Do you get the #vibe?: Zur postdigitalen Medienästhetik der Atmosphäre. (German)

Do you get the #vibe? On the post-digital media aesthetics of the atmosphere. (English)

BENJAMIN, Walter, 1892-1940; ENO, Brian, 1948-; CASTELLS, Manuel, 1942-

The article "Do you get the #vibe?: On the post-digital media aesthetics of atmosphere" by Tanja Prokic deals with the concept of "vibe" and its meaning in various contexts. The vibe is used as an everyday convention for unspeakable, subcutaneous moods and has established itself with social media. The article examines the vibe as a specific figure of knowledge and finds that it is closely related to installation arts and the creation of atmospheres. The vibe is a relational phenomenon that depends on communication, cultural coding, and medial framing. The article argues that the return of the vibe is related to an increasingly mediatized environment. The text deals with the post-digital media aesthetics of atmosphere and considers the example of the Icelandic pavilion. It is noted that installation and media-based art increasingly appear as an extension of lifeworld contexts and often serve as a retreat and place of recovery. The development of ambient media is explained using Brian Eno's album "Ambient I: Music for Airports" from the late 1970s. It is emphasized that ambient media aim to create a strong mood, even without the full attention of the audience. The text also mentions the exhibition "Living Fog" by Japanese artist Fujiko Nakaya and emphasizes the role of relational art and media participation. It is pointed out that the term "vibe" is often used in social media to describe certain moods and that the vibe represents a mixture of objective qualities and subjective perceptions. The text deals with the ontological status of atmospheres and their relationship to subjects and objects. Walter Benjamin's concept of aura is discussed and how it has changed in the age of technical reproducibility. The text also discusses the commercialization of the internet and the importance of content in Web 2.0. It is emphasized that content should not only be seen as substance but also as a placeholder and that it is closer to a mathematical concept of information. According to Terranova, individuals in the media industry invest in "free affective and cultural labor" that goes beyond employment or paid work. The commercialization of the internet is accompanied by a transformation of the commodity, which shifts into an open process. Digital platforms like Instagram or TikTok hide the work behind apparent coincidences and seemingly authentic gestures. They act as intermediaries and bring together different user groups. These platforms depend on user participation and have an economic interest in the generation and sharing of content. The interface plays an important role in the techno-economic structure of commercial platforms. It enables the shift from aura to vibe as an open, unfinished, relational dimension. Interface design simplifies and directs user interactions. It not only changes behavior but also has structural effects on cultural scripts and expectations. Digital platforms entangle the social in their functioning and lead to the "platformization of publicness". The boundaries between subject and object are increasingly blurred. The text deals with the impact of the internet on the experience of presence and the change of time and space. Manuel Castells describes the network society as an emergent form of space and time. The text also discusses the aesthetic. [Extracted from the article]

Als alltagsnahe Konvention für unsagbare, subkutane Stimmungen hat sich mit den Sozialen Medien der Ausdruck ‚Vibe‘ etabliert, der im zugehörigen Hashtag Konjunktur hat. Was differenziert sensorisch erfahrbar ist, sich aber einer begrifflichen Festlegung verwehrt, bleibt durch die Kennzeichnung als‚Vibe‘ offen für Assoziationen und Eindrücke. Gerade weil der Vibe ein indexikalischesVerhältnis zu einer sinnlich erlebten Wirklichkeit unterstellt, weist er eine Nähe zu installativen Künsten auf, die uns durch die Kreation von Atmosphären sinnlich involvieren, ohne eine eindeutige Bedeutung nahezulegen. Seit einigen Jahren tut sich auch in der Theorielandschaft die Forderung kund, den Atmosphären und Stimmungen von (literarischen, theatralen, filmischen, skulpturalen, musikalischen, architektonischen etc.) Kunstwerken und Objekten mehr Aufmerksamkeit einzuräumen. Die folgenden Ausführungen nehmen diese gehäufte Präsenz des‚Vibe‘ in unterschiedlichen Zusammenhängen von der Theorie über die Kunst bis in die Alltagskultur zum Anlass einer konstellativen Analyse, um den Vibe als spezifische Wissensfigur in Betracht zu ziehen. [ABSTRACT FROM AUTHOR]

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