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1.  Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century»and television, for example Dziga Vertov's and Walter Ruttmann's designs for a new film art, Bertolt Brecht's radio theory, or the Futurists' Manifesto for television («La Radia» 1930). Here mass art becomes a political program [more]  |
| 2. Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century» circa 1919–20, cf. text on «Technological Constructions of Space–Time» * Bertolt Brecht, «Radio as Communication Apparatus,» 1930; cf. for audience [more] |
| 3. Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century» use of the media as political instruments. With respect to radio, as early as 1932 Bertolt Brecht was demanding to «change this apparatus over from distribution to communication.»[11] Walter Benjamin pins his hopes on a new, political function for art, above all in film: «Mechanical [more] |
| 4. Golo Föllmer «Audio Art» [3] Bertolt Brecht, «The Radio as an Apparatus of Communication,» in Radiotext(e).=Semiotext(e), Neil Strauss (ed.), 16, VI, 1, New York, 1993, p. 15. [more] |
| 5. Inke Arns «Social Technologies
Deconstruction, subversion, and the utopia of democratic communication» at transforming the broadcaster-receiver structure—a demand that Bertolt Brecht had already made in his «Radio Theory» in the 1930s. Hans Magnus Enzensberger brought this up to date in 1970 in his essay «Constituents of a Theory of [more] |
