@article{Morawski,
  author    = {Morawski, Tommaso},
  title     = {La tavola e la mappa. Paradigmi per una metaforologia mediale dell'immaginazione cartografica in Kant},
  series = {Philosophy Kitchen},
  volume    = {2022},
  journal   = {Philosophy Kitchen},
  number    = {17, II/2022},
  publisher = {Universit{\`a} degli Studi di Torino},
  address   = {Turino},
  doi       = {10.13135/2385-1945/7191},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20230124-48766},
  pages     = {137 -- 152},
  abstract  = {Immanuel Kant's thought is a central historical and theoretical reference in Hans Blumenberg's metaphorological project. This is demonstrated by the fact that in the Paradigms the author outlines the concept of absolute metaphor by explicitly referring to \S59 of the Critique of the Power of Judgment and recognizing in the Kantian symbol a model for his own metaphorics. However, Kant's name also appears in the chapter on the metaphor of the "terra incognita" that not only did he theorize the presence of symbolic hypotyposis in our language [...] but also made extensive use of metaphors linked to "determinate historical experiences". In particular: geographical metaphors. In my essay, I would like to start from the analysis of Kant's geographical metaphors in order to try to rethink Blumenberg's archaeological method as an archaeology of media that grounds the study of metaphors in the materiality of communication and the combination of tools, agents and media.},
  subject      = {Kant, Immanuel},
  language  = {it}
}
@book{BeeBergermannKecketal.,
  author    = {Bee, Julia and Bergermann, Ulrike and Keck, Linda and Sander, Sarah and Schwaab, Herbert and Stauff, Markus and Wagner, Franzi},
  title     = {Fahrradutopien. Medien, {\"A}sthetiken und Aktivismus},
  publisher = {meson press},
  address   = {L{\"u}neburg},
  isbn      = {978-3-95796-196-9},
  doi       = {10.14619/1952},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20220809-46743},
  publisher      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {266},
  abstract  = {Das Fahrrad ist ein Medium sozialer Ver{\"a}nderung. Seine vielf{\"a}ltigen utopischen Potenziale ergeben sich nicht zuletzt aus seinen ebenso vielf{\"a}ltigen und h{\"a}ufig {\"u}bersehenen medialen Qualit{\"a}ten: Es vermittelt, es verbindet, es {\"u}bersetzt; es modifiziert Wahrnehmung und Organisation von Raum und Zeit, von K{\"o}rpern und von Sozialit{\"a}t. Umgekehrt kann auch das medienwissenschaftliche Denken fahrradmedial ver{\"a}ndert werden. Das Fahrrad ist nicht nur Medium des sozialen und {\"o}kologischen Wandels: Radfahren er{\"o}ffnet Perspektiven, ver{\"a}ndert R{\"a}ume, l{\"a}sst neue Relationen entstehen und teilt Handlungsmacht neu auf. Fahrradutopien denkt vom Fahrrad aus und erg{\"a}nzt dabei bestehende Ans{\"a}tze zur Mobilit{\"a}tsforschung um medienkulturwissenschaftliche Perspektiven. Die Beitr{\"a}ge verbinden Medienwissenschaften und Forschungen zu Fahrradaktivismus mit der Liebe zum Radfahren. Fokussiert werden Fahrradfilme und -vlogs, Verkehr und Infrastrukturen, Virtuelle Realit{\"a}t und Fahrrad, Fahrradkollektive und Fahrradfeminismus.},
  subject      = {Fahrrad},
  language  = {de}
}
@article{BuschowPosslerScheper,
  author    = {Buschow, Christopher and Possler, Daniel and Scheper, Jule},
  title     = {Teaching Media Entrepreneurship: How A Start-up Simulation Can Increase Students' Knowledge and Encourage Them to Work in Entrepreneurial Contexts},
  series = {Teaching Journalism and Mass Communication},
  volume    = {2021},
  journal   = {Teaching Journalism and Mass Communication},
  number    = {Volume 11, Nr. 1},
  publisher = {Small Programs Interest Group},
  doi       = {10.25643/bauhaus-universitaet.4462},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20210729-44628},
  pages     = {65 -- 69},
