Brechts Frankfurter Rede Der Rundfunk als Kommunikationsapparat (November )/Diskussionen, Wirkungen In seinem Vortrag Der Rundfunk als. I spent a while this morning hunting for the full text of Brecht’s article about the book gives it as “Der Rundfunk als Kommunikationsapparat” in. Bertolt Brecht,“Der Rundfunk als Kommunikationsapparat,” Bertolt Brecht, Gesammelte Werke, ed. ElisabethHauptmann, vol.8 (Frankfurt am Main: Suhrkamp.

Author: Yogor Mohn
Country: Mauritania
Language: English (Spanish)
Genre: Finance
Published (Last): 1 April 2009
Pages: 308
PDF File Size: 11.73 Mb
ePub File Size: 8.18 Mb
ISBN: 209-4-48398-903-7
Downloads: 85280
Price: Free* [*Free Regsitration Required]
Uploader: Magore

The differentiation of communication into these functional roles, he says, is abolished for two reasons. Proudly powered by WordPress. Blogging here since October No more lonelygirl musings, unfortunately. Imagine Lonelygirl15 with Verfremdungseffekt. It must also be emphazised that —— according to Kittler — the rundfuhk of mechanical self—reproduction” passes “ine vitably into technical practice” Friedrich Kittler, Die Nacht der Substanz.

Friedrich Kittler, Grammophon, Film, Typewriter[22]. But it is just this temporal difference between being and consciousnessbetween surface and brecut structure the provides Marxist theory with its prognostic powers.

Brecht on Radio

Benjamin, Brecht, rundfubk Enzensberger as well were focusing their attention on the technical opportunities of such media as the radio, the film or, later on, the television to link a multitude of people in non hierarchic, interactive networks.

Like Brecht, Benjamin, replaces the autonomous system of aesthetic communication, embedded in a differentiated and of course alienated society, by the expected reorganization of society with the help of a collectivizing technology.

We all know the sound of this rapture only to well from the latest media theory hype of the internet culture. New media are unilateral, mono-directional, one point to many points distributors, Baudrillard states. This is the abolition not only of the Old European difference subject and object, but also —— very explicitly —— of the essential differences among “biologically inspired fer theories”; namely, the difference between self—reference and external reference.


At first inBrecht merely smiled at the discovery of the radio. Media such as the radio or the television, Baudrillard remembers that media are always mediating — and that includes to keep a difference between sender and receiver, a medium always presupposes a separation of alter and ego. While are most radios crippled so they can only receive and not also send? This new unity of body and kommunlkationsapparat, continues Bolz, facilitates the reorganization of social life in the medium of a collective body: It is purely an apparatus for distribution, for mere sharing out.

That old fascist hierarchy of the broadcasting age would be replaced by a network whose nodes would send and receive at the same time. First, members of the audience assume the same attitude towards the actors in the film as a editor or a cameraman That is to say, it would be if it knew how to receive as well as to transmit, how to let the listener speak as well as hear, how to bring him into a relationship instead tundfunk isolating him.

A sensational affair, but what for?

This, according to Brecht, rules out “art” in the conventional sense, because art in a capitalist society implies the unique creation of an individual author usually estranged from his audience. The fact that the structure of the hopes of Brecht and Benjamin are so exactly repeated can be seen to support our opening statement that the theory of new media inherits from its Marxist fathers not only the priority of technology as the motor of history, but also its Messianic horizon.

This is the same as the online version up till the bit that says Brecht repeats stuff.

Der Ozeanflug

Browse my other publications or talks kommunijationsapparat presentations on social media, electronic literature, electronic art. Interaction is by no means possible using the new media of radio or television, as Enzensberger has declared and hoped and as once upon a time Brecht and Benjamin had declared and hoped. You always have to fit in the framework of the media format, you are not free to respond as you like. What would Brecht, alive kommunikaationsapparat, have done?


III The media are new, the utopian dreams old. Brecht and Benjamin expected a new social system from the new media.

Benjamin takes off from this starting point inalthough without even mentioning Brecht. Free download or buy in print. In current semantics, whitsun indicates the surmounting of media- or code-differences. This may be called proximity: Of course you can make a call in call-in-shows or write letters to the editor, but never there will be a authentic feed-back, Baudrillard claims, which is not just pre-calculated and allowed for in the scripts of broadcasting.

Brecht on Radio

So here is a positive suggestion: The new technology, he says, has abolished bourgeois art: Recent media theory repeats these utopian hopes with surprising redundancy.

Each article I found that cited it had a different reference, and most of them were not complete. He argued, that the technological possibilities of new media by no means would determine the emergence of new forms of society and culture. Please cite me as Rettberg, Jill Walker — Walker is a middle name and not part of my last name.

Such a symmetrization, he continues, is revolutionary and directly implemented in technology itself: