Papers by Solveig Ottmann
KulturRevolution. Zeitschrift für angewandte Diskursanalyse, Nr. 79, S. 79–82., 2020
Moser, Karin/Eder, Franz/Keller, Mario (Hrsg.) (2020): Grenzenlose Werbung. Zwischen Konsum und Audiovision (=Werbung – Konsum – Geschichte, Band 2), Berlin, Boston: De Gruyter, S. 80–108., 2020
Allouche, Ulrike/Ottmann, Solveig/Roesler-Keilholz, Silke (Hrgs.) (2020): Schlaf(modus). Pause ⏐ Verarbeitung ⏐ Smartphone ⏐ Mensch. (=Augenblick 77. Konstanzer Hefte zur Medienwissenschaft). Marburg: Schüren, S. 5–11., 2020
Burkhardt, Markus / Shnayien, Mary / Grashöfer, Katja (Hrgs.) (2020): Explorations in Digital Cultures. Lüneburg: meson press., 2020
Spreading news has been one of the main functions of the internet from its very beginnings. As ea... more Spreading news has been one of the main functions of the internet from its very beginnings. As early as the beginning of the 1980s newspaper publishers started to offer news not just on paper, but online. This serves us as the starting point to scrutinize web journalism. Referring to certain moments in the history of e-newspapers and their utilization of more and more web and social media services, we want to investigate how the change in journalism epitomizes certain characteristics of the internet—or, to be more precise, how certain misconceptions of what e-papers are and of what the internet is overlap. Aiming for a better understanding of today’s digital culture we try to develop an idea of what we call the “acousticness,” or “noisiness,” of the internet, as opposed to the internet’s common conceptualization in visual terms.
In: Dotzler, Bernhard/Reimann, Sandra (Hrgs.) (2018): Mitteilungen des Regensburger Verbunds für Werbeforschung - RVW. Band 6, S. 41–53, 2018
Auditive Medienkulturen. Magazin der AG Auditive Kultur und Sound Studies, 2019
Rehm, Robin/ Wagner, Christoph (Hrgs.): Design-Patente der Moderne 1840-1970. (= Zoom. Perspektiven der Moderne, Bd. 5). Berlin: Gebr. Mann Verlag, S. 356‒361 , 2019
The Canadian film Pontypool (McDonald 2008) revolves around the emergence of infected zombie-lik... more The Canadian film Pontypool (McDonald 2008) revolves around the emergence of infected zombie-like creatures in the small Canadian town of Pontypool, Ontario. These creatures are characterised as ‘conversationalists’, as they become infected by diseased spoken words.
Pontypool shows an intense affinity with radio broadcasting. The film’s plot is entirely located within the ‘Beacon Radio’ station; the protagonists only learn about the events in Pontypool via information that is relayed by telecommunication media, especially the telephone and radio signal.
Wireless technology and radio signals will become one of the crucial tools of the virus-induced apocalypse; and the radio can also function as the primary medium through which the film and its ‘conversationalists’ are to be understood. This reading of the film is supported by considering the history of broadcasting and the media history of the recording and the transmission of the voice, providing insight into spiritualist and media historic discourses about (blasphemous) alterations of communication, ‘media zombies’, and the radio signal that becomes the carrier of an apocalypse in Pontypool.
ruhr-uni-bochum.de
Anliegen des Artikels ist es deshalb, die enge Verbundenheit der (Gothic-) Musikband Welle: Erdba... more Anliegen des Artikels ist es deshalb, die enge Verbundenheit der (Gothic-) Musikband Welle: Erdball zur elektrisch-physikalischen Entstehungsgeschichte der radiophonen Technologie zu untersuchen. Zunächst wird die Band selbst vorgestellt, wobei ...
Books by Solveig Ottmann
AugenBlick. Konstanzer Hefte zur Medienwissenschaft, 77, 2020
Allumfassende Mediennutzung ist heute irreversibler Fakt – selbst das ehemalige Refugium des Schl... more Allumfassende Mediennutzung ist heute irreversibler Fakt – selbst das ehemalige Refugium des Schlafs kann sich dem Ubiquitous Computing nicht entziehen. Für die medienwissenschaftliche Forschung gilt es daher vor allem die Menschen in ihrer Beziehung zu den Medien in den Blick zu nehmen. Es gilt, einen Blick darauf zu werfen, wie Menschen mit Medien leben können und sollen; es gilt mithin, eine Mediengeschichte des Menschen zu schreiben – so lange es noch eine Geschichte des Menschen ist. Dieser Sammelband leistet hierzu einen initialen Beitrag.
Media Appearances by Solveig Ottmann
Projektseminar-Homepages by Solveig Ottmann
"Weißt Du eigentlich, wie Regensburg klingt?" Mit dieser Frage beschäftigte sich das Projektsemin... more "Weißt Du eigentlich, wie Regensburg klingt?" Mit dieser Frage beschäftigte sich das Projektseminar „Klänge der Stadt. Soundscape Regensburg“ im Wintersemester 2014/15. Als Ergebnis entstand eine Website, deren Kernstück eine Soundmap von Regensburg geworden ist.
Dieser Blog ist Teil des Projektseminars “Das Medium Werbeschallplatte” des Lehrstuhls für Medien... more Dieser Blog ist Teil des Projektseminars “Das Medium Werbeschallplatte” des Lehrstuhls für Medienwissenschaft der Universität Regensburg.
Die Werbeschallplatte ist ein Medium, das sowohl in der öffentlichen Wahrnehmung, als auch in der Forschungslandschaft kaum bekannt ist und somit wenig Beachtung findet.
