Starry Skies and Frozen Lakes: - 麻省理工学院人工智能研究专业

Starry Skies and Frozen Lakes:
Alexander Kluge’s Digital
Constellations*

PHILIPP EKARDT

Film, Literature, and TV

Since its beginnings in cinema and literature, the work of Alexander
Kluge has manifested itself in increasingly diverse formats and media environ-
评论, including television and, 最近, the digital realm. Kluge’s cine-
matic debut was the 1960 Brutality in Stone (Brutalität in Stein), co-directed with
Peter Schamoni, the first in an extended sequence of short films, most of them
executed according to a montage principle in which documentary segments
are juxtaposed with static visual material (including illustrations and printed
页面) in combination with often asynchronous sound samples and comment-
ing voice-overs. 随后, Kluge also began to experiment with longer
durat ions in his cinemat ic work, st art ing with Yesterday Girl (Abschied von
Gestern) 的 1965, in which he introduced acted sequences that can be read as
nuclei for potential filmic plots, though these often unfold only in a fragment-
ed manner. These elements are interspersed with fields of onscreen lettering.
Reminiscent of silent film’s intertitles, these written-word screen projections
provide commentary and punctuation, and have become a visual trademark of
his work.

Like his films, Kluge’s literary texts emerge from an aesthetic commit-
ment to brevity. 他的 1962 short-story collection Lebensläufe (Case Histories) 曾是
the first in what has become a sequence of volumes constructed out of brief
core components and presented in sequential, non-narrative order. Kluge’s
subsequent literar y works include the 2007 Geschichten vom Kino (Cinema
Stories), his chronicle of both the history of cinema and his own history as a
filmmaker; and the slender volume Dezember (2010), a collaboration with the
artist Gerhard Richter, whose photographs of the snowed-in woods surround-
ing the Swiss Alpine resort town of Sils Maria are juxtaposed with Klugean tales

*
I would like to express my gratitude to Alexander Kluge for patiently and generously
responding to my inquiries on several occasions. I thank David Joselit for encouraging and supporting
my interest in Kluge’s work, as well as for his editorial suggestions and advice on this piece. Thanks to
Jan Kedves for helping me improve an initial version of the interview script, and to Jess Atwood Gibson
for polishing the linguistic form of this essay.

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108

OCTOBER

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Alexander Kluge and Gerhard Richter.
Dezember. 2010.

on the themes of winter, stasis, and coldness.1

Whereas the rate of Kluge’s literary production has steadily increased over the
年, in his visual work he has gradually shifted away from classical film production.2
Coinciding with a reform in the funding of German films in the late 1970s that ren-
dered non-corporate independent cinematic work increasingly difficult to finance,
Kluge migrated to electronic equipment (cameras, mixers, ETC。) and two new for-
mats: his so-called “minute-films”—short clips often combining historic footage with
animated elements and visual manipulations, such as masks, coloring, etc.—and his
television features. When October dedicated a special issue to his work nearly twenty-
five years ago, Kluge had just embarked on this phase of his production.3 While these

1.
Alexander Kluge, Lebensläufe (Stuttgart: Goverts, 1962). Translated as Case Histories (新的
约克: Holmes & Meier, 1988). Geschichten vom Kino (Frankfurt am Main: 苏尔坎普, 2007). Partial trans-
关系: Cinema Stories (纽约: New Directions, 2007). Alexander Kluge, Gerhard Richter: Dezember
(Frankfurt am Main: 苏尔坎普, 2010).
2.
ing his films, as well as theoretical treatises coauthored with the Marxist philosopher Oskar Negt.
3.
cial issue, 十月 46 (落下 1988).

In addition to his literary works, his writings also comprise a number of volumes accompany-

“Alexander Kluge: Theoretical Writings, Stories, and an Interview,” ed. Stuart Liebman, spe-

Starry Skies and Frozen Lakes

109

特征, which are broadcast twice weekly late at night on German commercial net-
作品, occasionally contain documentary montages, textual elements, and music, 为了
the most part they consist of conversations between Kluge—who, while never visible
on camera, achieves a heightened aural presence through his insistent questioning
from out-of-field—and “experts” of all sorts, from politicians and thinkers to actors
and artists. The onscreen image is sometimes altered through a text-field on its lower
edge—where titles, comments, and pieces of additional information run from left to
right in the style of a news chyron—while the background behind the interviewee, 如果
filmed in a blue box, is often subjected to varying visual alterations and manipula-
系统蒸发散. The conversational segments are interrupted by fields of lettering and by addi-
tional pictorial elements, such as re-filmed book illustrations. Kluge’s programs are
marked by a style so divergent from their televisual environment, and so obstinately
sustained, that they have achieved instant recognition value, even when encountered
in the most fleeting moments of channel surfing.

