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In the popular imagination, archives are remote, largely obsolete institutions: either antiquated, inevitably dusty libraries or sinister repositories of personal secrets maintained by police states. Yet the archive is now a ubiquitous feature of digital life. Rather than being deleted, e-mails and other computer files are archived. Media software and cloud storage allow for the instantaneous cataloging and preservation of data, from music, photographs, and videos to personal information gathered by social media sites. In this digital landscape, the archival-oriented media theories of Wolfgang Ernst are particularly relevant.Digital Memory and the Archive, the first English-language collection of the German media theorist's work, brings together essays that present Ernst's controversial materialist approach to media theory and history. His insights are central to the emerging field of media archaeology, which uncovers the role of specific technologies and mechanisms, rather than content, in shaping contemporary culture and society. Ernst's interrelated ideas on the archive, machine time and microtemporality, and the new regimes of memory offer a new perspective on both current digital culture and the infrastructure of media historical knowledge. For Ernst, different forms of media systems-from library catalogs to sound recordings-have influenced the content and understanding of the archive and other institutions of memory. At the same time, digital archiving has become a contested site that is highly resistant to curation, thus complicating the creation and preservation of cultural memory and history.

Almost thirty years ago, W. J. T. Mitchell's Iconology helped launch the interdisciplinary study of visual media, now a central feature of the humanities. Along with his subsequent Picture Theory and What Do Pictures Want?, Mitchell's now-classic work introduced such ideas as the pictorial turn, the image/picture distinction, the metapicture, and the biopicture. These key concepts imply an approach to images as true objects of investigation—an \"image science.\" Continuing with this influential line of thought, Image Science gathers Mitchell's most recent essays on media aesthetics, visual culture, and artistic symbolism. The chapters delve into such topics as the physics and biology of images, digital photography and realism, architecture and new media, and the occupation of space in contemporary popular uprisings. The book looks both backward at the emergence of iconology as a field and forward toward what might be possible if image science can indeed approach pictures the same way that empirical sciences approach natural phenomena. Essential for those involved with any aspect of visual media, Image Science is a brilliant call for a method of studying images that overcomes the \"two-culture split\" between the natural and human sciences.

A proposal that electracy—the special skills needed to navigate and understand our digital world—can be developed through play. In today's complex digital world, we must understand new media expressions and digital experiences not simply as more technologically advanced forms of “writing” that can be understood and analyzed as “texts” but as artifacts in their own right that require a unique skill set. Just as agents seeking to express themselves in alphabetic writing need to be literate, “egents” who seek to express themselves in digital media need to be—to use a term coined by cybertheorist Gregory Ulmer—electrate. In Inter/vention, Jan Holmevik helps to invent electracy. He does so by tracing its path across the digital and rhetorical landscape—informatics, hacker heuretics, ethics, pedagogy, virtual space, and monumentality—and by introducing play as a new genre of electracy. Play, he argues, is the electrate ludic transversal. Holmevik contributes to the repertoire of electrate practices in order to understand and demonstrate how play invents electracy. Holmevik's argument straddles two divergences: in rhetoric, between how we study rhetoric as play and how we play rhetorically; and in game studies, between ludology and narratology. Games studies has forged ludology practice by distinguishing it from literate practice (and often allying itself with the scientific tradition). Holmevik is able to link ludology and rhetoric through electracy. Play can and does facilitate invention: play invented the field of ludology. Holmevik proposes a new heuretic in which play acts as a conductor for the invention of electracy. Play is a meta behavior that touches on every aspect of Ulmer's concept of electracy.

Since the 1967 riots that ripped apart the city, Detroit has traditionally been viewed either as a place in ruins or a metropolis on the verge of rejuvenation. In Digital Detroit: Rhetoric and Space in the Age of the Network , author Jeff Rice goes beyond the notion of Detroit as simply a city of two ideas. Instead he explores the city as a web of multiple meanings which, in the digital age, come together in the city’s spaces to form a network that shapes the writing, the activity, and the very thinking of those around it. Rice focuses his study on four of Detroit’s most iconic places—Woodward Avenue, the Maccabees Building, Michigan Central Station, and 8 Mile—covering each in a separate chapter. Each of these chapters explains one of the four features of network rhetoric: folksono(me), the affective interface, response, and decision making. As these rhetorical features connect, they form the overall network called Digital Detroit. Rice demonstrates how new media, such as podcasts, wikis, blogs, interactive maps, and the Internet in general, knit together Detroit into a digital network whose identity is fluid and ever-changing. In telling Detroit’s spatial story, Rice deftly illustrates how this new media, as a rhetorical practice, ultimately shapes understandings of space in ways that computer applications and city planning often cannot. The result is a model for a new way of thinking and interacting with space and the imagination, and for a better understanding of the challenges network rhetorics pose for writing.