Entsprechend liegt hier ein eklatantes Forschungsdesiderat vor, dem sich dieses Projektseminar auf Basis der sogenannten „Spremberg-Sammlung“ anzunehmen versucht. Die Studierenden analysierten im Laufe des Sommersemesters 2014 die Sammlung aus verschiedenen Perspektiven mit dem Ziel, die Fragestellungen und deren Ergebnisse hier anschließend festzuhalten und darzustellen.
Call for Papers by Solveig Ottmann
A violin in a concert hall, a sonar in the wide, open sea, a television set in a living room or a... more A violin in a concert hall, a sonar in the wide, open sea, a television set in a living room or an ambulance siren in a busy city: when (media) objects are placed in a location, many of them resonate sonically within a given space. Their signals can be measured, documented and discussed as cultural signifiers. And while the nature of acoustic objects, spaces and signals has a broad variety, they are connected through a question of purpose. When acoustic objects emanate sound, this sound is most often designed to go somewhere, in many cases even somewhere specific. How to approach this directionality within a broader framework of media objects is the central theme of the workshop ACOUSTIC OBJECT IVE S. The workshop is a contribution to the most recent debate in German-and in part international-Media Studies about their methodological groundwork (cf. Engemann/Sprenger/Heilmann 2019, Niebling/Raczkowski/Reinerth/Stollfuß 2019). The aim is to draw on interdisciplinary approaches to suggest a first toolbox for the research of Sound (precisely Acoustics), Objects and Spaces, which we broadly define as such: 1. "Acoustic" refers to the nature and related problems of the transmission and propagation of information via signals (cf. Kinsler/Frey 1967: vf.). These signals can have a sound nature, and often do, but also depend on information technology as a basis of their form. 2. "Object ive s" refers to any and all media objects, which are located in spaces and/or also (in)form them through sound. The questions of acoustics, objects and space are central to the history of media studies, particularly the Toronto school's discussion of acoustic and visual space (cf. Williams 1955, Carpenter/McLuhan 1967, McLuhan/McLuhan 1988). Marshall McLuhan argued that the "eclipse of the machine" (Winner 1977: 193) in the 20 th century had brought back the acoustic space defined by a "complicated tissue of events in which connections of different kinds alternate or overlap or combine" (McLuhan/McLuhan 1988: 40). But what tools can be used to methodologically frame objects, spaces and acoustic movements in order to understand aspects of this 'complicated tissue' and the nature of an 'acoustic space'? It is with regard to these questions, that a methodological framework in and beyond media studies will be developed. Proposals for the workshop ACOUSTIC OBJECT IVE S should showcase an approach to the status, history and role of media objects and the objective of their acoustic output with regards to the ontologies and epistemologies surrounding them. What are the parameters of their emergence, what are the changes? What and how do they measure and how can they themselves be measured, regulated, documented and narrated? And, as an overall question: What are, and how can acoustically motivated explorations of media give a better insight into the understanding, the objectives and the nature of both analogue and digital media? We invite proposals from scholars working in any discipline to participate and particularly encourage scholars in the Sciences and the Digital Humanities to contribute.
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Papers by Solveig Ottmann
Pontypool shows an intense affinity with radio broadcasting. The film’s plot is entirely located within the ‘Beacon Radio’ station; the protagonists only learn about the events in Pontypool via information that is relayed by telecommunication media, especially the telephone and radio signal.
Wireless technology and radio signals will become one of the crucial tools of the virus-induced apocalypse; and the radio can also function as the primary medium through which the film and its ‘conversationalists’ are to be understood. This reading of the film is supported by considering the history of broadcasting and the media history of the recording and the transmission of the voice, providing insight into spiritualist and media historic discourses about (blasphemous) alterations of communication, ‘media zombies’, and the radio signal that becomes the carrier of an apocalypse in Pontypool.
Books by Solveig Ottmann
Media Appearances by Solveig Ottmann
Projektseminar-Homepages by Solveig Ottmann
Die Werbeschallplatte ist ein Medium, das sowohl in der öffentlichen Wahrnehmung, als auch in der Forschungslandschaft kaum bekannt ist und somit wenig Beachtung findet.
Entsprechend liegt hier ein eklatantes Forschungsdesiderat vor, dem sich dieses Projektseminar auf Basis der sogenannten „Spremberg-Sammlung“ anzunehmen versucht. Die Studierenden analysierten im Laufe des Sommersemesters 2014 die Sammlung aus verschiedenen Perspektiven mit dem Ziel, die Fragestellungen und deren Ergebnisse hier anschließend festzuhalten und darzustellen.
Call for Papers by Solveig Ottmann
Pontypool shows an intense affinity with radio broadcasting. The film’s plot is entirely located within the ‘Beacon Radio’ station; the protagonists only learn about the events in Pontypool via information that is relayed by telecommunication media, especially the telephone and radio signal.
Wireless technology and radio signals will become one of the crucial tools of the virus-induced apocalypse; and the radio can also function as the primary medium through which the film and its ‘conversationalists’ are to be understood. This reading of the film is supported by considering the history of broadcasting and the media history of the recording and the transmission of the voice, providing insight into spiritualist and media historic discourses about (blasphemous) alterations of communication, ‘media zombies’, and the radio signal that becomes the carrier of an apocalypse in Pontypool.
Die Werbeschallplatte ist ein Medium, das sowohl in der öffentlichen Wahrnehmung, als auch in der Forschungslandschaft kaum bekannt ist und somit wenig Beachtung findet.
Entsprechend liegt hier ein eklatantes Forschungsdesiderat vor, dem sich dieses Projektseminar auf Basis der sogenannten „Spremberg-Sammlung“ anzunehmen versucht. Die Studierenden analysierten im Laufe des Sommersemesters 2014 die Sammlung aus verschiedenen Perspektiven mit dem Ziel, die Fragestellungen und deren Ergebnisse hier anschließend festzuhalten und darzustellen.