Vier Leitkonzepte der Film-Philosophie werden vorgestellt: der Affekt, die Agentur, die Aufhebung und das Außen. Entwickelt und erprobt werden diese Konzepte in der Auseinandersetzung mit verschiedenen Filmen, insbesondere mit einer der spektakulärsten Filminstallationen der letzten Jahre, Christian Marclays”The Clock“. Film-Philosophie hat es mit zweierlei Problemstellung zu tun. Zum einen mit Fragen, die den Status des bewegten Bildes als eines eigenwilligen Gegenstands der Wahrnehmung und der Erfahrung betreffen sowie die Natur des kinematographischen Raums und der filmischen Zeit, die Spezifik der filmischen (...) Logik oder der audiovisuellen Argumentation. Zum anderen mit weiter ausgreifenden Fragen, wie derjenigen nach dem Menschen, nach dem Ästhetischen, nach dem Wissen oder der Geschichte, nach der Ordnung der Dinge. Am Kreuzungspunkt dieser beiden Tendenzen sind die hier versammelten Essays und ihre Leitkonzepte situiert. (shrink)

In a first part, the contribution goes through different competing and/or complementary concepts of ontography as they appear in phenomenology, object-oriented ontology, science and technology studies, and semiotics. From this comparative examination, the text develops a notion of ontography in contrast to that of ontology. It highlights the ontography of temporal objects and adds a specific media-philosophical approach to it by concentrating on the operations and tools of ontographical writing, registering or drawing being in time. In a second part, ontography (...) is analysed as a techno-aesthetic operation on television, namely as the core of the slow motion replay. Four spectacular examples of instant replay are taken from the history of television that make the writing of an extended and malleable presence through television visible. From that, the contribution develops a hypothesis about the ontographical functioning of the medium of television and of its approach to the world. (shrink)

Lars von Trier's film the boss of it all unfolds the mutual constitutional relations between man and medium and re-inserts itself in these relations. As one might expect, the anthropoid features, such as reflexivity and autopoiesis, are attributed to the personality of the author and its metonymic figures, while the instrumental, allopoietic medial functions, in contrast, are attributed to the genre of comedy. This attribution, however, fails. Rather, both types of functions interfere with each other, so that they can enter (...) into a relationship of transfer; now, the medium appears to be reflexive, while man appears as an instrument and effect. By maintaining their respective functions, however, man and medium constantly produce each other. German Lars v. Triers Film the boss of it all entfaltet die wechselseitigen Konstitutionsverhältnisse zwischen Mensch und Medium und ordnet sich selbst in diese Verhältnisse ein. Die anthropoiden Funktionen, etwa Reflexivität und Selbstverfertigung, werden dabei erwartbar der Person des Autors und ihren metonymischen Figuren zugeschrieben, die instrumentellen, allopoietischen medialen Funktionen dagegen dem Genre der Filmkomödie. Diese Zuschreibung scheitert jedoch. Beide Funktionstypen überlagern einander vielmehr, so dass sie in ein Übertragungsverhältnis treten können und nunmehr das Medium als reflexiv, der Mensch dagegen als Instrument und Effekt erscheint. Indem Mensch und Medium jedoch ihre jeweilig zugeschriebenen Funktionen dennoch behaupten, treiben sie einander unausgesetzt hervor. (shrink)

Lars von Trier's film the boss of it all unfolds the mutual constitutional relations between man and medium and re-inserts itself in these relations. As one might expect, the anthropoid features, such as reflexivity and autopoiesis, are attributed to the personality of the author and its metonymic figures, while the instrumental, allopoietic medial functions, in contrast, are attributed to the genre of comedy. This attribution, however, fails. Rather, both types of functions interfere with each other, so that they can enter (...) into a relationship of transfer; now, the medium appears to be reflexive, while man appears as an instrument and effect. By maintaining their respective functions, however, man and medium constantly produce each other. (shrink)

Philosophy and comedy are parallel enterprises of self-detachment. But while philosophy consistently carries out the detachment, comedy underlines its contradictions and undermines it. Thus, comedy gains an advantage especially where it reflects upon the material body which underlies every reflection, namely, its medium. My paper observes this process by studying Woody Allen's Annie Hall. Thus, the media-philosophy of the film can be contrasted against a philosopher's philosophy of the very same film.

Philosophy and comedy are parallel enterprises of self-detachment. But while philosophy consistently carries out the detachment, comedy underlines its contradictions and undermines it. Thus, comedy gains an advantage especially where it reflects upon the material body which underlies every reflection, namely, its medium. My paper observes this process by studying Woody Allen's Annie Hall. Thus, the media-philosophy of the film can be contrasted against a philosopher's philosophy of the very same film.

"Im Anschluss an Merleau-Ponty lässt sich nach der Möglichkeit einer ›Ontographie‹ fragen, die mit dem Seienden zugleich die ›Art zu sein‹ dieses Seienden verzeichnet. Solche Überlegungen zu einer »écriture de l’être« lassen sich über den Bereich der graphischen oder diagrammatischen Notation hinaustragen. Als ein Dispositiv, das Sein nicht nur aufschreibt, sondern ›aufstellt‹, wird hier exemplarisch das naturkundliche Habitat-Diorama analysiert. Im Zentrum steht die ontographische Operation der ›Versetzung‹, aus der die spezifischen Evidenz- und Unmittelbarkeitseffekte des Dioramas hervorgehen. Following Merleau-Ponty, one may (...) ask about the possibility of an ‘ontography,’ which would register both the existent and its way of ‘being’. Such reflections on an “écriture de l’être” can transgress the field of graphical or diagrammatic notation. As a dispositive that not only registers being but also ‘assembles’ it, this paper analyses the habitat diorama of natural history. The focus is on the ontographic operation of ‘displacement,’ from which specific effects of evidence and immediacy emerge.". (shrink)

The contribution explores Lars von Triers meta-filmic comedy The Boss of it all, starting from Jean Francois Lyotard’s reflections on the experiment in art and philosophy, and following the lines of Stanley Cavell’s assumptions on »genre as medium« and on comedy as reflexive form of film genre. The Boss of it all unfolds the experimental character of genre film, fi lm genre, and comedy. The fi lm presents itself as a paradoxical experimental object, detaching itself from its author, from genre (...) rules and spectator’s expectations. It acquires an independent status of action and reflection, and precisely by this looks at itself as a product of the orderings which it puts into question. This is described here under the aspect of ontology as well as in terms of action theory with the help of the concept of the agent. (shrink)