Das digitale Bild gibt es nicht. Über das (Nicht-)Wissen der Bilder und die informatische Illusion

Informationstheorie handelt nicht davon, was gesagt wird, sondern von dem, was gesagt werden könnte. Unter informatischen Bedingungen sind nicht die sogenannten "Inhalte" entscheidend, sondern die Anordnung und Verknüpfung von Daten. Der fundamentale Unterschied zwischen digitalen und analogen Bildern ist, dass digitale Bilder Information haben. Sie beschränken sich auf die Endlichkeit einer Datenmenge, deren Informationsgehalt streng genommen das ist, was nach maximaler, verlustfreier Kompression übrigbleibt. Mit dem Akt der gewalttätigen Repräsentation, mit der Beschneidung der analogen Unendlichkeit erkauft sich das Digitale gewissermaßen die Freiheit seiner Speicherbarkeit, seiner Übertragbarkeit und seiner Prozessierbarkeit. Der ganze Komplex der "Digitalisierung" und Vernetzung bedeutet dabei viel mehr als eine Übersetzungsleistung vorhandener "Inhalte" in ein anderes technisches "Medium". Die sogenannten "Inhalte", die Verkehrsformen und das Wissen einer Disziplin überhaupt existieren nicht unabhängig von ihren technischen Gegebenheiten, ihren Institutionen und Inszenierungsweisen. Kunstgeschichte, wie wir sie kennen, wird nicht als digitalisierte zu haben sein, sie gerät dabei zwangsläufig zu einer anderen und wir können nicht absehen, wie diese aussieht.

Traditionen, Utopien, Dekonstruktionen - die Sozialstaatskonzepte des 'Ostblocks' (1945-1990)

The welfare state concepts in Eastern Europe under state socialism (1945-1990) were based on the conviction that only the state was responsible for solving all social problems. The 'bourgeois' manners of individual care were substituted by general measures in the field of labour- and family politics, as well as urban development. The experience showed however that this way of substitution was an illusion, because certain target groups were still in need of help (for example ill or handicapped children and adults, elderly people etc). Nevertheless, most of the Eastern European countries - with the exception of Yugoslavia - decided to abolish the existing forms of professional social work and the training for social workers. Instead, they invented 'surrogate structures' to manage the care for the 'needy': Various institutions and occupational groups (schools, hospitals and ambulances, employees groups etc.) took over the tasks of social workers and were trained to fulfil this as a kind of 'social practice'. Therefore, it is wrong to claim that social work was completely abolished under state socialism, But: as social work 'as such' did not exist any longer, it is more reasonable to speak of welfare state concepts, including social policy on one hand, and non- or paraprofessional social practice on the other. To characterize the effect of these welfare state concepts three parameter of interpretation seem to be useful: 'traditions', 'visions', and 'deconstructions' - embedded in a system of repression as well as incentives. Traditions: The huge 'social laboratory' that was installed was not a totally new one - it still carried on the heritage of the bygone: some bourgeois traces as well as elements out of the fascist heritage and -last but not least - the traditions of their own socialist movement. Visions: The socialist traditions included visions of social justice, the creation of a 'new mankind', a classless society, the end of exploitation and a peaceful living together of all people. Although the 'real existing socialism' has destroyed most of these visions, the power of these utopian ideas has outshined a lot of the every day’s misfortune and injustice for quite a long time. Deconstructions: The term of 'deconstruction' has a threefold meaning: the deconstruction of professional welfare, the deconstruction - in the sense of reinterpretation - of the socialist ideals such as social justice and social security, making an instrument of inclusion and exclusion out of it. And the deconstruction that is necessary to free the history of social work under state socialism from the prejudices and distorting practices, from both sides, the east and the west. In the contribution these three parameter of interpretation are applied on the following issues: The gaps in the 'overall system' of social security; working morale and education for work; mass organisations as an instrument of egalitarianism and general prevention; de-professionalisation by 'surrogating' social work; the 'transparent client'; church as refuge or 'state organ'; women’s politics as bio-politics.

Real Walking through Virtual Environments by Redirection Techniques

We present redirection techniques that support exploration of large-scale virtual environments (VEs) by means of real walking. We quantify to what degree users can unknowingly be redirected in order to guide them through VEs in which virtual paths differ from the physical paths. We further introduce the concept of dynamic passive haptics by which any number of virtual objects can be mapped to real physical proxy props having similar haptic properties (i. e., size, shape, and surface structure), such that the user can sense these virtual objects by touching their real world counterparts. Dynamic passive haptics provides the user with the illusion of interacting with a desired virtual object by redirecting her to the corresponding proxy prop. We describe the concepts of generic redirected walking and dynamic passive haptics and present experiments in which we have evaluated these concepts. Furthermore, we discuss implications that have been derived from a user study, and we present approaches that derive physical paths which may vary from the virtual counterparts.

CFP Ephemere Architektur

Call for Papers für die kommende Ausgabe von *archimaera* (Herbst 2009)

Dutch boundaries

In many schools of architecture the 1970s have been an important watershed for the way in which architecture was taught. For example, recent studies have stressed the importance of Aldo Rossi for the changes in the teaching of architec-ture at the ETH in Zürich that before was based on orthodox modern principles. A similar struggle between an orthodox conception of modernity and its criticism took place at the architectural faculty of Delft, in the Netherlands. Although Delft is an important European school of architecture, the theoretical work produced during this period is not largely known outside the Netherlands. This is perhaps due to the fact that most studies were published in Dutch. With this article, I intend to make the architectural theory developed during this period known to a larger public. The article describes the intellectual journey made by Dutch stu-dents of architecture in the 1970s and 1980s. This was the quest to receive recognition for the intellectual substance of architecture: the insight architecture could be a discourse and a form of knowledge and not only a method of building. Specifically, the work of the architectural theoretician Wim Nijenhuis is highlight-ed. However, as I point out in this article, the results of this journey also had its problematic sides. This becomes clear from the following sentence taken from the dissertation of Wim Nijenhuis: "The search for metaphysical fiction and the tendency towards a technological informed absolute through fully transparent and simultaneous information, should be contested by a fantasy dimension, that does not wish to 'overcome' a given situation and that does not rely on 'creativi-ty' (that would still be historical and humanistic)." Texts like this have a hermet-ic quality that is not easy to comprehend for an architectural public. Even more, there is an important debate looming behind these sentences. As an important outcome of their quest the architectural students in Delft asked themselves: how do we give form to architectural theory once its claim to truth is exposed as an illusion? For Nijenhuis, the discourse about architecture is a mere 'artful game with words': a fiction, besides other forms of fiction like poetry or literature. The question is then if we have not entered the realm of total subjectivity and relativ-ism with this position. From what can the discourse of architecture derive its authority after the death of God?