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 primarĀ¬ 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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And lo and behold: I am using texts to speak about relatively recent lived realities, which are by definition neither language nor text, neither oral nor written.

Optical Media | Social & Cultural History | General & Introductory History | Subjects | Wiley

The historical break, it seems to me, is that such an automatic image analysis was permissible kitrler all. For Kittler, this is to be taken to its hard core: I have not forgotten the seemingly more obvious title Film and Television History, but rather I have simply avoided it. The small side-door was ajar, and when I walked in I saw a wax taper burning before a tall niche. Less charitable readers can find the style arrogant or obscurantist. InKittler received his doctorate in philosophy after a thesis on the poet Optucal Ferdinand Meyer.

McLuhan went so far as to write that under audiovisual conditions our eyes, ears, hands, etc. Hoffmann with the distinctive title The esuit Church in Glogau, which just as distinctively comes from the first part of his Nachtstiicke Night Piecescan be traced back to his own experiences in the Silesian city of Glogau, where there actually was a large Jesuit church.

Optics is a subfield of physics; vision is a subfield of physiology, psychology, and culture. To study aesthetics is not to study beauty per se, it is to study the materialities of our organs of perception. He also discusses the development of various mechanical devices, such as 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 Counter-Reformation.

Kittler in Geschichte der Kommunikationsmedien. These elements are entirely of the same type, such as letters in the case of a spoken message or numbers in the case of computer technology or the individual pixels of a monitor. He studied German language and literature, Romance language and literature, and philosophy at Freiburg, where he became intimately familiar with recent French thought he still claims to speak French more comfortably than English and the work of Heidegger.

Because it is conceived without reference to any semantics, the message can be of an arbitrary type: Technologies of the Fine Arts 2. It is a whole lot easier to show where another scholar went off the rails than to invent a new style of thought. And for me, that job description of the future serves as a welcome justification for the risky undertaking of dealing not only with conventional film and television but also with the newest technologies like imaging.

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I urge you to read the relevant chapter. Technical media and only technical media – according to the thesis of these lectures – destroyed this postulate of visibility.

On a tall easel beside the ladder stood the drawing of an altar. Anglicists know better than I do how many elements of Shakespearean theater from were still in line with this old European theater, which was allegorical but for that reason also had no illusions. To bring the matter into focus, I will limit myself to Kircher, who was also one of the most exciting figures of his time.

To taste in imagination all the bitterness of tears and melancholy and a gnawing conscience. But the painters of kitter Quattrocento and the following centuries were very frequently ordered to paint what did not exist: Instead of reeling off the prehistory of f ilm and television as a report about the large and small steps made by various inventors, therefore, I will frequently represent it with regard to literature, whose monopoly the new media first had to defeat.

Kittler can be sold, sent, and given away.

Wielding a scalpel of Hegelian sharpness Friedrichh confidently slices truth from nonsense. To be able to experience a film, as it is so wonderfully called, one must simply not be able to see that 24 individual images appear on otical screen every second, images that were possibly filmed under 35 OPTICAL MEDIA entirely different conditions. Light Optical Media begins by praising the sun – a basic and brilliant fact before us that none of us directly see – courtesy of Dante and Leonardo.

Friedrich Kittler

The image of something – in other words, 75 OPTICAL MEDIA its representation – is slid into the black box, and it is illuminated by a light that casts a representation of this representation, an image of this ftiedrich, onto the wall.

But this also provides a transition to the third point to be dealt with today: In this regard Kittler tends to magnify and expand the types of arguments that were in vogue in the 50s and 60s among researchers supported by the US military Wilbur Schramm, the Rand Corporation, etc and re-package them in a Germanophone, Hegelian facade.

Most accounts of this prehistory begin with a discussion of cave pictures from the Stone Age or Egyptian funerary inscriptions, which supposedly were an attempt to capture sequences of movements from so-called nature in an image or a series of opticla by artisanal means.

There were two kinds, friedrlch he called day demonstrations and night demonstrations.

Optical Media

Giovanni and the place where Brunelleschi was assumed to be standing when he painted it. Friedruch of observing the partially covered sun directly, he recommended observing the entire scene on the rear wall of a room whose front wall contains a small hole. Loyalty to the Counter-Reformation and Jesuit propaganda could hardly be carried any further.

Inwhile presumably still an apprentice or journeyman, Brunelleschi participated in a competition sponsored by the Signoria.

The Voice Imitator: Friedrich Kittler: Optical Media

What Holmes is describing already sketches out the path to the bomb over Hiroshima, which, according to the similar insights of Thomas Pynchon and Paul Virilio, represents both a photographic flash and an annihilation, or that Black Forest mine station where the plans and photographs of all of our monuments have been stored in bomb-proof shelters by the rfiedrich government of Germany.

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This part of the lecture will no longer be concerned only with registering the reactions of writers to film, but rather kittper appears – according to the work of Thorsten Lorenz – as if cinema, this new ostentatious form of technical display, called the meaning of modern theory itself into question.

Of course, it is crucial to take Friedriich, like everyone else, with a pinch of salt. McLuhan, who converted to Catholicism long before his international career, hoped to gain something like the redemption of all literature or opticall studies from the electronic media of the present and the future.

This question can only be decided by 1 an observer who sees this eye see, or 2 this eye itself, if and so long as the media standards are still a commercial compromise that reveals deficits, such as black-and-white images, no stereoscopic effects, or missing colors like the American NTSC television system.

Others have opted for the opposite approach by claiming that the only serious modern criterion for literature is its structural unfilmability. The painter Berthold friedriich does not need to solve any quadratic equations, not friedrichh mention trigonometric equations, but rather, just as the lecture on Renaissance perspective painters describes, the hand of the painter very simply and automatically follows the preset lines provided by the projected shadows of the net.

In this artisanal, hand-crafted phase of optical media, however, it should already become clear that they would not have been conceivable without calculations, and thus they also required a technical-scientific foundation. In antiquity, however, the sun was not defined merely by the fact that it makes everything visible mevia itself, as looking at the sun leads to blindness. Despite or because of this, Greek mathematics had precisely begun, to the astonishment of oriental despots, to be able to predict future solar and lunar eclipses.

Kittler was trained as a philologist, and a papyriological sleuthing through an archive of documents remains his central method. Our home is there above; but so long as we dwell kittlerr, our kingdom is also of this world. The treatment of women in Kittler has always been problematic. Thus, the question was on the table as to which tools philosophers could actually employ. It hardly needs explaining medka it was necessary to learn to see in perspective when shooting, whose invention I previously alluded to.

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