Digital Works

Over the course of the past several years, Kluge has also integrated digital
media—DVDs and a Web site—into his work. His television production company
maintains an Internet presence, www.dctp.tv, where Kluge recombines selected
television features with elements from his analog films, as well as new documen-
tary and animated clips and independent short interviews. These elements are
grouped in so-called “thematic loops,” which are partially organized under larger
“theme complexes.” If clicked on, a loop appears in the form of a navigable bar
that can be scrolled laterally. Above it opens a window where a clip from the selec-
tion begins to play. On the navigation bar, the individual elements of a loop are
each represented through both a still image and a title. While organized in a bi-
directional linear fashion (scrolling is possible left to right), all elements are inde-
pendently accessible and can be watched in variable order.

Kluge’s use of the DVD started as documentation of his analog and early elec-
tronic filmic œuvre, which he made accessible in 2007 as a single boxed set, followed
by another compilation containing a selection of television features.4 A crucial
development occurred in 2008, when Kluge published his first proper production
for DVD, Nachrichten aus der ideologischen Antike (News from ideological antiquity)
(three discs, approximately nine hours), which takes its basic impulse from an inves-
tigation into Sergei Eisenstein’s unrealized film about Marx’s Das Kapital.5 The term
“published,” with its associations of magazines, newsprint, and book editing, is cho-
sen deliberately: The Nachrichten and Kluge’s major subsequent works for DVD have

Alexander Kluge, Sämtliche Kinofilme (Frankfurt am Main: Zweitausendeins, 2007). 亚历山大

4.
克鲁格, Seen sind für Fische Inseln. Fernseharbeiten 1987–2008 (Frankfurt am Main: Zweitausendeins, 2009).
5.
Alexander Kluge, Nachrichten aus der ideologischen Antike. Marx—Eisenstein—Das Kapital.
(Frankfurt am Main: Filmedition Suhrkamp, 2008). Eisenstein’s Notes for a Film of “Capital,” translated by
Maciej Sliwowski, Jay Leyda, and Annette Michelson, appeared in October 2 (夏天 1976), PP. 3–26. 看
同上。, PP. 27–38, for Michelson’s pioneering essay on Eisenstein’s project, “Reading Eisenstein
Reading Capital.”

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110

OCTOBER

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克鲁格. Without Music Life Is a Mistake:
Fassbinder’s Funeral. C. 2008.

so far all been distributed through the Suhrkamp publishing house, which is also
home to Kluge the literary author and theorist. Through the medium of the DVD,
Kluge has thus devised a strategy for commercially mediating his time-based visual
work that allows him to bypass the film and television industries—a potential that, 作为
Kluge explains in the interview to follow, may also be offered by online-platforms
such as YouTube.

The Nachrichten, as well as its successors—Früchte des Vertrauens (Fruits of
相信, which was occasioned by the financial crisis that broke out in 2008) 和
Wer sich traut, reißt die Kälte vom Pferd (Who dares pulls the cold off its horse), A
sister project to Kluge and Richter’s book Dezember—are clearly recognizable
developments of Kluge’s earlier analog, televisual, and authorial productions.6
To varying degrees, the works consist of clips, interviews, segments from Kluge’s
analog films, and sequences of onscreen lettering extended to unprecedented
durations. They most closely resemble Kluge’s late works for the cinema (例如,
The Patriot [Die Patriotin], 1979, and The Power of Feelings [Die Macht der Gefühle],
1984). These are characterized by picture-book-style montages, which often give
the viewer the feeling that she or he is leafing through the pages of a printed
and illustrated volume, along with acted scenes and plot fragments. Kluge’s
DVDs now offer a similar viewing experience, featuring a new type of filmed
segment whose design is governed by a commitment to “ars povera,” an aesthetic
doctrine that renounces artistic splendor, embellishment, and high production

6.
Alexander Kluge, Früchte des Vertrauens (Frankfurt am Main: Filmedition Suhrkamp, 2009). 还,
克鲁格, Wer sich traut, reißt die Kälte vom Pferd. Landschaften mit Eis und Schnee. Stroh im Eis (Frankfurt am Main:
苏尔坎普, 2010).

