Montage / Sampling / Morphing. On the Triassic of Aesthetics / Techniques / Politics
Diedrich Diederichsen

The term «montage» once harbored the hope for a relearning of artistic means of production, especially in its most technically advanced form. Sampling played a similar role in the digital «revolution». But what has become of this hope? Why did «morphing» never become such a cultural-revolutionary catchword? The pop-theorist Diedrich Diederichsen investigates the interactions of art, media and society, in both the realm of the visual (film, photomontage, morphing) and the audio (sound-collage and sampling). At the same time, he devotes special attention to political-ideological constructs for which the montage should serve, as applies, either as a means to promote or destroy illusions. [more]

Image: Montage and Modernity Montage as an enlightening practice: Disclosure of contexts of origin Montage as a means of construction and concurrent destruction Three montage terms Sound: Pop Music and Montage The montage dichotomy of the 1970s: Electronics vs. punk Sound: Sampling and Postmodernism Sampling as (again) anti-illusionistic electroquote machine Sampling and postmodernism Image + Sound: Montage and Sampling Image: Morphing