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Trial + Error Szenarien medialen Handelns

- Trial and Error - Scenarios of Media Practices

Conference of the International Research Training Group Interart Studies

21-23 June 2012


What do inner experiences in respect to time-based visual media, early modern drafts of artes memorativae, and screen-based games have in common? They all operate with respectively in scenarios in their own specific ways. But, which forms of action, which categories of practices are used within this context? When dealing with mixed structures of media, different types of thinking in terms of scenarios become obvious here.While performing mental operations where something appears ‘as something’, it isn’t clearly defined what exactly occurred in the first place. If one follows this responsive mode of imagining, then signifying what is about to emerge is already subsequent to the act of signification itself: It involves an oscillation between aesthetic and semiotic qualities which finds its expression e.g. in the omission of performed or represented motion.Particularly non-representability must be considered an essential characteristic of scenarios of media practices. This disposition ranges between various levels of trial and error. Within the emphatic act of hesitation, in the moment before a subject matter is updated, different possible actions are played through by trial and error. The mode of creating scenarios is symptomatic for the perception and the handling of media. Without the precedence of a scale of knowing how, knowing that, and tacit knowing, related mental projections of action wouldn’t be possible – not to speak of a medial scenariology.An analysis of medialized behavioural economies is simply impossible in such a setting without a qualified notion of what ‘scenario’ means; media theory and history can’t merely be limited to a history of the apparatus. This way media research, as practiced by various disciplines today, could also be described as phenomenal registry for specific operational methods and their historico-cultural process of emergence/disappearance.The historical term of ‘scenario’ is closely linked to theater which, as a scenic product of cultural practices, has fundamentally reflected and shaped past and current forms of performative and perceptive practices. Accordingly, scenarios are continually re-shaping laboratories of media. If this model is to be taken seriously, then performances, images, films, maps, simulations, sketches, games, plans etc. are merely machines of visibility – displaying what constantly takes place behind the scenes when thinking in scenarios.This year’s conference of the International Research Training Group “Interart Studies” will follow those traces to allow a better understanding of why these gestures of practice can be described within intermedial models of action. Against the backdrop of major socio-cultural, technological, and aesthetic changes, current concepts of ‘scenario’ must be revised: These changes can be examined from the perspective of various disciplines and by using a multitude of subjects and materials. Recent developments, f.i. in the field of experimental philosophy, new pragmatist approaches in aesthetics as well as the creation of Speculative Realism/Materialism in the Anglo-American sphere, could be productive starting points.Addressee: media theory, theater studies, philosophy, art history, visual studies, literary studies, cultural studies.

                                                                                          Andreas Wolfsteiner und Markus Rautzenberg



*** Thursday, June 21st 2012

13:30 Registration

14:00 Welcoming - Erika Fischer-Lichte

14:15 Introduction - Andreas Wolfsteiner/Markus Rautzenberg

14:45 Break


=== I. To Start+To Destroy

15:00 Fabian Goppelsröder: Einstimmen. Zur Musikalität von Versuch und Irrtum

15:45 Break

16:00 Matthias Bauer: Szenarien virtualisierter Historie im rezenten Kino-

und Fernsehfilm

16:45 Emmanuel Alloa: Machen, Durchmachen, Erproben. Zur Medialität von


17:30 Break

=== Opening of the research college »BildEvidenz. Geschichte und

Ästhetik« [Koserstr. 20, 14195 Berlin-Dahlem]

18:00 Helmut Lethen: Die Ausstellung von Evidenz [evening lecture]


***Friday, June 22st 2012***

=== II. To Save+To Delete

10:00 Rolf Nohr: Umschalt+F12. Speichern und Re-Entry im Computerspiel

10:45 Sebastian Vehlken: Datengestöber. Trial and Error in der

computergestützten Schwarmforschung

11:30 Break

=== III. To Try+To Draft

11:45 Jürgen Bohm: Jenseits des Phantom Trucks. Laster der Evidenz und des

Kalküls in Szenarien medialen Handelns

12:30 Lunch break

14:00 Ana Ofak: Experimentieren. Szenarien des Bildwerdens in der


14:45 Thomas Hensel: »Übrigens wurde häufig umgruppiert«. Aby Warburgs


15:30 Break


=== IV. To Format+To Control

16:00 Anna Echterhölter: Atmosphärische Schrift. Formen der Wetternotation

um 1800 als körperliche und operative Zukunftsreferenz

16:45 Mirjam Schaub: Trial or Error: Stanley Kubricks »Dr. Strangelove«

als ultimative Kontrollphantasie eines Perfektionisten

17:30 Break

18:00 Thomas Macho: Gedankenexperimente der Beratung [evening lecture]


***Saturday, June 23rd 2012***:

=== V. To Experiment+To Puzzle

11:00 Georg Bertram: Kunst und die Möglichkeit des Scheiterns

11:45 Andreas Josef Vater: Näher, aber nicht größer. Das Rätselbild in den

»Frauenzimmer Gesprächspielen« Georg Philipp Harsdörffers

12:30 Lunch break

14:00 Helmar Schramm: Gesichter und Zahlen. Anmerkungen zu Christian

Boltanskis Installation »Chance«

14:45 Adam Czirak: Im Angesicht des Todes. Das Intervall von

Todesbewusstsein und Nicht-Sein in theatralen Szenarien

15:30 Break


=== VI. To Operate+To Intervene

16:00 Knut Ebeling: Mediale Operationen. Kleine Verschwörungstheorie der


16:45 Jean Clam: »Mädien«. Die unangreifbare Ontologizität von Szenarien

und wie sie (fast nie) reißt[closing lecture]




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