Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Idiomatic Différance: Reflections on Intranslatability in the Works of Gerhard Richter

Translatability of a work of art, according to Walter Benjamin, is an essential ability to allow a translation to take on »a specific significance inherent in the original« so that it will retain a close relationship to the original. In contrast, Gerhard Richter's photo-based paintings show such an auratic significance of the original in its innate deficiency or intranslatability. As Rosemary Hawker puts it, the striking effect of blur in his paintings represents itself at once as a unique photographic idiom and a distinctive shortcoming of photography which impedes the medium from providing viewers with clearly perceivable images; the blur creates a site of différance in which both media come to a common understanding of one another’s idioms by telling what those idioms always fail to achieve. In this short essay, I will examine ways in which Richter’s photographic and pictorial works, including early monochrome paintings and recent abstract works based on microscopic photographs of molecular structures, attempt to untranslate photographic idioms in order to see painting’s (in)abilities simultaneously. In doing so, I intend to observe in the artist’s pictorial practice an actual phenomenon that the image can designate certain facts or truths only through its inherent plurality, faultiness, and partiality.

Das prognosebasierte Reservierungsverfahren - ein Ansatz zur Reduzierung der mittleren Fahrzeit in einer Regalfläche

Die neu entwickelte Belegungsstrategie basiert auf prognostizierten Verweildauern (VWD) und Zwischenankunftszeiten der Ladeeinheiten (LE) des Sortiments. Für jede Ladeeinheit, die im Lager ankommt wird berechnet, wie viele Ladeeinheiten während der Verweildauer dieser aktuellen Ladeeinheit voraussichtlich ankommen und das Lager auch in diesem VWD-Zeitraum wieder verlassen. In Abhängigkeit der aktuellen Lagerbelegung werden für die in dem Zeitraum ankommenden Ladeeinheiten Lagerfächer reserviert und erst anschließend die eingehende Ladeeinheit in das fahrzeitgünstigste, freie und nicht reservierte Lagerfach eingelagert. Eine zusätzliche Berücksichtigung des Energiebedarfes für die Ein- und Auslagerung ist möglich. Das prognosebasierte Reservierungsverfahren wurde neben den gängigen Belegungsstrategien in einem parametrisierbaren Simulationsmodell umgesetzt. Die Belegungsstrategien wurden anhand verschiedener Szenarien getestet und verglichen. Ein zusätzlich entwickelter Benchmark gibt Auskunft über die Qualität der Simulationsergebnisse.