The Technological Introject explores the futures opened up across the humanities and social sciences by the influential media theorist Friedrich Kittler. Joining the German tradition of media studies and systems theory to the Franco-American theoretical tradition marked by poststructuralism, Kittler's work has redrawn the boundaries of disciplines and of scholarly traditions. The contributors position Kittler in relation to Marshall McLuhan, Jacques Derrida, discourse analysis, film theory, and psychoanalysis. Ultimately, the book shows the continuing relevance of the often uncomfortable questions Kittler opened up about the cultural production and its technological entanglements.

The art of living today has shifted to a continuous state of the experimental. In one of his last texts,Telemorphosis, renowned thinker and anti-philosopher Jean Baudrillard takes on the task of thinking and reflecting on the coming digital media architectures of the social. While \"the social\" may have never existed, according to Baudrillard, his analysis at the beginning of the twenty-first century of the coming social media-networked cultures cannot be ignored. One need not look far in order to find oneself snared within some sort of screenification of a techno-social community. \"What the most radical critical critique, the most subversive delirious imagination, what no Situationist drift could have done . . . television has done.\" Collective reality has entered a realm of telemorphosis.

While never formally recognized as a school of thought in its time, the work of a number of University of Toronto scholars over several decades - most notably Harold Adams Innis and Marshall McLuhan - formulated a number of original attempts to conceptualize communication as a phenomenon, and launched radical and innovative conjectures about its consequences. This landmark collection of essays re-assesses the existence, and re-evaluates the contribution, of the so-called Toronto School of Communication. While the theories of Innis and McLuhan are notoriously resistant to neat encapsulation, some general themes have emerged in scholarly attempts to situate them within the discipline of communications studies that they helped to define. Three such themes - focus on the effects and consequences of communications, emphasis on communications as a process rather than as structure, and a sharp focus on the technology of communication, or the 'medium' - are the most fundamental in characterizing the unique perspective of the Toronto School. This collection not only represents a crucial step in defining the 'Toronto School,' it also provides close analysis of the ideas of its individual members.

Is it possible to incite a turn towards Media Philosophy, a field that accounts for the autonomy of media, for machine agency and for the new modalities of thought and subjectivity that these enable, rather than dwelling on representations, audiences and extensions of the self? In the wake of the field-defining work done by Friedrich Kittler, this important collection of essays takes a philosophical approach to the end of the media era in the traditional sense and outlines the implications of a turn that sees media become concepts of the middle, of connection, and of multitude—across diverse disciplines and theoretical perspectives. An expert panel of contributors, working at the cutting edge of media theory, analyze the German thinker's legacy and the possibilities his thought can unfold for media theory. This book examines the present and future condition of mediation, within the wider context of media studies in a digital age.

The media are now redundant. In an overview of developments spanning the past seventy years, Siegfried Zielinski's[ . . . After the Media]discusses how the means of technology-based communication assumed a systemic character and how theory, art, and criticism were operative in this process. Media-explicit thinking is contrasted with media-implicit thought. Points of contact with an arts perspective include a reinterpretation of the artist Nam June Paik and an introduction to the work of Jake and Dinos Chapman. The essay ends with two appeals. In an outline of a precise philology of exact things, Zielinski suggests possibilities of how things could proceed after the media. With a vade mecum against psychopathia medialis in the form of a manifesto, the book advocates for a distinction to be made between online existence and offline being.

In Zeiten von Smartphone und Social Web die Medienkritik von Günther Anders und Theodor W.Adorno zu behandeln, scheint auf den ersten Blick ein antiquiertes Vorhaben zu sein.Dabei wird die Auseinandersetzung mit ihren Gedanken zu Mensch, Gesellschaft und Medien immer wichtiger.