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  1.  8
    Google Control. Ein Gespräch mit Barbara Cassin.Barbara Cassin - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):161-170.
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  2.  8
    Der staatserfahrene Abgesandte.François de Callières - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):67-73.
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  3.  8
    Debattenkultur.Christian Demand & Ekkehard Knörer - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):61-65.
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  4.  7
    Das Einhüllen und Fesseln des Körpers in den indoeuropäischen Kulturen: Zu einigen Metaphern des magischen Schutzes vor Toten und Wiedergeborenen.Carmen Alfaro Giner - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):45-59.
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  5.  8
    Sendungsbewusstsein im Zeitalter der Kurzkommunikation Die Postkarte.Anett Holzheid - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):145-160.
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  6.  8
    »Schicksal, also ein von einer höhern Macht Gesendetes, das wir empfangen sollen« Über Sendungen und Sendungsbewusstsein.Jochen Hörisch - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):83-91.
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  7.  6
    Kommentar zu François de Callières' Der staatserfahrene Abgesandte.Tobias Nanz - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):75-82.
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  8.  6
    Framing and Conserving Byzantine Art at the Menil Collection: Experiences of Relative Identity.Glenn Peers - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):25-44.
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  9.  7
    Gott und Google.John Durham Peters - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):93-107.
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  10.  6
    Das mediale Monopol des Staates und seine Verteidigungslinien.Jens Schröter - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):13-24.
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  11.  8
    The Second Screen: Convergence as Crisis.Markus Stauff - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):123-144.
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  12.  7
    Wozu senden? Sendevisionen im Ersten und Dritten Fernsehzeitalter.Daniela Wentz - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (2):109-122.
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  13.  6
    Erotische Stoffleidenschaft bei der Frau.Gaëtan Gatian de Clérambault - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):63-72.
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  14.  6
    Vom Weben als Beschäftigung für die Kranken.Gaëtan Gatian de Clérambault - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):73-74.
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  15.  8
    Genäht oder gegraben, ephemer oder in die Erde versenkt. Divergente architektonische Modi der kollektiven Existenz.Heike Delitz - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):27-43.
    What social effects does atent architecture have, in which mode of collective existence do nomadic societies such as the Tuareg live? And what kind of fictionally instituted society is accompanied by an architecture that pro duces a non-gestalt of the collective – such as the buried houses in the Chinese Loess? Such analyses show the social positivity of architecture; and they show ex negativo, which kind of social life goes along with immobile constructions. _German_ Was für sozietale Effekte hat eine (...)
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  16.  17
    Über das Dokumentarische.Harun Farocki - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):11-19.
    The remarks »On the Documentary« that are published here are not supposed to explain conceptually what exactly the documentary is and by which means it can be distinguished from the fictive, but what the film itself counts to be documentary and how the documentary is produced by film. An essential difference between fictional and documentary film is the difference between an anticipating and a pursuing camera. _German_ Die hier veröffentlichten Ausführungen »Über das Dokumentarische« wollen nicht begrifflich erläutern, was das Dokumentarische (...)
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  17.  9
    Bauen Knoten Verbinden.Tim Ingold - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):81-100.
    The paper follows Gottfried Semper's thesis that building – just like the textile – originates in practices of the knot. A comparison of the knot with dominant metaphors of the construction stone, the chain and the con tainer shows how knotting is inscribed in the fields of material, movement, perception and human relations. But the knot connects things with each other, instead of simply adding them; it is a connection by sympathy rather than by joints. That leads to a comparison (...)
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  18.  10
    Couleurs à la mode. Impressionism as an Effect of the Chemical Industry.Wolf Kittler - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):159-184.
    The invention of aniline and other synthetic dyes in the second half of the nineteenth century is the beginning of a new epoch. The new colors produced by the fledgling chemical industry are not only brighter than most of the traditional dyestuffs, but also much cheaper. They change the appearance of women on the streets of the modern city. Among the first media to notice and document this revolution are fashion magazines, realist novels, and Impressionist paintings. I argue that the (...)
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  19.  9
    Bilder nehmen. Harun Farocki: »Über das Dokumentarische«.Volker Pantenburg - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):21-26.
    »On the Documentary« must be regarded as the last publication of the director, video artist and film thinker Harun Farocki. The observations contained in »Taking Pictures« see themselves as a commentary to this essay, which Farocki had to leave uncompleted. In addition to a reconstruction of the circumstances and background of Farocki's text, some of the characteristics of his perspective on the »documentary effect«, which can be explained most clearly with reference to spe cific camera gestures, are considered. _German_ »Über (...)
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  20.  10
    Schwarze Lichter? Bildlogische Operationen bei Michelangelo und Matisse.Wolfram Pichler - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):45-62.
    In certain artifacts, which can be classified as images, suspicious phenomena such as >black highlights color of light image vehicle image object _German_ In bestimmten Artefakten, die als >Bilder schwarze Glanzlichter Farbe des Lichts< übernimmt. Wer sich überzeugt hat, dass solche Erscheinungen tatsächlich nachweisbar sind, und herausbekommen möchte, durch welche Operationen sie hervorgebracht werden, sieht sich auf grundlegende bildtheoretische Unterscheidungen wie die Differenz zwischen Bildvehikel und Bildobjekt verwiesen.
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  21.  8
    Sewing as Authority in the Middle Ages.Kathryn M. Rudy - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):117-131.
    This essay considers medieval sewing in light of Austin's speechact theory. Analysing manuscripts, relics, indulgences, and even a bishop's mitre, the article argues that stitching was a way to enact, or intensify, the ritual purpose of objects, whether that was ceremonial, devotional, or authoritative. Whereas a speech act functions by its utterance, stitches act by forming visible and often ceremonious attachments between materials in order to aggrandise, embellish, assert and layer author ity, or swathe an object in textiles as if (...)
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  22.  8
    Klangteppiche. Transmediale Verhältnisse zwischen Weberei und Musik.Birgit Schneider - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):133-157.
    Based on Greek mythology, the multiple relationships between singing and weaving, »Flechttanz« and the structural similarities of forms of notation and principles of control in music and weaving are explored. It is found that the relationship between music and weaving goes far beyond that which the metaphor of »sound tissues« points at. Rather, the relationship between art forms and media expresses mythical and spiritual levels. The transformation of tissues in music or, respectively, music in tissues, makes the creative potential of (...)
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  23.  11
    Textile Diagrams. Florian Pumhösl's Abstraction as Method.T'ai Smith - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):101-116.
    For Viennese artist Florian Pumhösl »abstraction is a method«, not a category. Or rather, if abstraction is the defining category of modernism, the objective is to reproduce modernism's problems and limits and exploit relationships among its parts. Considering what Pumhösl calls the »textile complex« of modernism, this essay examines the artist's work in parallel with Charles Sanders Peirce's diagram concept and Gottfried Semper's use of textile diagrams throughout Style in the Technical and Tectonic Arts. _German_ »Abstraktion« ist für den Wiener (...)
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  24.  6
    Kommentar.Martin Stingelin - 2015 - Zeitschrift für Medien- Und Kulturforschung 2015 (1):75-80.
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