Zukünftige Medienästhetik

Prof. Dr. Jens Schröter, Dr. Pablo Abend und Prof. Dr. Benjamin Beil sind Herausgeber der Reihe. Die Herausgeber*innen der einzelnen Hefte sind renommierte Wissenschaftler*innen aus dem In- und Ausland.Die ab Heft 1/2015 von Prof. Dr. Jens Schröter als Hauptherausgeber zusammen mit dem Graduiertenkolleg Locating Media (Universität Siegen) und Prof. Dr. Benjamin Beil (Universität zu Köln) herausgegebene kultur- und medienwissenschaftliche Zeitschrift Navigationen widmet sich in ihrer aktuellen Ausgabe (2/2021) dem Thema Zukünftige Medienästhetik. Eine zukünftige Medienästhetik ist sowohl eine Medienästhetik der Zukunft, als auch eine Ästhetik zukünftiger Medien. Medienkunst hat schon immer ungedachte und unversuchte Möglichkeiten verschiedenster Medien ausprobiert und damit einen imaginativen Vorschein zukünftiger Medien erzeugt. Medienkunst, eine der zentralen Kunstformen des 20. und 21. Jhds., sah es als eine ihrer Aufgaben an, neue Medien zu erfinden (Rosalind Krauss) – oft gerade im Rückgriff auf obsolet wirkende Technologien und Verfahren. Medienkunst reflektiert also nicht bloß ein zugrundeliegendes Medium, wie es von der (hoch-)modernistischen Ästhetik und problematisch genug, für alle Kunst behauptet wurde. Sie erfindet erst ein Medium. Medien sind dabei von Imaginationen umgeben, die ihrer Erfindung vorhergehen, ihre Durchsetzung begleitet und in ihrem Verschwinden nostalgisch nachklingen. Medienkunst kann deshalb als ein spezieller Fall solcher Imaginationen verstanden werden – eine Imagination, die nicht (nur) diskursiv, sondern materiell, demonstrativ und performativ aufgeführt wird. In dem geplanten Heft sind Beiträge versammelt, die die Praktiken der Erfindung zukünftiger Medien durch die Medienkunst untersuchen. Ein Schwerpunkt liegt dabei auf dem wichtigen medienkünstlerischen Projekt Piazza virtuale von Van Gogh TV, welches auf der documenta IX 1992, genau am Vorabend der Ausbreitung des Internets, das zukünftige Medium eines interaktiven Fernsehens entwarf.A future media aesthetic is both a media aesthetic of the future and an aesthetic of future media. Media art has always explored unimagined and untried possibilities of various media, creating an imaginative glimpse of future media. Media art, one of the central art forms of the 20th and 21st centuries, saw it as one of its tasks to invent new media (Rosalind Krauss) - often precisely by resorting to technologies and processes that seem obsolete. Media art, then, does not merely reflect an underlying medium, as was claimed by (high) modernist aesthetics, and problematically enough, for all art. It first invents a medium. Media are thereby surrounded by imaginaries that precede their invention, accompany their enforcement, and resonate nostalgically in their disappearance. Media art can therefore be understood as a special case of such imaginaries - an imagination that is not (only) discursive, but material, demonstrative and performative. The planned issue gathers contributions that examine the practices of inventing future media through media art. One focus is on the important media art project Piazza virtuale by Van Gogh TV, which conceived the future medium of an interactive television at documenta IX in 1992, precisely on the eve of the spread of the Internet

Nonlinearity and disorder: Classification and stability of nonlinear impurity modes

We study the effects produced by competition of two physical mechanisms of energy localization in inhomogeneous nonlinear systems. As an example, we analyze spatially localized modes supported by a nonlinear impurity in the generalized nonlinear Schr\"odinger equation and describe three types of nonlinear impurity modes --- one- and two-hump symmetric localized modes and asymmetric localized modes --- for both focusing and defocusing nonlinearity and two different (attractive or repulsive) types of impurity. We obtain an analytical stability criterion for the nonlinear localized modes and consider the case of a power-law nonlinearity in detail. We discuss several scenarios of the instability-induced dynamics of the nonlinear impurity modes, including the mode decay or switching to a new stable state, and collapse at the impurity site.Comment: 18 pages, 22 figure

A Dissection of Trading Capital: Trade in the Aftermath of the Fall of the Iron Curtain

Abstract We study trade in Europe after the fall of the Iron Curtain, and show that the countries of the former Austro-Hungarian monarchy trade significantly more with one another after 1989 than predicted by a standard gravity model. This surplus trade declines linearly and monotonically over time. We suggest that the surplus comes from a mixture of increased trust, as well as better communication and information given Austria's relationship with its eastern neighbors before the wars and during isolation. Trading capital, established under Habsburg rule and maintained in the period of the Iron Curtain, seems to have survived over four decades of separation and gives an initial boost to trade. This surplus trade disappeared rapidly after 1990 as countries rearranged themselves with the new geopolitical circumstances. We document the rate of decay of these forces. Keywords: Trade, Gravity, Habsburg Empire JEL codes: F14, F15, N33, N34, N94 * This paper has been improved by the comments and suggestions of numerous colleagues and seminar participants including but not limited t

Who Gains from Better Access to Credit? Credit Reform and Reallocation of Resources

Brazil's 2005 bankruptcy law reform strengthened creditor protection, resulting in a substantial acceleration of credit expansion and business investment growth. In this paper, we go beyond average effects and examine to what extent the pro-creditor reform affected the allocation of resources across firms. We find evidence that the reform was particularly effective in alleviating credit constraints for high productivity firms. After the reform, better access to credit allowed these firms to thrive on the expense of others. Our results suggest that better access to credit can improve the allocation of resources across firms, thus raising aggregate productivity

An Ecological Approach to Interface Design

Four approaches to interface design are considered: technology centered, user centered, control centered, and use centered (ecological). Each perspective provides unique insights into pieces of the interface design problem. However, it is argued that the ecological or use centered approach provides a more comprehensive framework within which the other three perspectives can play important supporting roles. This approach goes beyond issues of information requirements to address meaning as an emergent property of a dynamic work ecology

An Ecological Approach to Interface Design

Four approaches to interface design are considered: technology centered, user centered, control centered, and use centered (ecological). Each perspective provides unique insights into pieces of the interface design problem. However, it is argued that the ecological or use centered approach provides a more comprehensive framework within which the other three perspectives can play important supporting roles. This approach goes beyond issues of information requirements to address meaning as an emergent property of a dynamic work ecology