Bernhard Siegert even considers cultural techniques to be a "consolidated" term (Siegert 2011, 97). Indeed, studies in cultural techniques have been increasingly institutionalised in the last decade with special research areas in, among others, Weimar (Geschichte und Theorie der Kulturtechniken and Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie), Berlin (Helmholtz-Zentrum für Kulturtechnik), Erfurt (Cultural Techniques Research Lab), and Basel (Media of Exactitude). Moreover, a book series entitled Kulturtechnik is published by Fink; another one -Recursions: Theory of Media, Materiality, and Cultural Techniques -by Amsterdam University Press.
Hamlet stages problems of immanent synchrony that can be described as both motor and product of specific temporalities. By contemplating different timelines and even problematising the notion of linear time itself, Shakespeare’s tragedy illustrates that de/synchronisation relies on cultural techniques, which, in the context of the play, consist of the basic operations of calculating, representing, and commanding. At the same time, however, synchronisation proves to be inevitably recursive as it always already necessitates further operations. As this reading of Hamlet shows, the relevance of cultural techniques becomes apparent when it is understood as a heterogeneous arrangement in which technical-practical, aesthetic, symbolic, and political concepts interact.
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