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"Traffic"

On the Historical Alignment of Media and Mobility

Dorit Müller and Heike Weber

In a nineteenth century context, traffic could mean both communication and the transportation of goods and people. For instance, the German term “traffic” (Verkehr), referred to “communicating” (verkehren) and to “traffic”/“transportation” (Verkehr). Historically speaking, before the age of telegraphy, any communication over distance required the physical transport of a message or a messenger. Many authors, thus, identified the latter as a fundamental caesura in the relationship between media and mobility, uncoupling media from their previous reliance on physical movement. At the same time, telegraphy and the railway formed a paradigmatic symbiosis that enforced the ongoing duality between media and mobility: traffic depended on and sometimes boosted communication and vice versa. Hence, traffic and media were not disconnected as such, but their connections were rearranged and new ones emerged while others such as the postal services persisted.

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Florian Krobb

Kurze Schatten , Documentary, Germany, 2013; Gerd Roscher (director); color; 56 minutes; no distributor In 1859, twenty-three-year-old Albrecht Roscher embarked on a quest to discover the sources of the Nile. He was one of the earliest

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Johannes Görbert, Russ Pottle, Jeff Morrison, Pramod K. Nayar, Dirk Göttsche, Lacy Marschalk, Dorit Müller, Angela Fowler, Rebecca Mills, and Kevin Mitchell Mercer

German Literary Anthropology: Across Cultures, Across Genres Stefan Hermes and Sebastian Kaufmann, eds., Der ganze Mensch – die ganze Menschheit: Völkerkundliche Anthropologie, Literatur und Ästhetik um 1800 (Berlin: de Gruyter, 2014), 318

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Chia-ling Lai

also led to the rise of “dark tourism.” 2 Neither as sensationally traumatic as Auschwitz’s termination concentration camp in Poland nor as aesthetic as the forms of many modern Jewish museums in Germany and the United States, the Terezín Memorial in

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Filmmaking at a Crossroads

Ulrike Ottinger’s Johanna d’Arc of Mongolia Goes off the Rails

Grace An

Johanna d’Arc of Mongolia , West Germany/France, 1989, produced by Ulrike Ottinger. Filmproduktion Berlin in coproduction with Popular-Film GmbH Leinfelden, ZDF Mainz, and La Sept, directed and written by Ulrike Ottinger, starring Delphine

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Becoming-Wolf

Or The Art of Affection in Nicolette Krebitz’s Wild

Tanja Prokić

Wild , Germany, 2016, produced by Heimatfilm, directed and written by Nicolette Krebitz, starring Lilith Stangenberg, Georg Friedrich, Silke Bodenbender, Saskia Rosendahl, and Nelson and Cossa (wolves), DVD release by Euro Video Medien, 2017

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Ghana ThinkTank

Black Lives Matter Guerrilla Street Signs

Christopher Robbins, Maria del Carmen Montoya, and John Ewing

Biennial of Architecture; the National Museum of Wales; Hong Kong/Shenzhen Biennale in Shenzhen, China; ZKM | Museum of Contemporary Art, Karlsruhe, Germany; New Museum Festival of Ideas; the Foundation for Art and Technology, Liverpool, UK; and Eyebeam

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Imagining Futures of Energy

Views from Central Asia

Markus S. Schulz

Arctic, unconcerned about how its use would impact global climate. The Chinese pavilion featured an animated show likening the power of fusion to a dragon. Germany’s pavilion was organized under the theme “energy on track,” emphasizing the country’s post

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Wake in Guangzhou

The History of the Earth

Maria Thereza Alves

, He Xiagning, from Hong Kong, was a member of Sun Yat-sen’s central committee and traveled to the Philippines, Singapore, Sri Lanka, Paris, Germany, and other places for her exhibits. Seeds could have attached to her clothes and fallen in Guangzhou

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Transfers at a Crossroads

An Anthropological Perspective

Noel B. Salazar

Belgium in the 1990s, students were still expected to read philosophical texts in French, English, and German—and, I can assure you, reading Heidegger in German was maybe not much fun at first, but it taught me a lot about German culture and society. But