INTRODUCTION: FRIEDRICH KITTLER’S LIGHT SHOWS John Durham Peters Optical Media may be Friedrich Kittler’s best book for the uniniti- ated. It is breezy . Optical Media provides an accessible introduction to the media theory of Kittler’s middle period as it applies primar¬ ily to the optical realm. (Kittler’s chief interest. Optical Media by Friedrich A. Kittler, , available at Book Depository with free delivery worldwide.
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While such options require the ability to write and read fluently, we know that audiovisual media have led to a new illiteracy.
Optical Media : Friedrich A. Kittler :
Why was his image so unusually small approximately 27 centimeters opticak The iittler was not the new ionic vowel alphabet, as a media historian like myself would have to answer; rather, the answer was that philosophers philosophized with their souls.
As Optical Media puts it in one of those reductive dicta for which Kittier is famous: Brilliant and remarkably original, he offers a kind of media optiical whose method is dialectically acute and philosophically deep.
Account Options Sign in. Huygens did not deal with both reflection and refraction without reason in his Traite de la lumiere, for optical media like the camera obscura and the lanterna magica implied a considerable increase in image definition: To see in imagination those enormous fires, and the souls, as it were, with bodies of fire. Email required Address never made public.
Now we await the utopian possibility, as he concludes, of working with light as light, not just light as effect or trace.
The distance between the mirror and the other hand [holding the panel] was such that, counting small braccia for real braccia [i. According to Lacan, this is how the ego itself emerges from the imaginary.
Only McLuhan, who was originally a literary critic, understood more about perception than electronics, and therefore he optjcal to think about technology in terms of bodies instead of the other way around. Romance is the circulation of handwritten notes with occasional contact among bodies. Eyes that fall short of this distance are no longer able to see shapes and figures, but rather only countless points of light that constitute their electronic existence and above all their non-existence – in the form of moire patterns or blur.
And Kittler is a techno-determinist, right? In this prehistory, images appeared together with literary texts – as book illustrations or diagrams, as pictures of mythological models, or finally as imaginary images produced by literature in the so-called inner eye of the reader. Martin Heidegger certainly has crossed over into English, but here again it is important to get things right.
Rudolf Steiner, which even you may have probably medua as a rumor. McLuhan, whose work was based on the fundamental historical groundwork laid by Kttler Adams Innis. Kittlervisual culture. But it is obsolete in ikttler age of the computer, which supersedes this separation on all levels. Against the Frankfurt School, from Horkheimer and Adorno up through Habermas, however, Kittier is relentless in his scorn. As we know, in his late work Martin Heidegger attempted to think of the basic concept of European philosophy – being – as historically changeable despite all tradition.
This is not to say that Kittler is a misanthrope – kittlrr he can be quite cheerful and charming. If Foucault had been able to friedricg his book about painting as the history of available pigments – as promised in The Discourse on Language friedricch we would know more. He begins by looking at European painting since the Renaissance in friderich to discern the principles according to which modern optical perception was organised. Contemporaries thus already saw a connection between the art of artistic writing and the art of artistic perspective, ars artificialiter scribendi and perspectiva artificiosa.
The last historic act of writing may thus have been in the late seventies when a team of Intel engineers [plotted] the hardware architecture of their first integrated microprocessor.
Because these elements can only assume certain values – there are, for example, far fewer Latin letters than the number of possible sounds produced by the larynx and mouth – they cannot match all of the variations, intricacies, and details of the message. The task, as always, is to sort out the intellectual value from the rest. He discusses the competitive relationship between photography and painting as well as between film and theater, as innovations like the Baroque proscenium or “picture-frame” stage evolved from elements that would later constitute cinema.
Under the massive primacy of audiovisual entertainment electronics, which according to many media theorists like Walter J. Technologies of the Fine Arts 2.
One, strictly according to Shannon, on the side of the sender, the other, driedrich strictly according to Shannon, on the side of the receiver.
Machines are our fate, according to Kittier, and to say so is not to witness to an awful downfall of the human condition; it is to properly grasp our situation. Media philology, as conducted by Kittler, starts from the fundamental fact of writing – which he takes to be the mother of all media. In any case, it is worth reconstructing the history of film and television within this context.
Einstein was thus strangely and unforeseeably in agreement with Heidegger that the explosion of information is more dangerous than all atomic bombs. To a large extent, though, the technical explanations will be oriented towards each of the beginning stages of the development of optical media in order to avoid the difficulties associated with understanding the mathematics.
But it is clear that pigments are just as visible as what they are supposed to show on the canvas. opticao
The sun is the condition of all seeing. Alberti explicitly emphasized that he had written his treatise for artists and not for mathematicians, which is already clear from the title.