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Radio Projekt

Walter Benjamin and his Radio Project


When I think about his idea of the radio project for children, I think about my childhood, because I am and we in the world are after this generation, especially after the second world war. Benjamin's idea is not so far from us in the world, particularly in the western countries.

Walter Benjamin is a pioneer of transculturality in the 20th century, especially with the technology as a new medium that was the radio (Radio wave and Station).


Art from seeing to listening without seeing.

- Seeing-in (visual cognition)

- Hearing-in (auditory cognition) -> Introduction to auditory cognition





New medium from the end of 20the century and in the 21st Century.




- Internet

- Mobile phone -> Smart phone


- Dissolution of the class differentiated culture

- Transculturality <-> Open economy

How to use the technology, we can regulate it with the human knowledge through the empirical research.

The big Problem is always same Energy and Pollution on Earth.


World population7.8 billion people as of March 2020

- Individuality

- Participation

- Interaction

- Network

- Information

- New democratic form

Artistic Research Page: 

Noise (What is a musical error?)

- Sound and Image (N.N-Ziwschenliegend- non-calculable time, space and body)

<-> New ideas of economic.

-> Walter Benjamin, 'On the Minute', trans. by Rodney Livingstone, in Michael Jennings, Brigid Doherty, and Thomas Levin (eds), The work of art Other Writings on Media (Cambridge, MA; London: Belknap Press of Harvard University Press, 2008)

How many poeple on the earth are living with the technology in the society and using the technology in everyday life today?


- Probably...between 10-30% of world population in the world?

Virtual reality as aesthetic experience via Internet (realtime).

Game (single, duo or group),

(single, duo or group) Performance or Interactive play.

- Community

- Communication

on the regional and international level.

Social-network game

Virtual world


Today's popular culture in the 21st century

Thereby in my opinion, about the problem with the organizing by the smartphone, I have one, but I don't want to use it as much as I can because it hasn't been legally established about the invasion of privacy via Internet and its damage caused by the crime.

On the subject of 'self portrait' in painting and photograph, I'd like to write in my paper, this subject regards after the second world war with 'private is politic' during 1970's in the western countries. (This subject is the field of my study.)

-> 'private recording', why it is an important concept in this sound project? 

It is towards the today's mainstream culture 'digital fashion'.


Snap photo 'Selfie' by Smartphone for streaming on internet is current cultural phenomena that is the fashion. Other example Snap photo by Smartphone is intervention of other private area. Today, everyone is a photographer, videographer and model in private. (This subject is rather for the cultural festival. The economy e.g. festival sponsor wants to bring this kind of subject 'new media and its fashion' for the mainstream, due to an important part of the economic demand. Otherwise, it is at the heart of the social system by national politics.)

I'm critical toward and I don't believe that everyone is an artist with New Media.

- Right of portrait
- Invasion of privacy

- Fantasy or Fake?


Walter Benjamin: “A Contradictory and Mobile Whole


Adapted from Walter Benjamin: A Critical Life, by Howard Eiland and Michael W. Jennings

The German-Jewish critic and philosopher Walter Benjamin (1892–1940) is now generally regarded as one of the most important witnesses to European modernity. Despite the relative brevity of his writing career—his life was cut short on the Spanish border in flight before the Nazis—he left behind a body of work astonishing in its depth and diversity. In the years following what he called his “apprenticeship in German literature,” during which he produced enduring studies of Romantic criticism, of Goethe, and of the Baroque Trauerspiel or play of mourning, Benjamin established himself in the 1920s as a discerning advocate of the radical culture emerging from the Soviet Union and of the high modernism that dominated the Parisian literary scene. In the second half of the 1920s, he was at the center of many of the developments now known as “Weimar Culture.” Along with friends like Bertolt Brecht and Laszlo Moholy-Nagy, he helped shape a new way of seeing—an avant-garde realism—as it was breaking free of the mandarin modernism that had characterized German arts and letters under the Wilhelmine Empire. In this period, as Benjamin gained recognition for his writing, he harbored the not unreasonable hope of becoming “the foremost critic of German literature.”

At the same time, he and his friend Siegfried Kracauer were virtually inventing popular culture as an object of serious study: Benjamin produced essays on children’s literature; toys; gambling; graphology; pornography; travel; folk art; the art of excluded groups such as the mentally ill; food; and on a wide variety of media including film, radio, photography, and the illustrated press. In the last decade of his life, most of which was spent in exile, much of his writing originated as offshoots of The Arcades Project, his cultural history of the emergence of urban commodity capitalism in mid-nineteenth-century France. Although the arcades project remained a massive unfinished “torso,” the research and reflection that informed it generated a series of groundbreaking studies, such as the celebrated polemic of 1936, “The Work of Art in the Age of its Technological Reproducibility,” and the essays on Charles Baudelaire that established the poet as the representative writer of modernity.

But Benjamin was not only a surpassing critic and revolutionary theorist: he also left a substantial body of writing on the border between fiction, reportage, cultural analysis, and memoir. His “montage book” One Way Street of 1928, and especially Berlin Childhood around 1900, which remained unpublished in his lifetime, are modern masterpieces. In the end, many of Benjamin’s works defy simple generic classification. Among the prose works long and short are monographs, essays, reviews, collections of philosophical, historiographical, and autobiographical vignettes, radio scripts, editions of letters and of other literary-historical documents, short stories, dialogues, and diaries. There are also poems, translations of French prose and poetry, and myriad fragmentary reflections of differing length and import.

'Selfie' is much better than Invasion of privacy.

