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"Kittler, Friedrich A."
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The truth of the technological world : essays on the genealogy of presence
Friedrich Kittler (1943–2011) combined the study of literature, cinema, technology, and philosophy in a manner sufficiently novel to be recognized as a new field of academic endeavor in his native Germany. \"Media studies,\" as Kittler conceived it, meant reflecting on how books operate as films, poetry as computer science, and music as military equipment. This volume collects writings from all stages of the author's prolific career. Exemplary essays illustrate how matters of form and inscription make heterogeneous source material (e.g., literary classics and computer design) interchangeable on the level of function—with far-reaching consequences for our understanding of the humanities and the \"hard sciences.\" Rich in counterintuitive propositions, sly humor, and vast erudition, Kittler's work both challenges the assumptions of positivistic cultural history and exposes the over-abstraction and language games of philosophers such as Heidegger and Derrida. The twenty-three pieces gathered here document the intellectual itinerary of one of the most original thinkers in recent times—sometimes baffling, often controversial, and always stimulating.
eBook
Media theory and cultural technologies : in memoriam of Friedrich Kittler
In recent decades, media theory has become one of the most influential trends in contemporary thinking, namely within cultural studies, the arts and humanities. Spreading mostly from the German scholarly scene, under the influence of post-structuralism, media theory has developed as a fundamental theoretical framework, for many fields of theoretical and applied research, through authors such as the late Friedrich Kittler, 1943-2011. Commenting on several aspects of Kittler's work, and on its impact in different fields of art and culture, this essay collection examines recent developments in media theory brought about by concepts such as \"cultural techniques\" and \"operative ontologies\" and by key authors, contributing to this volume, such as Bernhard Siegert, Sybille Krämer and Peter Weibel.
eBook
A Mathematics of Finitude: On E. T. A. Hoffmann's \Jesuit Church in G.\
[...] it was not a flat surface, rather it was a semiround niche, onto which he was to paint; the correspondence between the squares that the curved lines of the net cast inside the niche and the straight lines of the original sketch and the correction of the architectonic relations that were supposed to be represented as projecting outward could only be accomplished by this simple brilliant method.1 At the center of the story stands a technical problem of painting that could be posed only under the media-historically constitutive conditions of European modernity. For it was this project that first demolished in museums like Denon's Louvre the old European hierarchy of landscape, history, and architecture painting in order to push through the general image concept of modernism that Berthold's theory also observes; this project burst open for the first time on the European continent the secret doors behind which palaces, churches, and monasteries had preserved and concealed books, documents, and images.
Journal Article
Baggersee: Fruhe Schriften aus dem Nachlass
Baggersee versammelt fruhe, unveroffentlichte Texte aus dem Nachlass Friedrich Kittlers. Die zwischen Mitte der 60er und Mitte der 70er Jahre verfassten Essays entstanden im Kontext neuer Freiraume. Am titelgebenden Baggersee, einer Kiesgrube bei Niederrimsingen in der Nahe Freiburgs, verbrachte Friedrich Kittler lange Sommer mit Schwimmen, Sonnen, Denken, Lesen, Diskutieren, Lieben und Grenzerfahrungen machen. Die Themenvielfalt der hier versammelten fruhen Texte verdankt sich nicht zuletzt den Sommertagen am Baggersee. Die Essays kreisen um Gegenstande des Alltags, Lekturen, Reisebeobachtungen, Naturphanomene, Sinneswahrnehmungen, Korperfunktionen, Wiederganger, Natur und Kultur, Tod und Leben. Friedrich Kittler schreibt uber Haare, Tiere, Filme, Spielautomaten, Kreuzwortratsel, Spiegel, Popmusik, Technik, Rauchen, Rausch und Mode. Am Ende der Studentenbewegung war auch in Freiburg der Aufbruch zu einem neuen Denken spurbar. Das Bewusstsein einer Veranderung oder Krise eroffnete Raum fur ein Schreiben, in dem Gedankengespinste, Beobachtungen, systematische Erorterungen und solitare Einfalle zusammentreten.
eBook
The City Is a Medium
What strikes the eye of the passerby as a growth or entropy is technology, that is, information. Since cities no longer lie within the panopticon of the cathedral or castle and can no longer be enclosed by walls or fortifications, a network made up of intersecting networks dissects and connects the city-in particular its fringes, peripheries, and tangents.
Journal Article
Unpublished Preface to Discourse Networks
The text of the previously unpublished-in-English preface to Kittler's \"Discourse Networks\" is translated by Geoffrey Winthrop-Young and published here. Kittler says that the following book starts out from the premise that more is at work in literary history than mind and labor processes. If literary texts are, and have, a history, then it involves information technologies--in a programmatic rather than a merely mimetic sense. If, for example, poetry is information, then it can be read 'as' a technology rather than as an occasional reflection on other technologies. It is no doubt of importance to literary historians to study how writers experienced the onset of trains as devices that saved muscular exertion, but how literature itself functions as an extension or replacement of the central nervous sytem is a great deal more important, can be understood as a technology employed to do something, and is, of course, the main topic of consideration in \"Discourse Networks.\" OA
Journal Article
A mathematics of finitude: on E.T.A. Hoffmann's \Jesuit Church in G.\
[...] it was not a flat surface, rather it was a semiround niche, onto which he was to paint; the correspondence between the squares that the curved lines of the net cast inside the niche and the straight lines of the original sketch and the correction of the architectonic relations that were supposed to be represented as projecting outward could only be accomplished by this simple brilliant method.1 At the center of the story stands a technical problem of painting that could be posed only under the media-historically constitutive conditions of European modernity. For it was this project that first demolished in museums like Denon's Louvre the old European hierarchy of landscape, history, and architecture painting in order to push through the general image concept of modernism that Berthold's theory also observes; this project burst open for the first time on the European continent the secret doors behind which palaces, churches, and monasteries had preserved and concealed books, documents, and images. Reprinted with the permission of Wayne University Press
Journal Article