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techno music
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Journal Article
New German Critique (2020) 47 (1 (139)): 81–103.
Published: 01 February 2020
... borrows and departs from both László Moholy-Nagy’s urban vision and Bertolt Brecht’s conception of urban capitalist modernity, the article shows that Kluge’s film reorients time-lapse cinematography and opens up a new form of perception. By incorporating transnational techno music, the film suggests...
FIGURES
Journal Article
New German Critique (2020) 47 (1 (139)): 1–8.
Published: 01 February 2020
... globalization no less than he is a twentieth-century polymath of European modernity, one whose wide-ranging creative and critical work in literature, film, television, music, sound, history, digital media, and social theory turns on relationships between hope as an antirealist feeling and real historical...
Journal Article
New German Critique (2013) 40 (1 (118)): 65–92.
Published: 01 February 2013
... rejection of
the outmoded, as in Philosophy of New Music (1949), where, in arguing for
Schoenberg’s twelve-tone technique, Adorno insists, “The quest for an age past
not only fails to indicate the way home but forfeits all consistency; the arbi-
trary conservation of the obsolete compromises what...
Journal Article
New German Critique (2016) 43 (3 (129)): 113–137.
Published: 01 November 2016
... meaning of the music. The arguments are based on a peculiar configuration of space and time in the symphonies in which the temporal dimensions are so compressed that they form a spatial moment—an Augenblick that engulfs the listener in its metaphysical enclosures. Why should anyone believe such a peculiar...
Journal Article
New German Critique (2010) 37 (1 (109)): 53–74.
Published: 01 February 2010
...
events occluded. Attention to spatial metaphors in Winterschläfer—not only
Tykwer’s imposing, craggy mountains but also the black hole of one char-
acter’s memory and the fi lm’s various womblike spaces—does indeed tell us
something about a generation more into rave and techno than dirndls...
Journal Article
New German Critique (2014) 41 (2 (122)): 125–144.
Published: 01 August 2014
.... I explore this in my forthcoming book, Techno-romanticism: Special Effects in German
Silent Cinema.
Katharina Loew 127
Art versus Technology
The rise of cinema constituted a critical juncture for nineteenth-century aes-
thetics. As Gerhard Plumpe has...
Journal Article
New German Critique (2014) 41 (2 (122)): 20–28.
Published: 01 August 2014
... the book’s covers.
Edward Dimendberg: One example that immediately comes to mind is the
chapter Miriam wrote last on Adorno and the relation of his musical aesthetics
to film. I remember talking with Miriam, and what she was most excited about
while writing this chapter was the fact that the CD-ROM...
Journal Article
New German Critique (2012) 39 (1 (115)): 113–137.
Published: 01 February 2012
...Alison Lewis; Andrew W. Hurley Using Karen Duve's 2002 “postpop” novel as its basis, this article examines the gendering of consumption of popular music in the Federal Republic of Germany between the 1960s and the 1990s. The novel suggests that the amassing of popular music cultural capital...
Journal Article
New German Critique (2006) 33 (2 (98)): 101–133.
Published: 01 August 2006
... versa.
The fi lm begins with an elaborate revue number, complete with fl ashy
costumes, stately choreography, leggy women, and tuxedoed men moving in
concert to swelling music. The star suddenly stops to complain that she can-
not possibly dance in the dress she is being made to wear, revealing...
Journal Article
New German Critique (2008) 35 (2 (104)): 1–31.
Published: 01 August 2008
...Lydia Goehr This essay investigates global discourse in the shadow of the 1960s. It draws on the views of Nelson Goodman, Marshall McLuhan, and Theodor W. Adorno to explore three concepts central to music in the age of global transmission: compliance, current, and virtuality. It looks at “Three...
Journal Article
New German Critique (2013) 40 (1 (118)): 119–148.
Published: 01 February 2013
...” and “antimimeticism” of the metaphysical tradition), the focus on music
as the mimetic art par excellence (precisely because it is not a representative
art), and the devotion to Friedrich Hölderlin, a poet for whom mimesis pro-
vided dissociation and paralysis (Adorno) or “caesuration” and suspension
(Lacoue...
Journal Article
New German Critique (2014) 41 (2 (122)): 67–82.
Published: 01 August 2014
...; the mimetic faculty; and, not least, experi-
ence itself—into contact with the details of media history. This is not a small
problem. Benjamin and Theodor W. Adorno are both happy to discuss the
intricacies, formal and thematic, of works of literature, poetry, and music, but
2. Miriam Hansen...
Journal Article
New German Critique (2010) 37 (2 (110)): 180–207.
Published: 01 August 2010
..., opera, concerts, lectures, café music, local newspapers and so forth.”
Brecht suggests that the time is ripe for a different use of this medium: radio as
an apparatus of communication rather than as a means of distribution. He
implies that radio could—in his Marxist view, should—be used in two...
Journal Article
New German Critique (2012) 39 (3 (117)): 207–230.
Published: 01 November 2012
... the
aesthetic value of industrial construction might derive solely from the techno-
logical, a representative building of state had to adhere to what were consid-
ered “eternal laws” (HH, 425). These included proportion, balance, and the use
of stone. However, Paulsen’s account expressed these tensions...
Journal Article
New German Critique (2017) 44 (3 (132)): 205–224.
Published: 01 November 2017
... importance in his case. We are dealing, as it were, with several
abridged or truncated Kittlers rather than with one whole Kittler: the cool
techno-archaeologist who appears, for instance, in Jussi Parikka’s accounts is
worlds and discourse networks apart from the “Mythographer of Paradoxes”
Hans...
Journal Article
New German Critique (2006) 33 (3 (99)): 121–149.
Published: 01 November 2006
... struggles with not only the fact
of writing poetry within the chaos, overstimulation, fragmentation, and peer-
ing eyes of the city but the construction of a poetics of the metropolis itself.
Within this context, Rilkeʼs allusion to photography brings the techno-
logical apparatus into direct...
