This article focusses on the hiatus between technological progress and the public understanding—or the lack thereof. It identifies those powers that are responsible for said hiatus to then re-introduce the critical humanities as a catalyst that re-enables the dialogue between the productive industry and its consumers. The way that the humanities have hence become “productive” is by way of critically engaging with both sides. In order to do so, they themselves require a distinct perspective, which is usually granted through artifacts. Accordingly, this article discursively follows the “Höhere Wesen” from Kazimir Malevich’s Black Square via Sigmar Polke to Nora Al-Badri and Jan Nikolai Nelles’ re-contextualization of both. The two ensuing questions thus read as follows: diachronically, who are the höhere Wesen? Discursively, how can man recover its agency whilst technology seemingly renders him increasingly passive? Nora Al-Badri and Jan Nikolai Nelles not only conceived a critical perspective of Industry 4.0 from within by creating their artifacts at the Research Campus ARENA2036, but they also suggest a concomitant interface that re-enables the public to participate in the very discourse that shapes their every day; i.e. their work offers an answer to both questions at stake. In other words, this article diachronically discusses the growing distance between the producing industry and the consuming public in light of the worker who negotiates his existence between conveyor belt and idleness. The goal is to finally identify a potential paradigm shift that gives back agency to man by means of a productive idleness.
%0 Journal Article
%1 Ackermann_2020
%A Ackermann, Clemens
%A Hossfeld, Max
%D 2020
%I Common Ground Research Networks
%J The International Journal of Critical Cultural Studies
%K fswsend:unibiblio hossfeld ifswsend:unibiblio myown peer
%N 2
%P 25--32
%R 10.18848/2327-0055/cgp/v18i02/25-32
%T Höhere Wesen befahlen: Negotiating Conveyor Belt and Idleness
%U https://doi.org/10.18848%2F2327-0055%2Fcgp%2Fv18i02%2F25-32
%V 18
%X This article focusses on the hiatus between technological progress and the public understanding—or the lack thereof. It identifies those powers that are responsible for said hiatus to then re-introduce the critical humanities as a catalyst that re-enables the dialogue between the productive industry and its consumers. The way that the humanities have hence become “productive” is by way of critically engaging with both sides. In order to do so, they themselves require a distinct perspective, which is usually granted through artifacts. Accordingly, this article discursively follows the “Höhere Wesen” from Kazimir Malevich’s Black Square via Sigmar Polke to Nora Al-Badri and Jan Nikolai Nelles’ re-contextualization of both. The two ensuing questions thus read as follows: diachronically, who are the höhere Wesen? Discursively, how can man recover its agency whilst technology seemingly renders him increasingly passive? Nora Al-Badri and Jan Nikolai Nelles not only conceived a critical perspective of Industry 4.0 from within by creating their artifacts at the Research Campus ARENA2036, but they also suggest a concomitant interface that re-enables the public to participate in the very discourse that shapes their every day; i.e. their work offers an answer to both questions at stake. In other words, this article diachronically discusses the growing distance between the producing industry and the consuming public in light of the worker who negotiates his existence between conveyor belt and idleness. The goal is to finally identify a potential paradigm shift that gives back agency to man by means of a productive idleness.
%@ 2327-0055
@article{Ackermann_2020,
abstract = {This article focusses on the hiatus between technological progress and the public understanding—or the lack thereof. It identifies those powers that are responsible for said hiatus to then re-introduce the critical humanities as a catalyst that re-enables the dialogue between the productive industry and its consumers. The way that the humanities have hence become “productive” is by way of critically engaging with both sides. In order to do so, they themselves require a distinct perspective, which is usually granted through artifacts. Accordingly, this article discursively follows the “Höhere Wesen” from Kazimir Malevich’s Black Square via Sigmar Polke to Nora Al-Badri and Jan Nikolai Nelles’ re-contextualization of both. The two ensuing questions thus read as follows: diachronically, who are the höhere Wesen? Discursively, how can man recover its agency whilst technology seemingly renders him increasingly passive? Nora Al-Badri and Jan Nikolai Nelles not only conceived a critical perspective of Industry 4.0 from within by creating their artifacts at the Research Campus ARENA2036, but they also suggest a concomitant interface that re-enables the public to participate in the very discourse that shapes their every day; i.e. their work offers an answer to both questions at stake. In other words, this article diachronically discusses the growing distance between the producing industry and the consuming public in light of the worker who negotiates his existence between conveyor belt and idleness. The goal is to finally identify a potential paradigm shift that gives back agency to man by means of a productive idleness.},
added-at = {2020-10-13T09:39:33.000+0200},
author = {Ackermann, Clemens and Hossfeld, Max},
biburl = {https://puma.ub.uni-stuttgart.de/bibtex/288aea460d4e78d3f0f630e3cd1690279/maxhossfeld},
doi = {10.18848/2327-0055/cgp/v18i02/25-32},
interhash = {33fd637fbc0b4bd12dabd2bb9ccead9e},
intrahash = {88aea460d4e78d3f0f630e3cd1690279},
isbn = {2327-0055},
issn = {2327-2376},
journal = {The International Journal of Critical Cultural Studies},
keywords = {fswsend:unibiblio hossfeld ifswsend:unibiblio myown peer},
number = 2,
pages = {25--32},
publisher = {Common Ground Research Networks},
timestamp = {2023-03-29T06:51:26.000+0200},
title = {Höhere Wesen befahlen: Negotiating Conveyor Belt and Idleness},
url = {https://doi.org/10.18848%2F2327-0055%2Fcgp%2Fv18i02%2F25-32},
volume = 18,
year = 2020
}