Classical criticism on popular culture

-> Die Frage nach dem Datenschutz und die Verletzung der privaten Eigenschaften sowie offentlichen. / The question for data protection and the violation of private properties as well as public ones. e.g. Data of Bank, and other important personal datas.


The current case of using the social media for abuse: 

Coronavirus: 'Revenge porn' surge hits helpline

The lockdown has caused a surge in the number of people contacting the Revenge Porn Helpline, the government-funded service for adults experiencing intimate image abuse.


Die Macht der Vielen


Eine performative Perspektivierung

der kollaborativen Kommunikationskultur

im Web 2.0

Ramón Reichert

In der Th eorie- und Methodenbildung der rezenten Internetforschung spielt die theoretische Aufwertung performativer Konzepte eine zunehmende Rolle (vgl. Sporton 2009: 61-72). In Anknüpfung an einen weiter gefassten Begriff der Performanz, der vor dem Hintergrund unterschiedlicher Fachbereiche wie der Th eater- und Literaturwissenschaft (Fischer-Lichte 2002, 2004), der Soziologie und der Wissenschaft stheorie entwickelt wurde (vgl. Bachmann-Medick 2009: 104-143), erkundet der Beitrag die Kommunikationskultur der Sozialen Medien im Web 2.0 entlang ihrer konkreten Praktiken und partizipiert somit an der Grundidee der Performativitätsforschung, welche davon ausgeht, „dass Sinn oder symbolische Bedeutung konstitutiv an den materialen Vollzug ihrer (Wieder) Auff ührung gebunden sind“ (Hempfer/Volbers 2011: 8). In Anlehnung an das Forschungskonzept des Sonderforschungsbereiches „Kulturen des Performativen“ kennen die vermittels der Sozialen Medien generierten performativen Prozesse folglich auch als „Transformationsprozesse“ bestimmt werden, die „Spiel- und Freiräume“ eröffnen: „(...) immer wieder taucht in ihnen Ungeplantes, Nicht-Vorhersagbares auf, das den Prozess der Transformation wesentlich mitbestimmt. Intention und Kontingenz, Planung und Emergenz sind in ihnen untrennbar miteinander verbunden“ (www.sfb -performativ.de/seiten/frame_gesa.html). Mit dieser sich am Konzept des Performativen orientierenden Perspektivierung k.nnen die Peer-to-Peer-Netzwerke als hochgradig instabile Kommunikationsräume untersucht werden. Ihre dynamischen Bedeutungs- und Ausverhandlungsprozesse können auch als charakteristisches Merkmal der Rezeptionsfreiheit von Populärer Kultur geltend gemacht werden: „Ohne Rezeptionsfreiheit, verstanden als Freiheit, das zu Rezipierende auszuw.hlen, als auch den Bedeutungs- und Anwendungsprozess mitzubestimmen – also ohne ein bestimmtes Ma. an bürgerlichen Freiheiten –, gibt es keine popul.re Kultur“ (Hügel 2003: 6). In dieser Hinsicht verorte ich das Populäre nicht im Allgemeinheitsanspruch eines eigenst.ndigen Th eoriezugriff s (vgl. Schmidt 2010: 106-125), sondern in einer konkreten Analyse von spezifi schen populärkulturellen Praktiken und Technologien (vgl. Kleiner 2011: 56) und untersuche dabei das Populäre als ein „diskursives Ph.nomen“ im Kontext von „Defi nitionsmacht als Diskursmacht“ (ebd.: 54).

  Die Theoriekonzepte des Performativen und des Populären eignen sich also in mehrfacher Hinsicht zur Untersuchung der digitalen Medien und Technologien, die es ihren Nutzer/innen erm.glichen, ihre Inhalte individuell oder kollektiv zu gestalten und sich miteinander auszutauschen. In ihren Selbstverst.ndigungsdiskursen thematisieren sich die Sozialen Medien als off ene Medienkan.le heterogener Bedeutungsproduktion, die durch die soziale Interaktion, die aktive Beteiligung und Zusammenarbeit (in Anlehnung an den englischsprachigen Begriff auch „Kollaboration“ genannt) von User/innen ermöglicht wird. Die sowohl theoretisch-abstrakte Miteinbeziehung als auch praktischappellative Ermächtigung von Rezipient/innen kann aber in unserem Gegenstandsfeld der digitalen Informations- und Kommunikationsmedien nicht ohne die Problematisierung des Mensch-Maschine-Interface – der graphischen Benutzeroberfläche – gelöst werden. Folglich muss mit der Frage nach dem methodologischen Stellenwert von Medialität zwingend auch der technische Medienbegriff und damit einhergehend die strukturellen Forschungsaspekte seiner Materialkultur – Hardware (Maschinenschnittstelle), Programm (Soft wareschnittstelle), Interface (Benutzerschnittstelle) – Berücksichtigung finden. Vor diesem Hintergrund müssen interaktive Anwendungsprozesse also immer auch als medienspezifi sche Praktiken verortet werden, da sie einerseits als ein Resultat technologischer Rahmenbedingungen (Dezentralisierung, Non-Linearität und Kontingenz) gefasst werden k.nnen; andererseits muss der performative Erm.chtigungshaushalt immer auch im Verh.ltnis zu seiner Medialit.t gesetzt werden und folglich die Frage nach den sozialen und kulturellen Reproduktionsmechanismen im Medium der Netzwerkkommunikation berücksichtigt werden.


-> Das Problem ist dabei "Was ist die Wahrheit"? / Thereby the problem is "what is the truth"?

Today, we don't have the higher culture like Benjamin's epoch, due to deceased of art craft masters and its system including the material.

-> The Philosophy of Information