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Starry Skies and Frozen Lakes

111

价值观. These clips often consist of a single static take—one could call them
visual sketches—in which the camera catches the simplest of motifs. In the Wer
sich traut project, 例如, one sees a formation of snow; flakes drifting
close to the lens with the blurred surface of a frozen lake in the background;
and the view of wintry trees from the balcony of Kluge’s apartment. Kluge here
captures variations on the theme of
ice and snow with a matter-of-fact
approach that never seeks to derive
an aesthetic surplus value from the
potentially romantic motif of the
beautiful cold. In their unassum-
英, st r ipped- down st yle, t hese
images provide further evidence of
Kluge’s declared independence
from plenitude, const itut ing
instead of sober, visual exemplifica-
tions of the concept.

In compar ison with Kluge’s
long films and his television fea-
特雷斯, the elements of his DVDs are
less rigidly coordinated. The films
and features follow a linear struc-
ture and arrange their individual
components in a lineup in which
later segments partially refer back
to earlier ones. On his DVDs, 克鲁格
seems to have eroded this mode of
sequential development in favor of
more gener al grouping s, all of
which relate to a common topic but
none of which depends on being
deciphered in a particular order,
before or after another chapter.
The elements of Kluge’s DVDs have
thus entered a stage of loose cou-
pling, as it were, an organizational
flexibility enhanced by the collections of literary stories that come with each
DVD project. These are included as text-files, as well as in accompanying book-
lets in which the usual information (the list of disc chapters, producers’ credits,
ETC。) is banished to the back. These booklets form an integral part of the DVD
作品; in the case of the Wer sich traut project, the booklet has even been given a
proper title—Stroh im Eis (Straw in ice)—while the actual disc carries the title

克鲁格. Wer sich traut,
reißt die Kälte vom Pferd
(Who dares pulls the
cold off its horse). 2010.

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112

OCTOBER

Landschaften mit Eis und Schnee (Landscapes with ice and snow). 一起, 他们
constitute a digital/print diptych that figures under the overarching title Wer
sich traut, reißt die Kälte vom Pferd.

Picturing the Constellation

One of the ways in which Kluge addresses the digital is by figuring it as a
constellation, and indeed, the sky with its constellations of stars is a recurrent
visual motif in his films and features. Through the concept of the constellation,
Kluge pictures the multiplicity of Internet users, the attention that they invest in
their online activities, and the unstable interrelation that connects them, 和
turns them into a dynamic context of individually attending and producing sub-
项目. Kluge also rotates the image,
as it were, from a synchronic to a
diachronic dimension, declar ing
that the constellation may also serve
to model t he histor ical relat ion
between digital media and the ana-
log and electronic media that pre-
ceded them. The constellation thus
becomes a structural figure for a
relation in time, a media-historio-
graphical model shaped by the epis-
temological stance that new media
do not cancel or super sede old
媒体.

而且, beyond this general
historiographical perspective, 这
figure of the constellation can be
understood as specifically depicting
the temporal signature of Kluge’s
own work. 像这样, it relates to one
of t he fundament al pr inciples
according to which Kluge builds a
certain subcategory of his images.
Ever since t he analog celluloid
beginnings of his visual oeuvre, 他的
work has encompassed layered, 或者
constellated, image-entities in which
re-filmed historic footage is supple-
mented by and v iewed t hrough

Top: 克鲁格. Wer sich traut, reißt die
Kälte vom Pferd. 2010.
Bottom: 克鲁格. The Blind Director. 2010.

