Tobias Wilke Livres

Considers the avant-garde rethinking of poetic language in terms of physical speech production. Avant-garde writers and artists of the twentieth century radically reconceived poetic language, appropriating scientific theories and techniques as they turned their attention to the physical process of spoken language. This modernist “sound writing” focused on the bodily production of speech, which it rendered in poetic, legible, graphic form. Modernist sound writing aims to capture the acoustic phenomenon of vocal articulation by graphic means. Tobias Wilke considers sound writing from its inception in nineteenth-century disciplines like physiology and experimental phonetics, following its role in the aesthetic practices of the interwar avant-garde and through to its reemergence in the postwar period. These projects work with the possibility of crossing over from the audible to the visible, from speech to notation, from body to trace. Employing various techniques and concepts, this search for new possibilities played a central role in the transformation of poetry into a site of radical linguistic experimentation. Considering the works of writers and artists—including Raoul Hausmann, Kurt Schwitters, Viktor Shklovsky, Hugo Ball, Charles Olson, and Marshall McLuhan—Wilke offers a fresh look at the history of the twentieth-century avant-garde. 

On the background of the heated debates on the extension of the Bundeswehr's spatial and functional remit since the mid-1990s, the EU member-states' readiness to agree on the 2003 European Security Strategy appears puzzling, as this document sets the normative and ideational framework for a new kind of robust military engagement on a global scale. Employing epistemological ideas of the concept of strategic culture on basis of a constructivist ontology, this book explores the causal mechanisms sufficient for the origin and adaptation of a pacifist turned „normal“ German strategic culture.

Medialität scheint Unmittelbarkeit per definitionem auszuschließen - und doch ist es gerade der Zusammenhang dieser beiden Phänomene, der in den 1920er und 1930er Jahren zu Brennpunkt der beginnenden Medienreflexion avanciert. Von Hugo Münsterberg bis Rudolf Arnheim, von Fritz Heider bis Lásló Moholy-Nagy, von Béla Balázs bis Walter Benjamin reichen die Versuche, jenes Verhältnis psychologische und ästhetisch zu konzipieren. Indem sie das Spannungsfeld von dringlicher Wahrnehmungswelt, technischen Apparaturen und menschlichem Sensorium neu kartieren, bringen sie „Medien der Unmittelbarkeit“ hervor.