This essay follows the fascinating mythology of grace and gift exchange to construct an argument about appearances as transcending the boundaries of things through a form of radiance or shining. The latter is based on the primary figure of the Graces, Aglaea, whose name literally signifies shining. The question arises how the obligatory rules of gift exchange—giving, receiving, and returning—apply to appearances, which leads to a cyclical “alternating current” of shining and working. It now becomes clear why the ancient Greeks (...) married the ethereal figure of Aglaea to the sweaty, clubfooted smithgod Hephaestus: shining things are necessarily linked to the making of shining things. In the magic realm of Hephaestus shining and automation are fully merged: automata are without exception made of gold or silver, while the abundantly embellished objects he creates always evoke movement. At this point in the essay the term “phenotechnology” is coined: the work of making things lies in their overworking (hypergon) which is sharply contrasted to the classic notion of ornament as parergon, as by-work, or in the words of Aby Warburg, as bewegtes Beiwerk. Instead of viewing movement as added-on (Alberti) to structure we find that the figural movement of pliant motifs in fact creates structure, a structure that according to Gottfried Semper undergoes “the mystery of transfiguration,” which reverses the relationship between surface and space: space is the very depth of radiating surfaces. (shrink)

By slowly dissolving the contrast between necessity and chance we arrive at Leibniz’ Principle of Sufficient Reason, which we trace back to his ideas on sufficient grace. Doing so, the world of things falling and befalling starts to become the engine of appearances and images, something we initially find in Lucretius, then in Virilio and Baudrillard. Why is it that the media crave accident? Because in phenotechnology only the transfer to images counts, not the breaking with the final cause (...) of technical objects. From the perspective of media, nothing goes wrong. The media constitute a realm of technical grace, the gentle force that makes brutal events happen. (shrink)

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