  abstract  = {Entrepreneurship and start-up activities are seen as a key response to recent upheavals in the media industry: Newly founded ventures can act as important drivers for industry transformation and renewal, pioneering new products, business models, and organizational designs (e.g. Achtenhagen, 2017; Buschow \& Laugemann, 2020). In principle, media students represent a crucial population of nascent entrepreneurs: individuals who will likely become founders of start-ups (Casero-Ripoll{\´e}s et al., 2016). However, their willingness to start a new business is generally considered to be rather low (Goyanes, 2015), and for journalism students, the idea of innovation tends to be conservative, following traditional norms and professional standards (Singer \& Broersma, 2020). In a sample of Spanish journalism students, L{\´o}pez-Meri et al. (2020) found that one of the main barriers to entrepreneurial intentions is that students feel they lack knowledge and training in entrepreneurship. In the last 10 years, a wide variety of entrepreneurship education courses have been set up in media departments of colleges and universities worldwide. These programs have been designed to sensitize and prepare communications, media and journalism students to think and act entrepreneurially (e.g. Caplan et al., 2020; Ferrier, 2013; Ferrier \& Mays, 2017; Hunter \& Nel, 2011). Entrepreneurial competencies and practices not only play a crucial role for start-ups, but, in imes of digital transformation, are increasingly sought after by legacy media companies as well (K{\"u}ng, 2015). At the Department of Journalism and Communication Research, Hanover University of Music, Drama and Media, Germany, we have been addressing these developments with the "Media Entrepreneurship" program. The course, established in 2013, aims to provide fundamental knowledge of entrepreneurship, as well as promoting students' entrepreneurial thinking and behavior. This article presents the pedagogical approach of the program and investigates learning outcomes. By outlining and evaluating the Media Entrepreneurship program, this article aims to promote good practices of entrepreneurship education in communications, media and journalism, and to reflect on the limitations of such programs.},
  subject      = {Medienwirtschaft},
  language  = {en}
}
@periodical{OPUS4-4864,
  title     = {Schwerpunkt Schalten und Walten},
  volume    = {2020},
  number    = {11.2020},
  editor    = {Engell, Lorenz and Siegert, Bernhard},
  publisher = {Felix Meiner Verlag},
  address   = {Hamburg},
  organization    = {Internationales Kolleg f{\"u}r Kulturtechnikforschung und Medienphilosophie},
  issn      = {2366-0767},
  doi       = {10.28937/ZMK-11-20},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20240507-48644},
  pages     = {184},
  abstract  = {What you are about to read is the very last issue of the ZMK. Since our overall research enterprise, the IKKM, has to cease all of its activities due to the end of its twelve years' funding by the German federal government, the ZMK will also come to an end. Its last topic, Schalten und Walten has also been the subject of the concluding biannual conference of the IKKM, and we hope it will be a fitting topic to resume the research of the IKKM on Operative Ontologies. Although this final issue is in English, we decided to leave its title in German: Schalten und Walten. As it is the case for the name of the IKKM, (Internationales Kolleg f{\"u}r Kulturtechnikforschung und Medienphilosophie), the term seems untranslatable to us, not only for the poetic reason of the rhyming sound of the words. Switching and Ruling might be accepted as English versions, but quite an unbridgeable difference remains. In German, Schalten und Walten is a rather common and quite widespread idiom that can be found in everyday life. Whoever, the idiom stipulates, is able to execute Schalten und Walten has the power to act, has freedom of decision and power of disposition. Although both terms are mentioned together and belong together in the German expression Schalten und Walten, they are nevertheless complements to each other. They both refer to the exercise and existence of domination, disposal or power, but they nonetheless designate two quite different modes of being. Schalten is not so much sheer command over something, but government or management. It is linked to control, intervention and change, in short: it is operative and goes along with distinctive measures and cause-and-effect relations. The English equivalent switching reflects this more or less adequately.},
  subject      = {Medienwissenschaft},
  language  = {mul}
}
@periodical{OPUS4-4862,
  title     = {Schwerpunkt Ontography},
  volume    = {2019},
  number    = {10.2019, Heft 1},
  editor    = {Engell, Lorenz and Siegert, Bernhard},
  publisher = {Felix Meiner Verlag},
  address   = {Hamburg},
