FRIEDRICH KITTLER OPTICAL MEDIA PDF
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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In these times, when a wall separating Germany has fallen, perhaps it is also possible to conceive how relative every distinction between civil and strategic image technologies has gradually become: The point of his example, however, is only that chemically pure information becomes a correlate of chemically pure destruction.
Fie called these things demonstrations, and optocal were meant to be seen as natural phenomena rather than paintings. It is not without reason that Frieedrich Gates attempted in the last few years to realign his quasi-monopoly on computer operating systems with yet another monopoly on digital images.
These lectures will have to take up this debate yet again, as the concept of simulation, which refers to the sublation of a separation, allows for the introduction of a sharper distinction between traditional arts and technical media than is customary in everyday language. However, perspective painting, which was unknown to the Egyptians and the Greeks, was only made possible by going one final step beyond Aristotle and Arabic optics: Kittier takes great care in fact to differentiate himself from these two traditions.
Kittler also discusses the development of various mechanical devices, like the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counterreformation.
Among Kittler’s theses was his tendency to argue, with a mixture of polemicism, apocalypticism, erudition, and humor, that technological conditions were closely bound up with epistemology and ontology itself. China was the most kittlfr advanced country in the world during the Medla Ages, but it remained trapped in a state that made it very easy for the English and other European powers to defeat China in one war after another from onwards.
I am using texts to speak about relatively recent lived realities, which are by definition neither language nor text, neither oral nor written. In modern language, such functions are transcendent: A Meditation on Hell.
In any case, it is worth reconstructing the history of film and television within this context. It ,ittler also be emphasized that the Jesuit stage and the related Italian opera stage stood as models for all of the new baroque theaters; in other words, the theaters of absolutism. Scholarly Extremities Robert Boyle, the great experimentalist of the seventeenth century, famously invented a new kind of writing, the scientific report.
Leonardo da Vinci, an older and more arrogant European, said the same thing from the viewpoint of the sun itself: The sun is the condition of all seeing. When a television is set on a frequency between the regular channels, this noise appears to our 45 OPTICAL MEDIA sensory organs which are otherwise blind to noise like snow made of points of pure light that correspond to some accidental event like spark plugs or distant galaxies.
Deutsche Zeitschrift fur europaisches Denken. That is all for my fgiedrich sketch of how these lectures relate to the subject. Kittler is interested in the engineering. The question remains as to why this geometry was not always dominant, but rather first emerged at a well-defined time.
In other words, thanks to the lanterna magica the solitary hallucination of the founder of the Jesuit Order, who once concentrated all his five senses on imagining the agonies of hell, became technologically simulated for the masses.
Kittler is after all a sort of a Foucault of the technical age as also John Durham Peters in the foreword notes, instead of the usual label of Kittler as the Derrida of the digital age. The small side-door was ajar, and when I walked in I saw a wax taper burning before a tall niche.
Optical Media | Social & Cultural History | General & Introductory History | Subjects | Wiley
In other words, the scant information about hell, as it stands in the only true book of the Protestants, was always already overgrown and embellished by religious fantasies.
But this also provides a transition to the third point to be dealt with today: Selected pages Title Page. The sun is both obvious and profound, and this beginning features Kittler at his most elemental, in his guise as a devotee of Mediterranean light, a celebrant of illumination and its medix.
After examining this history, Kittler then addresses the ways in which images were first stored and made to move through the development of photography and film. In some instances we have been unable to trace the owners of copyright friedruch and we would appreciate any information that friexrich enable us to do so.
Kittier is certainly not the only voice in German media theory. There were reportedly projection mechanisms that could display believe friedricb or not 12 images at once; where a single soldier had done his drill at the information source, 12 soldiers as you can easily work out performed their well-trained threatening gestures in step at the information sinks.
It is impossible to determine whether the noise represents a single ongoing accidental process or the sum of an endless number of such processes. But to come back to the media themselves: This is precisely true of the main portal of Santa Maria del Fiore.