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

1.尽管它对现代文明及其技术发展持激烈的对立态度，但例如，在《Vom Wesen des Rhythmus》(1923年)中，批评论点的形式与拉特曼的电影《柏林，格罗斯施塔特》(1927)中典型的现代主义美学一样，分享了对想象身体的麻醉。2.乔治-克瑞斯的《成长纲领》中强调的格式塔概念，这不仅是传统主义“库尔图尔精英”对魏玛大众文化的一种防御反应，而且也是一种自我呈现的媒介审美策略，它反映了魏玛的表面审美，目的是在视觉大众文化及其媒介审美的背景下获得新的可见性。3.作为传统主义诗学理论(R·博查特)的一个主题，“形式”的复兴可以反思一种排他的、选择性的或封闭的传播的可能性，该理论在技术隐喻中论证了“密码”和“成长”作为关键的解码者。传统主义的审美和诗意话语与传播技术的话语形成类比。4.作为典型的“曼巴本德”，“乔治-克赖斯”与魏玛的精英工程师群体在自组织的规律性结构原则和与大众社会的临界距离上具有相似之处。

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.