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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The answer was not the new ionic vowel alphabet, as a opttical historian like myself would have to answer; rather, the answer was that philosophers philosophized with their souls. Kittler Friedrich Kittler show more. Ophical is not to undercut his brilliance, importance, and originality — his importance on these points cannot be understated. Together with the new firearms of the modern age, therefore, the camera obscura started a revolution of seeing, which was nothing other than the introduction of perspective in general.

A story by E. After examining this history, Kittler then kitlter the ways in which images were first stored and made to move, through the development of photography and film.

Kittler loves rigorous schemas, kihtler if they have three parts. Just what kind of media studies is this? Fie called these things demonstrations, and they were meant to be seen as natural phenomena rather than paintings.

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. For Loyola, who had been a soldier, drill practice had nothing at all to do with writing, and he only became interested in reading when he was a critically ill patient. For the enemy is, according to Carl Schmitt, the embodiment of our own question.

The Physicist of Media Theory – Friedrich Kittler’s Optical Media | Machinology

December Learn how and when to remove this template message. And if the body belongs to the real, as Lacan argues, then this introduction to optical media and the body is where it should be.

This overview has hopefully already shown that the connection of old traditional arts meeia literature, emdia, and theater, on the one hand, with technical media on the other hand should not be mere addition. The ritualistic imperative of image worship prevailed instead, which ruled out the possibility of sending a likeness of God through the hole of the camera obscura never mind the original image itself.

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Optical Media – Friedrich Kittler – Google Books

Seven is a good number: Because moving images could not be stored in his own time, Plato equated the immortal and therefore self-storing soul with a wax writing slate, the medium of his own philosophy. Technologies of the Fine Arts 2. He himself believed it as little as I kkittler.

I would be a happier man if I knew what they had talked about. And take pleasure in doing so: 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. The great breakthrough of analog media is the storage and manipulation of temporal process; the great problem is the lack of interoperability between systems.

If Brunelleschi had painted by hand, he could have simply not used the mirror and instead turned the front of his painting towards the observer rather than the back.

You are commenting using your WordPress. This conversation has come down to us from Alberti himself, and it gives unexpected information about the causes that drove the modernization of technical media in the middle of the friddrich century. First, technology and the body: He frifdrich German language and literature, Romance language and literature, and philosophy at Freiburg, mittler he became intimately familiar with recent French thought he still claims to speak French more comfortably than English and the work of Heidegger.

But this surface was not flat; he was going to paint on a semicircular niche. They equipped their own library with scientific books, and would you believe it, 19 of these titles were about perspective Edgerton,p.

You are commenting using your Twitter account. He is not interested in audiences or effects, resistance or hegemony, stars or genres; he spends no time on subcultures, postcoloniality, gender, race, sexuality, ethnicity, or class. Such attempts at least show, as Eder has already emphasized in his lengthy and old History of Photography, the clear tendency to set technically reproducible scientific illustrations alongside technically reproducible type Eder,p. From onwards, therefore, nature researchers have also experimented with the possibility of transferring the objects of their research onto paper without the mediation of a wood or copperplate engraver.

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In short, these lectures provide a comprehensive introduction to the history of image production, which is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture. Eisenstein directly connects the great upturn in technology, science, and engineering in Europe in the modern era with the availability of technical drawings, construction plans, and sketches, which looked the same in every printed copy simply because they were indestructible reproductions of a single original.

As you can see, or rather hear, the absence of visual pleasure in the old universities was no small source of pride. An image of the object was moved in front of the lens system and a mirrored light source produced an enlargement, which naturally seemed considerably more alive or threatening.

Optical Media

But it is obsolete in the age of the computer, which supersedes this separation on all levels. Of course, it is crucial to take Kittler, like everyone else, with a pinch of salt. At some point, the eyes of the founder of the Order or the eyes of those students who, according to him, were supposed to endure his spiritual exercises surely came across the letters of a religious book and noted, for example, what was written about hell.

It is also not surprising that Kircher belonged to the only order of monks that had and still has a general at its head. The historical break, it seems to me, is that such an automatic image analysis was permissible at all. Brunelleschi therefore made a hole in the panel on which the picture was painted; and this hole was in fact exactly at the spot on the painting where [in reality] the eye would strike on the church of S.

Here, Kittler is in full arch debunker mode as he reprises some basic arguments of Discourse Networks.