Teleaudiovision. For a Philosophical Aesthetics of the Media

With departure from a phenomenology modified and using the results of media studies an aesthetics on the basis of a philosophy of the media can tackle issues of a theory of television. Does an advanced theory of art under the post-medium condition also gain insight into television and its possibility to be art? What does television mean at all for perception in its full scope that includes aesthetic aspects? Given that the TV image consists of the screen picture and the program image - can the screen picture be deduced from the spatial aesthetic design of surfaces and from the extramobile (intramural, in the meantime also mobile) picturality? And, with difference to this, does the program image need to be conceived of as an intramobile image within temporal currents, that are to be configured from a plurality of simultaneously recording cameras onto the selecting remote control devices by way of permanent interruption and by achieving this with a constant production of flow? What consequences from that fact are to be derived for visual sound that possibly always directs TV, cell phone images (not vice versa as with film), and screen text (and SMS)? Once this duality is proven the theory of teleaudiovision aesthetics usually set up as an aesthetic of genres needs to be elevated up to a higher level. Even when genres as elsewhere may only be upheld as mixed genres TV remains caught in doubt with respect to which genre it may be subsumed and thereby understood in terms of a theory of aesthetics. All in all TV can only be represented as a point of departure for the general concept of teleaudiovison (TAV). In the context of the research project proposed besides the named phenomena of screen media there will be layed analytic emphasis on a second main area which is the technological and product features in order to arrive at a more plural, diversifying notion of aesthetic TAV. Besides TV and the cell phone it will be taken account of the internet, of radio and surveillance technology. Perspectival point of the whole project remains whether the technologies mentioned only get to a fuller understanding in theory, but also in reality when surmounting the point of view of art.

With departure from a phenomenology modified and using the results of media studies an aesthetics on the basis of a philosophy of the media can tackle issues of a theory of television. Does an advanced theory of art under the post-medium condition also gain insight into television and its possibility to be art? What does television mean at all for perception in its full scope that includes aesthetic aspects? Given that the TV image consists of the screen picture and the program image - can the screen picture be deduced from the spatial aesthetic design of surfaces and from the extramobile (intramural, in the meantime also mobile) picturality? And, with difference to this, does the program image need to be conceived of as an intramobile image within temporal currents, that are to be configured from a plurality of simultaneously recording cameras onto the selecting remote control devices by way of permanent interruption and by achieving this with a constant production of flow? What consequences from that fact are to be derived for visual sound that possibly always directs TV, cell phone images (not vice versa as with film), and screen text (and SMS)? Once this duality is proven the theory of teleaudiovision aesthetics usually set up as an aesthetic of genres needs to be elevated up to a higher level. Even when genres as elsewhere may only be upheld as mixed genres TV remains caught in doubt with respect to which genre it may be subsumed and thereby understood in terms of a theory of aesthetics. All in all TV can only be represented as a point of departure for the general concept of teleaudiovison (TAV). In the context of the research project proposed besides the named phenomena of screen media there will be layed analytic emphasis on a second main area which is the technological and product features in order to arrive at a more plural, diversifying notion of aesthetic TAV. Besides TV and the cell phone it will be taken account of the internet, of radio and surveillance technology. Perspectival point of the whole project remains whether the technologies mentioned only get to a fuller understanding in theory, but also in reality when surmounting the point of view of art.