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Starry Skies and Frozen Lakes

113

masking devices and hazes of color. It is a method that constellates old and new
elements so as to produce multilayered structures. Another example of such a
constellational procedure can be found in the television features, in which Kluge
sometimes “places” an interlocutor, originally filmed in a blue box, “in front of”
footage shot elsewhere (例如, a hotel in Venice, already filmed by Visconti,
or the rotating moon, as filmed in a several-hour take at night). 这里, the elec-
tronically generated image configures segments of different temporal origins and
durations into a spatial arrangement by assigning them the positions of front and
back within a picture. Kluge’s viewer sees, 例如, German director and artist
Christoph Schlingensief conversing about the tragedy of Hamlet, while “behind”
him runs an accelerated, hazy camera recording of Schlingensief’s 2001 Zurich
staging of Shakespeare’s play where
an ensemble of shadow-silhouettes—
t he actor s— circulate t hrough a
foggy zone illuminated by irregularly
pulsing stage lights. Through such
程序, the figure/ground dis-
tinction that structures the image as
spatial representation assumes the
function of an intra-chronic hiatus.
This constellational layering of
onscreen images is further developed
by digital media in Kluge’s DVD pro-
项目. Whereas Kluge’s earlier films
construct mult i- strat a ent it ies
through analog means (例如,
by re-filming historic footage through
color foils stuck to the camera), 这
computer now enables Kluge to select
cutouts from an electronically record-
ed Caspar David Friedrich painting—
the iconic Sea of Ice (circa 1823–24)—
and impose them onto a series of
photographs of Western cities, 各种各样的
sites around the world, and of ice-
bergs adrift in the Arctic Sea. 这
result of this conjunction is a visual
fiction of the Earth thrown into the
stasis of a new ice age, an operation
through which human history itself is
bracketed as an episode of geo-histo-
里, a glimpse of a reverse diluvian

Both images: 克鲁格. Paraphrase zu
einem Bild Caspar David Friedrichs
(Paraphrase on a painting by
Caspar David Friedrich). 2010.

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114

OCTOBER

horizon where the human age does not emerge from the floods but reaches its
frozen end.

There is, 最后, a way of understanding the constellation as picturing the
recombinatory potential that digital media introduce to the history of Kluge’s pro-
duction in its entirety. Through its binary base, the DVD, just like the computer,
can function as storage for the texts as well as the (起初) analog, electronic,
or digital time-based visual works that constitute Kluge’s output. By virtue of this
质量, digital media offer the possibility of shoring up current and older frag-
ments from different phases of Kluge’s work-biography. In this manner, 文学的
stories about the theme of ice and snow can now be juxtaposed with short visual
takes on these motifs; 或者, as Kluge describes below, segments from his 1963 short
documentary Lehrer im Wandel (Teachers in a time of change) can now be linked
to more recent interviews for a program-loop on dctp.tv. Kluge has employed such
a method of combinatory re-editing as a principle in constructing his literary
works from the beginning of his activity as an author. The digital now allows him
to extend its reach into the pictorial dimension.

Paraphrasing the Constellation

In its diachronic aspect, as the model for a conjunction between the present
and a remote past, Kluge’s term points to one of its possible origins, namely the
concept of the dialectical image as found in the work of Walter Benjamin. 为了
本杰明, the dialectical image described a constellation between a “now” and a
previously obfuscated and forgotten historical moment of the past that are sepa-
rated by a temporal gap, which is to say that the two points in time are not con-
nected through a linear development.7 Benjamin found several exemplifications
for such a relation: 例如, in the way in which contemporary fashions appro-
priate and actualize outmoded aesthetics as discontinuous, a movement which he
called fashion’s tiger’s leap into the past; the Surrealists’ trophy hunting in the
stylistic cosmos of the late nineteenth century, a world of outdated tastes; 或者
way in which the French Revolutionaries “cited” ancient Rome.8 Thus, the dialec-
tical image structurally describes a constellation in time in which the disconnect-
ed past reenters a present while still articulating the temporal caesura that
marked it as a relation across time. And for Benjamin, it proved a structural figu-
ration of the image as such, amounting to a definition of the image as constella-
的. Kluge appropriates this figure in the following conversation as the specific

7.
For an attempt at a more detailed analysis of the dialectical image’s constellational character,
see the present author’s “Die Bestimmung der Aufnahme. Licht und Graphie bei Walter Benjamin,“ 在
Benjamin-Studien 2 (慕尼黑: Fink, 2011), PP. 52–56.
8.
See Walter Benjamin, “On the Concept of History,” in Selected Writings vol. IV., 编辑. 霍华德
Eiland, Michael W. Jennings. (剑桥, 大量的。: 贝尔纳普出版社, 2000) 2003, PP. 389–400; “Surrealism:
The Last Snapshot of the European Intelligentsia,” in Selected Writings vol. 二. 部分 1., 编辑. Michael W.
Jennings, Howard Eiland, Gary Smith (剑桥, 大量的。: 贝尔纳普出版社), PP. 207–21. Here p. 210.

