AN ARCHEOLOGY AND FUTURE OF MOVING PICTURES
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| J. E. Purkyně |
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| Gert Aerdse | |
Jiři Hoskovec | ||
| Jaroslav Anděl | |
Christian Huebler | ||
| Roy Ascott | |
Prof. Erkki Huhtamo | ||
| Guy van Belle | |
Ryszard W. Kluszczynski | ||
| Michael Bielicky | |
Richard Kriesche | ||
| Bohuslav Blažek | |
Werner Nekes | ||
| Wolfgang Bock | |
Miklos Peternak | ||
| Dieter Daniels | |
Rolf Pixley | ||
| Erik Davis | |
Liz Rymland | ||
| Doc. Jiři Fiala | |
Claudia Schmacke | ||
| Richard Grusin | |
Barbara Maria Stafford | ||
| Tom Gunning | |
Mirek Vodrážka |
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| Ivan M. Havel |
Siegfried Zielinski | |||
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Siegfried Zielinski |
Fächergruppe Kunst- und Medienwissenschaften
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kmwoffice@khm.de [ http://www.ctheory.com/global/ga111.html ] |
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Towards an Economy of Friendship
There are two traces/tracks going through the history of the media. one you can call the industrial project in a broad sense. it calls for effectiveness, works with concepts of reduction, acceleration, follows theoverwhelming principles of markets and profit. parallel to that, less seen and more peripheral there is the project of friendship. scientific and artistic work within a network of those, who understand (also each other), who invent to improve the relationships between each other, an economy which is only possible on the base of expenditure, lavishness, profligaton instead of profit. experimentation includes the experiment with oneself. it is the more risky way... |
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