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

1.例如，尽管对现代文明及其技术发展持强烈的敌对态度，但《节奏之声》（1923）中的批判论证形式与吕特曼的电影《柏林》（Berlin, die sininfonie der Grossstadt）（1927）中典型的现代主义美学分享了对想象身体的麻醉。乔治-克雷斯的“教育纲领”所强调的格式塔概念，既是传统主义“文化精英”对魏玛大众文化的防御性反应，也是一种反映魏玛表面美学的自我呈现的媒介美学策略，其目的是在视觉大众文化及其媒介美学的背景下寻求新的可见性。传统主义诗歌理论（R. Borchardt）将“形式”作为一个主题进行复兴，并以“密码”和“建筑”作为关键解码器的技术隐喻进行论证，这反映了一种排他性、选择性或封闭性传播的可能性。传统主义的美学和诗歌话语是在与传播技术话语的类比中形成的。“乔治-克雷斯”作为典型的“风尚联盟”，其自组织的纪律结构原则和与大众社会的临界距离与魏玛的精英工程师群体相似。

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.