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Starry Skies and Frozen Lakes

115

image of stars in a night sky, as an account of the digital, and in so doing he sub-
mits it both to a contraction—condensing the term’s history into a picture—and a
variation. The variation consists of the term’s application to the field of media
技术, where it now accounts for both the relation between the digital and
its technological antecedents and to the relations between various historical strata
of visual production as manifest within a single image (historic footage re-record-
ed and altered). Kluge occasionally refers to this general method of appropriation
of preexistent motifs and concepts, which in his work always includes a condensa-
tion and at least a slight modification, as a procedure of paraphrase. (考试用-
普莱, in the conversation, he describes his treatment of Eisenstein’s notes as “para-
短语,” and the previously mentioned series of transpositions of ice floes from
The Sea of Ice carries the title Paraphrase zu einem Bild Caspar David Friedrichs
(Paraphrase on a painting by Caspar David Friedrich). It should be noted that a
paraphrase is also the Klugean image for the constellation that rehearses the
older concept of the dialectical image, to which it adds the difference of media-
历史, as it opens from the standpoint of our digital present.

The Digital as Reconfiguration

Kluge’s concept of the constellation relates to his conception of the digital
as a reconfiguration of its preceding techniques, 策略, types of production,
and so forth. The digital enables Kluge to recalibrate, as it were, the activity of
剪辑, which is no longer necessarily tied to the linear temporal unfolding of a
film or a literary text. It allows him to re-actualize the relationship of his work to
the “primitive diversity” of archaic cinema, as he explains in the conversation.
And it gives him the opportunity to readjust the economies of short and long
durations in his works. These transformations are not without precedent in his
work-biography. 实际上, a comparable revision occurred when Kluge integrated
the means of the television feature—short programming, brief intertitles, graphic
元素, etc.—to further develop the specific relation of short elements and long
duration that had characterized his literary works (in which anecdotes/stories
make up texts/books) and films (in which short montage-episodes constitute the
entire, often quite extended, film and create its “picture-book” style).9

因此, for Kluge, the transition into the digital is not a mere reordering of
the elements and formal features that constitute his earlier work. It is also the
return to a preceding reconfiguration that took place when he expanded from the
systems of literature and film to the system of television. In Kluge’s work, digital-
ization thus amounts to reconfiguring the very process of reconfiguration, a sort
of second-order reordering, by which the activity of assigning a new arrangement
to an extant combination turns upon itself. The terminological correlate to this

9.
十月 46 (落下 1988), PP. 179–98.

See Miriam Hansen, “Reinventing the Nickelodeon: Notes on Kluge and Early Cinema,”

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116

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movement lies in the re-constellation of the notion of “constellation.” Under digi-
tal terms the concept of the constellation articulates the historical difference
between separate states of media-technology. But it also enters into a relation—a
constellation—with the previous meanings of the term constellation itself, 哪个
had carried different implications under analogical terms. These earlier meanings
are neither erased nor “corrected” by their digital counterpart, but are rather sub-
jected to a paraphrasing variation.

The Potencies of Storing

This reconfiguring activity is to no small extent enabled by the augmented pow-
ers and altered possibilities of storing that digitalization puts into effect. Kluge’s work
makes use of these transformations in the recording of visual and textual informa-
tion on the basis of a binary code. This allows Kluge to assemble the various formats
he works in within the context of a single medium, such as the DVD. 在这个意义上,
the DVD allows for a miniature representation of all the various media in which
Kluge is active: film, 电视, and literature—to which is added the digital format
that functions both as storage for the aforementioned forms of artistic articulation
and as a new medium used by Kluge in its own right.10

