(About Promethean shame, p.21-95;. The world as a die Phantom and Philosophical Reflections on radio and Television, p.97-211, being without time. To Beckett's play "En attendant Godot", p.213-231, about the bomb and the roots of our apocalypse-blindness, p.233-308)
first Images, phantoms and information
second Wrong worlds (coram publico)
third Wrong worlds (Verbiederung)
4th Wrong worlds (production)
5th Wrong worlds (technology)
6th Wrong worlds (personal responsibility)
7th Man and Nature
8th homo, excentricus'
9th Sketches of an aesthetic education
Beaudrillard forget his "agony of reality" and the All postmodernism of the eighties. Already some two decades earlier, in the fifties, has Günther Anders with the antiquity of man in such a revolutionary, because the previous self-understanding of man delivered revolutionary analysis for proportional humana that it then no one, not even by Hans Jonas with his principle of responsibility could improve on. Anders' analysis have so far not refuted and the developments that have occurred at least partly confirmed. It is less surprising how much breathing Günther Anders at all-thinking and analytical result even the stink of the fifties - just think of his most embarrassing, for many effusions of jazz as an epiphenomenon of the industrial assembly line production. Much is surprising, then, that this fug, I should perhaps mention less judgmental simply Zeitgeist, has not prevented him from preserving the inner self and to describe developments and predict how they define us today and have even increased. Whether it's technological potential, as we have today in mind, has SPECIFICALLY is so, this in turn is less significant than that he the inherent absurdity of the mindless nihilism, clearly saw through and brought to the concept.
At the beginning of my next post I would like Anders' Analysis of broadcasting (radio and TV) set. The notion of the image is in the center of the other derived two other concepts that he links closely with the broadcast media: The terms of the phantom and the 'message'. For the latter term I shall hereinafter use the term of the information. Unlike the image defined as a representation of absent objects. (See antiquatedness vol.1, p.131) its ontological status is clear: it is itself only insofar as property subject, as it re-presents absent objects. Since different here but will specifically provide any aesthetic, not a theory of the aesthetic object, he can not go on this character of the image as an aesthetic object and uses it only as a foil for his further discussion of the broadcast media.
this report differentiates between different radio and TV in function, on current events. While the television that is in turn, Images 'returns, not the events themselves - which, absence' of the events in the TV picture in comparison to the radio for the time being here is not in doubt - then delivers the radio, according to the different events themselves: "Even the gramophone presents us with not a picture of the symphony, but this itself If a mass meeting to us over the radio, so what we think we hear, no 'picture' of the noisy crowd, but their noise, even if the set itself does not reach us physically. - In addition, however, we find ourselves, unless it would transfer a work of art (such as a drama), including its apparent character, as a listener in a nothing less than aesthetic attitude: Who listens to the football match, it does as excited party-goers ... "(antiquatedness vol.1, S.130f.)
If the radio seems paradoxical, medium 'of the' immediacy 'to be. For the illusion that we are dealing with the events presented on the radio directly, and not with staged, arranged events have to do is, indeed prevents TV image already by its pictorial quality. But the screen as already on the media nature of the events sent. Never would have fallen for one example the fact that the famous Invaders from Mars in the Orson Welles radio play-represented a real event, it would be no radio play, but a television was playing.
But it is different according not. Not only radio, but also the events reported on television have an ambiguous ontological status. (See antiquatedness vol.1, p.131) The main reason is that they conceal the character information of the sent message. This information is the original character of each division perceived, immediately and as a whole present an object into two components: in subject (S) and predicate (p). (See antiquatedness vol.1, p.157) is the subject intentioned, that is the perceived (present) the subject and predicate is what is currently on this subject is interesting for us. Each radio and television program takes such a great division of the event: We hear and we see only exactly what we are shown in the form of a production like this. This production is the 'p' of the actual event.
