Translation of "Bedeutungsproduktion" in English

Pursuing a conceptual approach, Heinrich Dunst (b. in Hallein/Salzburg in 1955) examines the production of meaning in art and its processes.

The classification of this labor as "less valued" is tied to a social process of meaning production.

For subversive symbolic practice, which also stimulates the production of meaning by other systems can indeed by presented in a playful manner.

Rainer Bellenbaum examines the cinematographic dispositif employed by the video artist Elizabeth Price in regard to its permeable production of meaning.

Thus, Ulrike Lienbacher's work is also about the photographic image as part of a powerful politics of representation, an economy of the image as an economy of power – an economy that is constantly forcing the image into new contexts of the production of meaning.

A series of five consecutive events delve into the genealogy of public institutional programming and the nature of the congress format as a platform for the production of meaning.

So not just collective self-defence – it is well known that the full name of the Black Panther Party was the Black Panther Party for Self-Defense –, but also an obvious relish in the production of meaning.

The compressed readings of institution and media as instances of meaning production in relation to gender differences and cultural distinctions belong to the significant characteristics of this series.

Economically successful nations do not only ‚tend’ towards a production of meaning concerning life and work – they also actively suppress any other meaning.

In a more limited sense these frames can be read as a reference to vitrines or display cabinets but also, in a figurative sense, as a reference to the practices of meaning production.

Impacted by this crisis are also—or especially—institutions devoted to contemporary cultural production: the relevance of such organizations is called into question, the accusation of elitism is repeatedly fielded, a politics of survey results is increasingly shying away from guaranteeing the resistance a space of independent meaning production, the creative industries are enmeshing cultural production with their tourist spectacles in an attention economy of grand figures.

Impacted by this crisis are also—or especially—institutions devoted to contemporary cultural production: the relevance of such organizations is called into question, the accusation of elitism is repeatedly fielded, and a politics of survey results is increasingly shying away from guaranteeing the resistance a space of independent meaning production. The creative industries are enmeshing cultural production with their tourist spectacles in an attention economy of grand figures.

Through a strategy of re-reading, re-writing and re-shooting, Coming Attraction deals with the process of the production of meaning through the identity of the cinema apparatus now linked to contemporary media.

One could also describe it as if one were setting in motion photographic processes that lead of their own accord to an image while, at the same time, eliminating from this process those moments that would be attributed to a continual production of meaning. The artists themselves speak of "heteronomous fields of agency" for legitimating photography (Ruth Horak, in: 21 Reportagen, 2008) that increasingly define them and superimpose and reshape photography as a process and production method.

A series of five consecutive events delved into the genealogy of public institutional programming and the nature of the congress format as a platform for the production of meaning.

Yet, the structural embedding in the mechanisms of the cultural production of meaning does not necessarily entail a non-critical attitude.

In a more limited sense these frames can be read as a reference to vitrines or display cabinets but also, in a figurative sense, as a reference to the practices of meaning production.

What is neglected in the process is that aesthetic experience is something endless, like the endlessness of interpretation and of the production of meaning itself.

In the same sense the concept of media culture had been used by Siegfried J. SCHMIDT (1992), Werner FAULSTICH (1998) or Knut HICKETHIER (2003), who define—like Knut LUNDBY (1993)—media culture as a culture in which the mass media are the main resources of meaning production.

If the patchwork of heterotopias or the rhizome of the Internet were to possess a "natural" and stable centre, there would be no dislocation and thus no problems of meaning.

According to Andreas Prinzing, the principle of superimposition is evident in the work of Maya Schweizer as well, at the heart of formal methods and production of meaning.

The criticism of individualism and the striving for a communal foundation for aesthetic action, for a "reconciliation" of social spheres, for civil participation in the processes of the production of meaning - all this testifies to a close proximity between connective aesthetics and the social theory of communitarism.

Relating to the present discussion about praxeology in comparative cultural research (RECKWITZ, 2005, p.96) this understanding integrates all three established discourses in the tradition of social constructivism: a mentalistic (emphasizing the relevance of classificatory systems), a textual (emphasizing the relevance of discursive formations) and a praxeological (emphasizing the relevance of everyday meaning production through practices).

If the workshop has stirred your curiosity and you want to know more about communication and the production of meaning than this outline offers, here is a small selection of further reading:

At the same time, she also emphasizes that representation cannot be constrained to the field of the regulated production of meaning or controlling power, but rather makes use of the linkage between imagination and desire to impel anticipative and transformatory movements.

Domestic work, thus, is configured within and through a field of contextualized social practices and situated meaning production related in particular to processes of feminization and racialization.

From these processses of "Rassierens", as Robert Miles has termed this special form of negative meaning attribution, the concept of mentality also remains not exempt and has already appeared in the last two decades as spreading cultural racism as a new form of racism, which has intensified.