The second quality of digital storage that Kluge takes advantage of derives
from what could be considered, at least from the recipient’s perspective, a kind of
潜伏. None of the individual elements contained on a disc are present to the
eye of the recipient in the manner that printed pages in a book, or still frames on
a printed strip of celluloid, are visible. In the latter cases, units of visual informa-
tion may be “jumped,” by browsing a volume or by fast-forwarding a film in the
projector, but these acts of accelerated movement through a medium are categori-
cally different from skipping a track on a DVD or going through a set of icons that
represent text files on a screen. On a DVD, the act of reception involves a retrieval
of elements from a state of latency. This selective actualization constitutes another
type of constellating activity, a mode of deciphering an artwork that is shaped by
the type of storing specific to the digital. In the case of Kluge’s DVDs and Web
site, the elements of this correlating retrieval can belong to his current output,
but they may just as well consist of older—now digitally re-stored—work-segments.
Each of these acts of correlation thus potentially amounts to a constellating of ele-
ments from the present and the past. Instead of defining digitalization historically
and temporally as a radical break or a categorical rupture with a preexistent ana-
log and non-digital electronic order, Kluge’s work thus makes use of the digital as
the realm for such temporal conjunctions.

10.
In organizational terms, one major threshold divides the general combination possibilities
on Kluge’s discs. The choice between the selection menu for texts and the one for time-based visual
works forms the DVD’s highest structuring partition. Put in more concrete terms: portions of writing
may occur within a trajectory of clips as onscreen lettering or as filmed or photographed printed
页面, but there is no direct access from this essentially pictorial segment of the DVD to those sections
where Kluge’s literary stories are saved as text files in PDF format.

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Starry Skies and Frozen Lakes

117

The temporal vector of Kluge’s work, 然而, is oriented not just towards
reconfiguring a relation to the past but also towards the future. As Kluge explains in
the subsequent interview, the digital offers unprecedented storage capacities, 哪个
he exploits with the full knowledge that the recorded work will never be exhaustively
retrieved in any single act of viewing or reading. The constellational character of
reception, enabled by digital information’s latent exuberance, thus responds to a
type of work whose definite formal articulation becomes less and less a matter of the
artist/author’s or the public’s present. 反而, the work is as much addressed to an
uncertain future—whose indefinite futurity enters the body of the work itself, 哪个
never fully constitutes itself for a single viewer or reader. Kluge’s image for this partial
future-directedness in the conversation is that of a raft—a maritime vessel of compar-
ative simplicity that the artist sets in motion in the hope that future audiences will
encounter it one day and unload its aesthetic freight. These qualities are tied to a
transformation in the character of the artwork itself, 哪个, at least in Kluge’s inter-
预谋, takes on the structure of storage.

Three Negative Definitions of a
Klugean Approach to the Digital

The way in which Kluge does not address the digital is, 最后, just as instruc-

tive as the way in which he does. Three examples may demonstrate this.

Remarkably absent from Kluge’s analysis is an emphasis on simultaneity, A
Virilioan dromological perspective of acceleration and synchronization.11 (的确,
Kluge already thematized and rejected this possibility in his 1985 film Der Angriff der
Gegenwart auf die übrige Zeit (The assault of the present on the rest of time—distrib-
uted internationally under the title The Blind Director), which in part deals with the
disappearance of cinema and the emergence of such electronic media as television
and computerization.) While Kluge certainly underlines the all-encompassing char-
acter of the Internet, in his perspective this quality leads to a deregulation, not a
同步, of temporal orders. The result is a mode of reception that is char-
acterized by a new level of differentiation and accuracy with which people “appro-
priate” time. 反过来, it becomes mandatory for artworks and texts to readjust their
temporal economies if they are to persist in the digital realm.

第二, Kluge proves immune to the connectivity myth, which holds that the
transformative potential, and often also the political hopes, of the rising network
society will emerge from within the communicative activity of exchange alone. 克鲁格,
相比之下, does not conceive of the digital commons as a public sphere constituted
through mere interaction in networks. 相当, his notion of the public sphere

11.
看, 例如, the chapter “The Perspective of Real Time” in Paul Virilio’s book Open Sky,
where he lays out his “dromological” position that the “regimes of temporality” put in place by infor-
mation technologies lead to an exclusion of “temporal exteriority” in favor of a creation of the “instant
of instantaneous telecommunications,” an event that Virilio otherwise refers to as “the accident of the
present.” Paul Virilio, Open Sky (伦敦: Verso, 2008), PP. 22–34. The first two citations are on p. 22
和 p. 25; the third on p. 14.

