CONSERVATIVE IMAGINATION AND TECHNOLOGY. GERMAN "KONSERVATIVE REVOLUTION" IN THE CONTEXT OF MEDIACULTURAL HISTORY

1.尽管《节奏的本质》（1923）对现代文明和现代技术的发展持强烈的对立态度，但它的批判论证形式与现代主义美学有着共同之处，即对想象身体的麻醉，这在鲁特曼的电影《柏林，大城市的交响乐》（1927）中是典型的。乔治-克瑞斯的“成长计划”的特点，它既是传统主义“文化精英”对魏玛大众文化的一种防御性反应，也是自我的一种媒介审美策略，在视觉大众文化及其媒介美学的背景下，对“魏玛”视觉艺术的反思，体现了魏玛的表层美学，旨在寻求一种新的视觉在传统主义诗学理论中，“形式”的复兴是一种排他性的、选择性的、封闭性的沟通的可能。Borchardt）认为在技术隐喻的“密码”和“教养”作为一个关键的解码器。传统主义的美学和诗意话语是在与传播技术话语的类比中形成的。4.作为典型的“礼仪联盟”的“乔治-克瑞斯”，在自组织的规则性结构原则和与大众社会的临界距离上，与魏玛的精英工程师群体有着相似之处。

1.In spite of its bitterly antagonistic attitude towards the modern civilization and its technological developments, the form of critical argument in "Vom Wesen des Rhythmus" (1923), for example, shares the anesthetization of the imaginative body with the modernist aesthetic which is typical for the Ruttmann's film "Berlin, die Sinfonie der Grossstadt" (1927).2.The emphasized conception of the Gestalt, characteristic of the "Bildungsprogramm" of the George-Kreis, could be considered not only as a defensive reaction of the traditionalist "Kultur-Elite" against the Weimar mass culture but also as a media aesthetical strategy of the self-presentation which reflects the Weimar surface aesthetic and aims at a new visibility on the background of the visual mass culture and its medial aesthetic.3.A reflection on the possibility of a exclusive, selective or hermetic communication could be found in the revival of "Form" as a topic of the traditionalist poetic theory (R. Borchardt) which argues in technological metaphor of the "secret codes" and the "Bildung" as a key decoder. The traditionalist aesthetic and poetic discourse forms itself in analogy to the discourse of communication technology.4.The "George-Kreis" as a typical "Mannerbund" is similar to the elite engineer group of Weimar in its disciplinarian structural principle of the self-organization and its critical distance to the mass society.