Schwerpunkt Ontography
- 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 residingResearch 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-à-vis the great ontological difference of Being and the existing beings.…
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| Document Type: | Periodical |
|---|---|
| DOI (Cite-Link): | https://doi.org/10.28937/ZMK-10-1Cite-Link |
| ISSN: | 2366-0767 |
| Publisher: | Felix Meiner Verlag |
| Place of publication: | Hamburg |
| Editor: | Lorenz EngellGND, Bernhard SiegertGND |
| Language: | Multiple languages |
| Date of Publication (online): | 2022/12/19 |
| Year of first Publication: | 2019 |
| Release Date: | 2022/12/20 |
| Publishing Institution: | Bauhaus-Universität Weimar |
| Creating Corporation: | Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie |
| Institutes and partner institutions: | An-Institute |
| Volume: | 2019 |
| Issue: | 10.2019, Heft 1 |
| Pagenumber: | 200 |
| GND Keyword: | Medienwissenschaft; Kulturwissenschaft |
| Dewey Decimal Classification: | 300 Sozialwissenschaften |
| BKL-Classification: | 02 Wissenschaft und Kultur allgemein / 02.00 Wissenschaft und Kultur allgemein: Allgemeines |
| 05 Kommunikationswissenschaft / 05.30 Massenkommunikation, Massenmedien: Allgemeines | |
| Collections: | Bauhaus-Universität Weimar / Zeitschrift für Medien- und Kulturforschung (ZMK) |
| Licence (German): |  Creative Commons 4.0 - Namensnennung-Keine kommerzielle Nutzung-Weitergabe unter gleichen Bedingungen (CC BY-NC-SA 4.0) |
| Note: | Lizenz CC-BY-NC-SA 3.0 |