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118

OCTOBER

remains tied to the idea of a large-scale projection, an abundant visibility of the
图像, which lies beyond or before the network, and around which the community
of viewers/onlookers gather and exchange their thoughts and feelings.

最后, Kluge does not deduce the primacy of smooth compositing from the
possibilities of the digital, as others have done, IE。, he does not equate the emer-
gence of an informational infrastructure for artworks with the end of the disjunctive
aesthetics of montage.12 On the contrary, Kluge dialectically recognizes a renewed
urgency for montage techniques in digital environments, insisting that montage
does not merely amount to the articulation of an aesthetics of disruption; 相当,
this discontinuity, through the immobilization of the flux of sensory impressions,
serves to generate suspended moments of reflection, as if a viewer had briefly
paused on a walk through the woods to let her gaze wander across a thicket of bare
stems and branches. In Kluge’s terms: instead of facilitating the flow of images, mon-
tage creates frozen lakes that need to be looked at in a quiet state of mind. 在这个
感觉, the landscapes with ice and snow that we see in Kluge’s most recent DVD—
the visual recordings of flakes drifting, of footprints in wintry fields, of a pair of
boots set against frozen grass, of a sunset on the polar circle—are also meta-images
depicting, in the brief duration their maker has allowed them, a reflective stillness,
islands of quiet observation with which Kluge seeks to freeze over the pressures of a
merely reactive attentiveness exerted on audiences present and future.

How to Access the Works of Alexander Kluge

The vast majority of Alexander Kluge’s literary and theoretical works have
appeared in German with the Suhrkamp publishing house. A few older titles are
still in print (Part-time Work of a Domestic Slave [Gelegenheitsarbeit einer Sklavin]), oth-
ers have been republished in new editions (Der Luftangriff auf Halberstadt am 8.
四月 1945 [The air raid on Halberstadt, 四月 8, 1945]; Lebensläufe). The monu-
mental two-volume Chronik der Gefühle (Chronicle of feelings), originally published
在 2000, consists of a near complete reissuing of every literary text that Kluge had
written up to that point. In line with his general artistic program, 个人
items in the Chronik have been partially subjected to slight variations as compared
to the original versions. English translations of a number of Kluge’s canonical lit-
erary texts exist (Case Histories, Battle, Learning Processes with a Deadly Outcome),
although the English editions sometimes only render selections from the original
collections (例如, Cinema Stories).

Kluge’s analog and electronic works for the cinema are all included in the

看, 例如, Lev Manovich: The Language of New Media (剑桥, 大量的。: 与新闻界,
12.
2001), PP. 136–45. Tom Conley describes a similar figure in Jacques Rancière’s interpretation of
Godard’s video and television works, in which Rancière recognizes a farewell to an artistic program of
dissensus and antagonism, and the emergence of a neo-symbolist aesthetics of mystery and fusion.
Tom Conley, “Cinema and its Discontents: Jacques Rancière and Film Theory,” in SubStance, 卷. 34, 不.
3 (2005), PP. 96–106.

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Starry Skies and Frozen Lakes

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DVD boxed set Sämtliche Kinofilme (Complete works for the cinema), 可用的
through the German media publisher Zweitausendeins, which also issued the
boxed set Seen sind für Fische Inseln. Fernseharbeiten 1987–2008 (To fish, lakes are
islands: works for television 1987–2008), which contains a fourteen-disc selection
of Kluge’s features for television. Both sets include subtitling options in English,
法语, 西班牙语, Chinese, and Russian. Kluge’s three DVD films to date
(Nachrichten aus der ideologischen Antike; Früchte des Vertrauens; Wer sich traut, reißt die
Kälte vom Pferd) have all appeared with Suhrkamp’s new film edition and are not
subtitled. The theme loops in which Kluge organizes his online work are at
www.dctp.tv/#/themen/themenschleifen.

In collaborat ion with Kluge, the German department at Pr inceton
University has established the Alexander Kluge Research Collection, comprising
digitized versions of his writings, films, and videos, as well as scholarly literature
on his work. Access is available on the Princeton campus, and detailed informa-
tion can be found at www.princeton.edu/german/kluge.