But as listeners and viewers we miss this production, this ruling character of the sent message. We have the impression the entire event to listen to as such or to see. And put the radio and TV makers are also exactly important to reinforce this impression and to prevent any suspicion of the artificiality of the shipment. So it comes about that we do not get the idea to make us our own thoughts, to use our own understanding. The ontological ambiguity of the radio productions puts us in a - anything but aesthetic - state, "where is the distinction between seriousness and frivolity no more, and in which the listener the questions: in what way the Sent his regards (whether as his or license, whether as information or as 'fun') or as to him who he should be handed over to take delivery receipt (whether as a moral and political being, or as Mußekonsument) does not answer anymore, not even present any more. "(antiquatedness vol.1, S.142f.)
Can we therefore in images is usually very carefully distinguished between absent and present, so we are taking an appropriate attitude towards them, namely, an aesthetic, then the new images', which provide us with the broadcast media, ontologically dubious. Actually we are dealing with information that verdict character we really have no problems. We never would the information "Your basement is flooded!" For keep the reality itself. Rather, we will immediately try to make ourselves and take a picture of course, the first measures for drainage, depending on whether it is a burst pipe or a flood plain. If we find then but ultimately, it was just a gerademal is up to the ankles reaching water level, stored on shelves of our belongings and no longer threatened, we will make sure the informant not blame them. Our own judgments about the potential harm may not coincide with the ruling of the informant who may have temporarily put us quite in panic, but the information was completely correct.
As we therefore distinguish between information and events very well, we can at the news programs just not that simple. And therefore referred to the other news programs transmitted 'images' as 'phantoms'. They have the character of 'phenomena', but are arranged so that they are no pictures or phenomena, but just phantoms. And in a double sense: for they not only "the world under its own image to disappear" him (antiquatedness vol.1, S.153f.), But under the dictates of the broadcast media, the events have even arranged so that they phantoms to be before they be sent. The example of the politician who touches a smile when a camera focused on him, using the example of the photo model, which reminds her body using all available 'self-transformation techniques (antiquatedness vol.1, p.275 (the expression not of about to Sloterdijk, "You must change your life")) so dresseth that he meets the media requirements, and with many other examples illustrating different, as the events are trimmed from the start so that they occur at all, only when they are broadcasting needs happen: "Our world today is , post-ideological ', that is: ideology lacks nothing. - What to say is that it is not necessary to subsequently wrong to arrange the world different world views, ideologies, therefore, since the events of the world itself is already happening just as arranged spectacle. Where is the lie wahrlügt is unnecessary explicit lie. "(Antiquatedness vol.1, p.195)
are ultimately not only the television, pictures' phantoms in which we no longer distinguish between the absence and presence of events differ, but the events themselves are phantoms, because of their presence is no longer chooses our perception, but the camera.
The events are arranged especially for the television broadcasts, is ultimately to assume the character of goods: they are produced to be consumed. And goods are, in turn, according to the S and p 'formula, pre-judgments (see antiquatedness vol.1, S.161ff.) That we mitkonsumieren as listeners and viewers, and these because of the concomitant renunciation in our thoughts and mind are shaped in our perception. We've come full circle, having no gap. We will see how different but to those to speak gaps' in the self-production of commodified, surreal people come without them, however, get the full attention to leave, they deserve.
would conclude, I come to speak briefly on the distinction between images and information. In contrast, in this context to the former newspaper readers, who could not distinguish between information and events and could be confused only with respect to the ontological status of his memories when as "a content in the storage basement of his knowledge stock has dropped, ... . Whether this a direct or indirect experience owe "(see antiquatedness vol.1, p.159) Anders's reference to the storage cellar is interesting: the idea is obvious that information in S is p 'format in the storage be converted into images in memory (the same can be read by Damasio) and lose their character information! This idea is so obvious, because the knowledge accessible to the full subject matter, ie the "S" and not the 'p'. The memory would have to just work on that basis: please save as if they were objects.
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