  organization    = {Internationales Kolleg f{\"u}r Kulturtechnikforschung und Medienphilosophie},
  issn      = {2366-0767},
  doi       = {10.28937/ZMK-10-1},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20240507-48624},
  pages     = {200},
  abstract  = {Research in cultural techniques and media philosophy owe their existence to the fading and passing, the becoming impossible, and finally even the ban on ontology. Just like media history and media theory, they even represent a form of processing of this ending of ontology and a reaction to it. The concept of »Being«, the singular subject of all ontology, taken as unchangeable and as residing somewhere behind or even above all its realizations, concretions and manifestations in the materially existing world, had already been strongly suspected by positivism, vitalism and phenomenology, but had not yet been stripped off. Existential philosophy then ventured further, until finally a number of diverse schools of thought like Foucault's history of knowledge or Derrida's deconstruction, Quine's logic, Heinz von Foerster's constructivism, Luhmann's functionalism, or process philosophy in the aftermath of Whitehead could definitively reject ontology with highly effective—albeit strongly diverging—reasons and arguments. These theories and philosophical schools did not agree on anything but on the rejection of ontology. Accordingly, the »ontological difference«, which provided that one could not speak about »Being« in the same way as about an existing being, had to be reconsidered. One solution was to project the ontological difference back into the multitude and materiality of the existing and to provide it with a new language of description and to read it against the backdrop of new types of questions. The offer that media theory and history, the cultural techniques approach, and media philosophy were able to make—successfully—in this situation was essentially a reappraisal not only of technics (»Die Technik«) in the ontological sense, but of technologies and techniques, of practices and their aesthetics. To use Heideggers terms, the focus was now set on »switching« (»Schalten«) rather than on »ruling« (»Walten«). The ban on ontology was nonetheless fully respected, and in cultural and media studies the observation of techniques and technologies, means and processes of the incessant self-differentiation of anything that is ruled out the persistent stunning standstill vis-{\`a}-vis the great ontological difference of Being and the existing beings.},
  subject      = {Medienwissenschaft},
  language  = {mul}
}
@periodical{OPUS4-4863,
  title     = {Schwerpunkt Blockchain},
  volume    = {2019},
  number    = {10.2019, Heft 2},
  editor    = {Engell, Lorenz and Siegert, Bernhard},
  publisher = {Felix Meiner Verlag},
  address   = {Hamburg},
  organization    = {Internationales Kolleg f{\"u}r Kulturtechnikforschung und Medienphilosophie},
  issn      = {2366-0767},
  doi       = {10.28937/ZMK-10-2},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20240507-48639},
  pages     = {183},
  abstract  = {Neue Medien rufen regelm{\"a}ßig neue Utopien auf den Plan, die sich untereinander stark {\"a}hneln k{\"o}nnen. Regelm{\"a}ßig bekommen wir er{\"o}ffnet, dass, von den Uninformierten noch unbemerkt, eine Medienrevolution im Gange sei, die das Potenzial habe, die Welt grundlegend zu ver{\"a}ndern. Diese Erwartungen gelten meistens einem in jeder Hinsicht umw{\"a}lzenden Zuwachs an Gleichheit und Freiheit Aller. Meistens enden sie jedoch dann in der Feststellung eines Zuwachses an Geld und Macht in den H{\"a}nden Weniger. So war es beim Radio, beim Video, beim Internet, bei den »sozialen Medien«. Und so ist es auch heute wieder. Eine Medienrevolution finde statt, so h{\"o}rt und liest man, die sich nicht auf kalifornischen Theaterb{\"u}hnen oder auf Konsumentenelektronik-Messen wie der IFA in Gestalt neuer Gadgets {\"o}ffentlich pr{\"a}sentiert. Sie spielt sich jenseits der Terminals im unsichtbaren Reich der Vernetzung ab und betrifft subkutan die mediale Instituiertheit der Gesellschaft selbst: die Blockchain.},
  subject      = {Medienwissenschaft},
  language  = {mul}
}
@periodical{OPUS4-4859,
  title     = {Focus Mediocene},
  volume    = {2018},
  number    = {9.2018, Heft 1},
  editor    = {Engell, Lorenz and Siegert, Bernhard},
  publisher = {Felix Meiner Verlag},
  address   = {Hamburg},
