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Media philosophy can only be found and revealed in media
themselves. The essays collected in this volume thus approach
television as a medium both of thought and of action in its own
right. Through its specific forms and practices, television
implements and reflects on aspects of time, such as synchronicity
and succession, seriality and event, history and memory.
Additionally, television stages new forms of thinking causality and
agency, subject-object relations, tactility, choice, and other
founding concepts of everyday experience as well as of outstanding
philosophical relevance. In the course of media evolution,
television organizes the transition from the analogue to the
digital. Last not least, by conceiving of itself, television offers
a source of finally thinking through television.
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Lost in Media, 19 (Paperback)
Benjamin Beil, Lorenz Engell, Jens Schroeter, Herbert Schwaab, Daniela Wentz
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R706
R618
Discovery Miles 6 180
Save R88 (12%)
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The television series LOST initiated a wide-ranging academic debate
which centered on its narrative and temporal complexity, while also
addressing the massive expansion into other media and consequently
crossing established genre categories. This expansion poses the
essential question about the status of the original medium
(television) within recent multiple media configurations. Can LOST
be regarded as a symptom of television in the process of media
change? What is the relation between LOST's temporality and that of
television in general? And how can LOST be understood as a
phenomenon of mediatized worlds? The contributions in this book
examine these questions. The book's editors are members of the
project "TV Series as Reflection and Projection of Change," which
is part of the DFG Priority Program 1505: "Mediatized Worlds."
(Series: Medien'welten. Braunschweiger Schriften zur Medienkultur -
Vol. 19)
Television is the most powerful system of images in the late 20th
and early 21st centuries. Nonetheless, TV has attained only little
philosophical attention so far, especially compared to other
(visual) media such as film. This book looks at TV as what happens
on the screen and beyond it; which is mainly the operation of
switching images. It therefore proposes a new definition of TV as
the first picture that can be switched on, off, and over, which
stresses that TV is more tactile than visual. Through the operation
of switching, TV figures the world from within and as the course of
its figuration. This is grasped here by the term of "ontography".
Through the ongoing interlacing and bridging of "TV 1.0" (the image
is being switched) and "TV 2.0" (the image is a switch), TV
exponentially increases the production and circulation of images.
It transforms the world and itself from an analogue state to a
digital one and from central perspectivism to pluri-perspective. In
terms of time, through switching and the switch, it develops and
reworks new temporal orderings, such as instantaneity,
synchronicity, flow, and seriality. TV makes its own history. In
space, it creates a mediasphere as its habitat and hence new forms
of being-in-the-world, of proximity and distance, and scale.
Anthropologically, it works on what a subject and an object is, on
what makes the human being, and ontographically, how it is possible
that there is something at all instead of nothing: through
switch-images.
Television is the most powerful system of images in the late 20th
and early 21st centuries. Nonetheless, TV has attained only little
philosophical attention so far, especially compared to other
(visual) media such as film. This book looks at TV as what happens
on the screen and beyond it; which is mainly the operation of
switching images. It therefore proposes a new definition of TV as
the first picture that can be switched on, off, and over, which
stresses that TV is more tactile than visual. Through the operation
of switching, TV figures the world from within and as the course of
its figuration. This is grasped here by the term of "ontography".
Through the ongoing interlacing and bridging of "TV 1.0" (the image
is being switched) and "TV 2.0" (the image is a switch), TV
exponentially increases the production and circulation of images.
It transforms the world and itself from an analogue state to a
digital one and from central perspectivism to pluri-perspective. In
terms of time, through switching and the switch, it develops and
reworks new temporal orderings, such as instantaneity,
synchronicity, flow, and seriality. TV makes its own history. In
space, it creates a mediasphere as its habitat and hence new forms
of being-in-the-world, of proximity and distance, and scale.
Anthropologically, it works on what a subject and an object is, on
what makes the human being, and ontographically, how it is possible
that there is something at all instead of nothing: through
switch-images.
Media and human modes of existence are always already intertwined
and interdependent. The notion of the anthropocene has further
stimulated a new examination of ideas about human agency and
responsibility. Various approaches all emphasize relational
concepts and the situatedness and embodiment of human—and also
non-human—existences and experiences. Their common interest has
shifted from any so-called ‘human nature’ to the multitude of
cultural, topographical, technical, historical, social, discursive,
and media formats with which human existences are entangled. This
volume brings together a range of thinkers from international
backgrounds and puts these important reflections and ideas in the
spotlight. More specifically, the volume explores the concept of
"anthropomedial entanglements." It fosters an understanding of
human bodies, experiences, and media as being immanently entangled
and mutually constituting, prior to any possible distinction
between them. The different contributions thus open up a dialogue
between empirical case studies and media-historical research on the
one hand and the conceptual work of media and cultural philosophies
and aesthetics on the other hand.
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