The Ego of Artificial Intelligence
In digital societies, our ego is inevitably shaped by automatic surveillance and manipulation via algorithms. In my book chapter »Identity 5.0: How to Fight Algorithms Off/Online (Fast)«, I show what complete dependence on algorithms would mean and how disobedience and deliverance from ubiquitous monitoring become possible, by developing five ideal identity types derived from fictious characters: Puppet Identity, E-Pimetheus, E-Xistentialist and Dice Man. For the book chapter I developed drawn emblems for each identity type. Since the publication is open source, you can read it for free. See the link below.
Identity 5.0: How to Fight Algorithms Off/Online (Fast). In: (Dis)Obedience in Digital Societies. Perspectives on the Power of Algorithms and Data. Transcript Verlag, Bielefeld. 2021. Eds: Prof. Dr. Sven Quadflieg, Prof. Klaus Neuburg, Prof. Dr. Simon Nestler. Language: English.
The Fraud of Art
Some premium-priced artworks arouse suspicions that they might be clever con manoeuvres to make money in a convenient way. In my magazine article, I uncover some “(Con)Artistic Strategies for How to Succeed in the Art Market” by analysing two films: Orson Welles’ F for Fake (1973) and Banksy’s Exit through the Gift Shop (2010). It gets clear: The demands on artists and con artists alike have changed. The article (as well as the cover of the magazine issue) is adorned with black and white drawings that I created myself.
(Con)Artistic Strategies for How to Succeed in the Art Market. In: Journal for Art Market Studies. Vol. 5 № 1: Representing the Art Market (2021). Ed.: Dr. Susanne Meyer-Abich. Language: English.
The Storytelling of Film
In order to describe storytelling precisely, for analysing and understanding its impact, Gérard Genette developed a classic of narrative research, “Discours du récit” (Eng: “The Narrative”). Markus Kuhn transferred Genette’s tools to the storytelling of film. In my review “Discours du récit du film” for DIEGESIS – Journal zur Erzählforschung (Journal of Narrative Research), I summarise Kuhn’s most important findings and examine their suitability.
Discours du récit du film. Über Markus Kuhns Filmnarratologie. In: DIEGESIS. Interdisziplinäres Journal zur Erzählforschung. Vol. 6 № 1: Narration and Knowledge (2017). Eds.: Prof. Dr. Matei Chihaia, Prof. Dr. Sandra Heinen, Prof. Dr. Matias Martínez, Prof. Dr. Katharina Rennhak, Prof. Dr. Michael Scheffel, Prof. Dr. Roy Sommer. Language: German.
Creative Destruction
Art is a disruptive innovator of itself
Bernd Friedrich von Schon
Art as a school of innovation – my magazine article “Dis | rupt | ion” clarifies what disruption means and shows that disruptive innovations are inseparably part of the essence of the avant-garde. Because of its innovator position, art can serve as a teacher to other disciplines – such as business, marketing, industry – in seven ways.
Dis|rupt|ion. Ein künstlerisches Paradigma als Inspiration der Ökonomie. In: Art Value. Positionen zum Wert der Kunst. № 17 (2016). Ed.: Dr. Tilman Welther. Language: German.
The Standards of Two Crimes
The more extensive the knowledge of the media, the more evident it is that narrative takes place mostly as a sequence of established standard situations, which are more often varied than creatively renewed; only rarely are entirely new narrative situations created. This makes it all the more important to know the traditional standards of one’s medium and genre. In the anthology by Prof. Dr. Thomas Koebner et al., together with my co-author Nicole Ehringhausen, I examine two such standardised motifs that actually should not be described as “standard” situations: Rape and torture. What are recurring clichés in the representation of these crimes, how are they avoided and which films are innovative in their depiction?
Folter / Vergewaltigung. In: Handbuch Standardsituationen im Film. Schüren Filmverlag. 2016. Eds.: Prof. Dr. Thomas Koebner, Prof. Dr. Norbert Grob, Anette Kaufmann. Language: German.
Entertaining Lies on TV
Scripted Entertainment TV series with a reportage style achieved incredible market shares of over 30% in german television in the 2010s. They were discussed quite controversially by public broadcasters and in the feuilleton. In my book chapter “Vom Experimentalroman zum Lügenfernsehen” (“From the Experimental Novel to Liar’s TV“), I explore the success of the series and trace their historical origins in film and literature.
Vom Experimentalroman zum Lügenfernsehen. In: Ansichtssache. Zum aktuellen deutschen Film. Schüren Filmverlag. 2013. Eds.: Dr. Bernd Zywietz, Harald Mühlbeyer. Language: German.
Coach Cinema
Is cinema and the discipline of film studies valuable for coaching? In my book chapter „Lichtspiele. Trügerischer Schein oder Medien der Erleuchtung?“ (“Lichtspiele. Illusive Phenomena or Media of Enlightenment?“), I explain how film, via storytelling, and film studies, via analysis and reflection, can convey and anchor knowledge and insights and thus become useful tools for coaches.
Lichtspiele. Trügerischer Schein oder Medien der Erleuchtung? In: Coach Ausbildung. Ein strategisches Curriculum. Verlag Wissenschaft und Praxis. 2011. Eds.: Dr. Rolf Meier, Axel Janßen. Language: German.
Mentality Shift of Storytelling
Inevitably, Zeitgeist inscribes itself in stories, necessitates new, innovative stories and also alters the perception of existing ones. In “Plötzliche Risse im Patriotismus” (“Sudden Cracks in Patriotism”), I explore the change in mentality brought about by the caesura of “9/11” and its aftermath, and show how they changed our view of the films Rambo III (1988) and Air Force One (1997) forever.
Plötzliche Risse im Patriotismus. Ein rezeptionsästhetischer Blick auf überraschende Leerstellen in Rambo III (1988) und Air Force One (1997) nach dem 11. September 2001. In: Schnitt. Filmmagazin. Language: German.
The Worldview of Storytelling by David Lynch
Our beliefs shape the stories we tell. In my article “Yellow Brick Road oder Lost Highway?”, I reveal how David Lynch’s films can be decoded from the worldview of Maharishi Mahesh Yogi – of whom Lynch is a renowned devotee. From this approach, some of his suspenseful mysteries no longer seemO all that enigmatic.
»Yellow Brick Road« oder »Lost Highway«? Der Kultregisseur David Lynch propagiert »Transzendentale Meditation in der Kölner Universität.In: Schnitt. Filmmagazin. Language: German.