the new facts of perception emergent in digital, networked media systems and algorithmic milieus, which would contrast with the now traditional philosophical aesthetics? What scenes should be considered, and which semantic frames are required, in order to seize the media-aesthetic question in its specificity and its urgency? How does the new conceptual politics relate to traditional aesthetic conceptual regimes â where are the possible connections, and where do we find a need for other conceptual strategies? What genealogical scenes for the new media-aesthetic paradigm can be discerned in the twentieth century? What are the political challenges of the new aesthetic condition? How should we assess previous attempts to redefine aesthetics under these radical media-technological conditions?
Text submissions (around 25,000 characters, notes and spaces included), by the end of August 2012, to: firstname.lastname@example.org
This special issue of ZfM will be published in April 2013.The language of publication is German. Papers are accepted in German, English and French; papers will be translated after peer-review and acceptance.
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