  organization    = {Internationales Kolleg f{\"u}r Kulturtechnikforschung und Medienphilosophie},
  issn      = {2366-0767},
  doi       = {10.28937/ZMK-9-1},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20240507-48599},
  pages     = {181},
  abstract  = {This issue, following an international conference held at the IKKM in September 2017, is devoted to what may very well be the broadest media-related topic possible, even if it is accessible only through exemplary and experimental approaches: Under the title of the »Mediocene«, it presents contributions which discuss the operations and functions that intertwine media and Planet Earth. The specific relation of media and Planet Earth likely found its most striking and iconic formula in the images of the earth from outer space in 1968/69, showing the earth—according to contemporaneous descriptions—in its brilliance and splendor as the »Blue Marble«, but also in its fragility and desperate loneliness against the black backdrop of the cosmic void. Not only the creation but also the incredible distribution of this image across the globe was already at the time clearly recognized as a media eff ect. In light of space fl ight and television technology, which had expanded the reach of observation, communication, and measurement beyond both the surface of the Earth and its atmosphere, it also became clearly evident that the Planet had been a product of the early telescope by the use of which Galileo found the visual proof for the Copernican world model. Nevertheless, the »Blue Marble« image of the planet conceives of Earth not only as a celestial body, but also as a global, ecological, and economic system. Satellite and spacecraft technology and imaging continue to move beyond Earth's orbit even as they enable precise, small-scale procedures of navigation and observation on the surface of the planet itself. These instruments of satellite navigation aff ect practices like agriculture, urban planning, and political decision-making. Most recently, three-dimensional images featuring the planet's surface (generated from space by Synthetic Aperture Radar) or pictures from space probes have been cir-culating on the Web, altering politico-geographical practices and popular and scientifi c knowledge of the cosmos. Today, media not only participate in the shaping of the planet, but also take place on a planetary scale. Communication systems have been installed that operate all over the globe.},
  subject      = {Medienwissenschaft},
  language  = {en}
}
@periodical{OPUS4-4860,
  title     = {Schwerpunkt Alternative Fakten},
  volume    = {2018},
  number    = {9.2018, Heft 2},
  editor    = {Engell, Lorenz and Siegert, Bernhard},
  publisher = {Felix Meiner Verlag},
  address   = {Hamburg},
  organization    = {Internationales Kolleg f{\"u}r Kulturtechnikforschung und Medienphilosophie},
  issn      = {2366-0767},
  doi       = {10.28937/ZMK-9-2},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20240507-48608},
  pages     = {197},
  abstract  = {Am 22. Januar 2017 wurde die Beraterin des amerikanischen Pr{\"a}sidenten, Kellyanne Conway, in einem Meet the Press-Interview gefragt, warum der Pressesprecher des Pr{\"a}sidenten kurz zuvor eine »nachweisliche L{\"u}ge« bez{\"u}glich der Zahl der in Washington zur Amtseinf{\"u}hrung Trumps zusammengekommenen Menschen ge{\"a}ußert habe. Conway antwortete: »Our press secretary, Sean Spicer, gave alternative facts […]«. Das war nicht nur eine Manifestation oder {\"U}berbietung von Orwellianischem »Newspeak«. Es war ein Moment, in dem sich ein Bruch mit dem in der westlichen Kultur bislang allgemein anerkannten Paradigma, worin die Faktizit{\"a}t von Daten - seien es Bilder, Zahlen, Aussagen - gr{\"u}ndet, offen aussprach. Es war sozusagen ein ironischer Moment der Wahrheit - ironisch, weil dieser Moment einen H{\"o}hepunkt des »Post-Truth«-Zeitalters darstellte. Doch welche Wahrheit? Dass es dazu unterschiedliche und zum Teil kontroverse Auffassungen gibt, zeigen die verschiedenen Deutungen und Instrumentalisierungen, die dieser Moment der Wahrheit in der Folge erfuhr. Der Debattenteil der letzten Ausgabe der Zeitschrift f{\"u}r Medien- und Kulturforschung hat bereits einen Teil dieser Kontroverse um die Deutung des Ph{\"a}nomens von »fake news« und »alternative facts« dokumentiert. Der Schwerpunkt der vorliegenden Ausgabe setzt diese Kontroverse fort, und zwar deswegen, weil die