Christoph Ernst - Media Futures: Theory and Aesthetics
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- Book:Media Futures: Theory and Aesthetics
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This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
The present book is a revised and translated version of the volume Zuknftige Medien. Eine Einfhrung, published by Springer VS in 2020. The book was realized as part of a project funded by the Deutsche Forschungsgemeinschaft (DFG): Van Gogh TV: Erschliessung, Multimedia-Dokumentation und Analyse ihres Nachlasses (directors: Prof. Dr. Jens Schrter of the Rheinische Friedrich-Wilhelms-Universitt Bonn and Prof. Anja Stffler of the Hochschule Mainz, funding period: 20182021). We thank Steven Lindberg for the excellent translation. Daniela Adscheid, Tilman Baumgrtel, Leila Brehme, Johannes Hardt, Rainer Hrmann, Karoline Kozlowski, Jule Wegen, and Christian Wild von Hohenborn gave us valuable suggestions and provided assistance with the preparation of the manuscript. Anja Lbert and the team of Textworks helped with the corrections. We are also grateful to Max Stossel for granting permission to use Fig. Max Stossel & Sander van DijkWords That Move. All citations from German sources have been translated by the authors and the translator.
is an assistant professor at the Department of Media Studies of the University of Bonn. Main research interests: diagrammatic reasoning and media aesthetics of information visualization; theory of tacit knowledge and digital media, especially interface theory and artificial intelligence; media theory and media philosophy, especially media and imagination. Selected publications: Diagrammatik-Reader. Grundlegende Texte aus Theorie und Geschichte (ed. with Birgit Schneider & Jan Wpking), Berlin: De Gruyter 2016, Diagramme zwischen Metapher und ExplikationStudien zur Medien- und Filmsthetik der Diagrammatik, Bielefeld: transcript 2021. Further information: www.christoph-ernst.com
holds the chair of media studies at the University of Bonn, Department of Media Studies. Director (together with Anja Stffler, Mainz) of the DFG research project Van Gogh TV. Critical Edition, Multimedia-Documentation and Analysis of their Estate (three years) since April 2018. Speaker of the research project (VW Foundation; together with Prof. Dr. Gabriele Gramelsberger; Dr. Stefan Meretz; Dr. Hanno Pahl, and Dr. Manuel Scholz-Wckerle) Society after MoneyA Simulation (four years) since 10/2018. Director of the VW Planning Grant How is Artificial Intelligence Changing Science? (Start: 1.5.2020, one year, preparation of main grant); summer 2017: senior fellowship IFK Vienna, Austria. Winter 2018: senior fellowship IKKM Weimar. Summer 2020: fellowship, DFG special research area 1015 Mue, Freiburg. Winter 2021/22: fellowship Center for Advanced Internet Studies, Bochum. Recent publications: Medien und konomie, Wiesbaden: Springer 2019. Visit www.medienkulturwissenschaft-bonn.de / www.theorie-der-medien.de / www.fanhsiu-kadesch.de
Imagination is more important than knowledge.
Knowledge is limited.
Imagination encircles the world.
Einstein (1929, 117)
The introduction gives an overview of the problem and the structure of the book.
Everything we know about the future is formed by our imagination . The reason for this is simple. The information we have about the future and the control we have over the future is limited (Rescher , 3). When we want to know something about the future, we have to make something absent present . To make the inexistent exist: the imagination does just that. The imagination makes it possible for us to reach beyond a given state and picture things that are (still) absent or inexistent.
The future is real in the sense that it does not not exist but rather not yet (Rescher , 190). The future always holds unforeseen events. It changes existing relationships and surprises us with the new . All knowledge about the future is thus also knowledge about this uncertainty.
In light of these assumptions, inquiry into media futures may sound like unfounded speculation . Who can predict what future media will be? In contrast to other aspects of the future that we can know with somewhat greater certaintyfor example, the fairly certain course of starsdevelopments in the area of media technologies are characterized by a much greater degree of uncertainty. Yet this unpredictability represents an opportunity. For even if one cannot say with a great deal of certainty what form future media will take or which media will dominate in the future, it is nevertheless possible to show how future media are imagined. This imagination of future media is the subject of the present book .
Speaking of future media means , for us, speaking of the processes of the imagination that are undertakensetting out from a present in relation to said future media . This present need not be our present . The historical look back at past futures provides us with important insights: just as it is helpful to ask how we imagine future media today, it is important to ask how future media were imagined in the past.
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