Kultur- und Medienwissenschaft in mehrfacher Weise vom Ereignis »alternativer Fakten« und den sich anschließenden Kontroversen um ihre Bewertung herausgefordert wird. Sehr schnell wurde n{\"a}mlich klar, dass die Antwort auf die Frage, welche Wahrheit sich in jenem Moment kundtat, als die Welt aus dem (sich dabei merklich verziehenden) Munde von Kellyanne Conway vom Wunder der Existenz alternativer Fakten erfuhr, nicht einfach nur banal war. So banal wie die Tatsache, dass ein infantiler Narzissmus zur Richtschnur f{\"u}r die Konstruktion der offiziellen amerikanischen Regierungsversion von Wirklichkeit geworden ist, ein Narzissmus, der das, was ist (und wof{\"u}r es zureichende Gr{\"u}nde gibt), zugunsten dessen verwirft, von dem er m{\"o}chte, dass es stattdessen sei.},
  subject      = {Medienwissenschaft},
  language  = {de}
}
@phdthesis{Conrad,
  author    = {Conrad, Lisa},
  title     = {Organisation im soziotechnischen Gemenge - Mediale Umschichtungen durch die Einf{\"u}hrung von SAP},
  publisher = {transcript Verlag},
  address   = {Bielefeld},
  isbn      = {978-3-8376-3784-7},
  doi       = {10.25643/bauhaus-universitaet.3107},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20180503-31079},
  school      = {Bauhaus-Universit{\"a}t Weimar},
  pages     = {211},
  abstract  = {Der Alltag in Organisationen besteht vor allem aus den Medien und Technologien, mit denen die Koordination zwischen einzelnen Arbeitsabl{\"a}ufen hergestellt wird. Diese ethnografische Studie begleitet den Prozess der Einf{\"u}hrung eines SAP-Systems in einem mittelst{\"a}ndischen Unternehmen und zeigt, wie das bestehende Geflecht aus Praktiken und Technologien eine Neuanordnung erf{\"a}hrt. Dabei tritt das komplexe soziotechnische Gemenge zutage, auf dem Koordination und Organisation beruhen. Es geht um Hardware, ebenso wie Software, um mechanische und elektronische Medien, um Papiere, Drucker, Akten, Interfaces und Tastaturen, aber auch um die jahrzehntelang eingespielten Routinen und das Erfahrungswissen der Angestellten.},
  subject      = {Organisationsforschung},
  language  = {de}
}
@periodical{OPUS4-4857,
  title     = {Schwerpunkt Inkarnieren},
  volume    = {2017},
  number    = {8.2017, Heft 1},
  editor    = {Engell, Lorenz and Siegert, Bernhard},
  publisher = {Felix Meiner Verlag},
  address   = {Hamburg},
  organization    = {Internationales Kolleg f{\"u}r Kulturtechnikforschung und Medienphilosophie},
  issn      = {2366-0767},
  doi       = {10.28937/ZMK-8-1},
  url       = {http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20240507-48579},
  pages     = {217},
  abstract  = {Der Themenschwerpunkt des vorliegenden Heftes der Zeitschrift f{\"u}r Medien- und Kulturforschung wird bestritten von Autoren, die der DFG-Forschergruppe »Medien und Mimesis« angeh{\"o}ren, die an der Bauhaus-Universit{\"a}t Weimar angesiedelt, aber zus{\"a}tzlich {\"u}ber die Universit{\"a}ten Basel, Bielefeld, Bochum, M{\"u}nchen und Z{\"u}rich verteilt ist. Die Forschergruppe untersucht Mimesis als Kulturtechnik vor dem Hintergrund aktueller Entwicklungen in der Medienforschung, die Praktiken und Operationsketten als vorg{\"a}ngig gegen{\"u}ber den aus ihnen hervorgehenden Subjekt-Objekt-Dichotomien bzw. Subjekt-Werkzeug-Artefakt-Kausalit{\"a}ten ansehen. Die Auffassung von Mimesis als einer vielgestaltigen Kulturtechnik geht {\"u}ber die in den Kultur- und Literaturwissenschaften ebenso wie in der Philosophie dominierende {\"a}sthetische und epistemische Betrachtung der Mimesis hinaus und stellt das geschichtsphilosophische Selbstverst{\"a}ndnis der Moderne als eine grundlegend a-mimetische kulturelle und soziale Formation infrage. Mimesis und imitatio werden nicht l{\"a}nger in die Perspektive einer zu {\"u} berwindenden Vorgeschichte der Idee des sch{\"o}pferischen Menschen und seiner Werkherrschaft gestellt (Blumenberg). Anstatt die Mimesis in einen Gegensatz zur modernen Technik und der auf ihr beruhenden Zivilisation zu man{\"o}vrieren und das konstruktivistische Selbstverst{\"a}ndnis der Neuzeit kulturell zu verallgemeinern und absolut zu setzen, gehen die Projekte der Forschergruppe auf unterschiedlichen Feldern den seinsver{\"a}ndernden, transformatorischen Wirkungen medial gekoppelter mimetischer Praktiken und Verhaltensweisen zwischen dem 15. und dem 21. Jahrhundert nach. ...},
  subject      = {Medienwissenschaft},
  language  = {de}
}