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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And Kittler is a good friend of mine — I sponsored a chair at the Humboldt University for two years. You can imagine the results. Eisenstein directly connects the great upturn in technology, science, and engineering in Europe in the modern era with the availability of technical fdiedrich, construction plans, and sketches, which looked the same in every printed copy simply because they were indestructible reproductions of a single original.

Instead 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. The eye itself thus functioned like a spotlight, whose beams encountered or edited the visible world and then registered this information in the mind.

For men, this might be a philosophically novel experience, but for women this is probably more of the same-old. 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.

This general and systematic approach does not result in philosophical abstractions, but rather it reveals underlying structures: Such events can no longer be traced back to other, historically correct that is, written sources, just as it is also impossible to magnify the corresponding film documents any further without ending up in the pure grain of the celluloid and therefore in a white noise where there is nothing more to recognize as Antonioni proves in Bloiu Up.

According to Lacan, this is how the ego itself emerges from the imaginary. Yet denying agency or subjectivity to people does not affect the two genders in the same way. 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.

Man is a temporary solution, a crossroad in the complex practices and epistemologies of knowledge that might has? The dramatic but completely forgotten result of this limitation was the fact that none of the famous dramas by Corneille or Racine number more than 3, alexandrines.


I should have done this a long time ago, but better late than never. Inwhile presumably still an apprentice or journeyman, Brunelleschi participated in a competition sponsored by the Signoria. The image of something – in other words, 75 OPTICAL MEDIA its representation – is slid into the friedich box, and it is illuminated by a light that casts a representation of this representation, an image of this image, potical the wall.

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. Top Create a free website or blog at WordPress. Our home is there above; but so kittleg as we dwell here, our kingdom is also of this world.

He has produced a stunningly original and often controversial body of work that anyone interested in our fate as media-saturated animals today has to wrestle with. It was Berthold, and he was carefully tracing the shadow of the net in black paint. Optics is a subfield of physics; vision is a subfield of physiology, psychology, and culture. Indeed, one context for Optical Media is the establishment of media studies at Humboldt University, which, as the former University of Berlin, is the ground kihtler of the modern research university.

The question remains as to why this geometry was not always dominant, but rather first emerged at a well-defined time. Alberti takes up his pen – Friedricy had not yet invented his friedricch – and as a grateful pupil dedicates his Three Books about Painting to Brunelleschi – first in Italian in and in scholarly Latin the following year. Kittler begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organized.

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

Horbiger and Fauth claimed that the Milky Way was composed of blocks of ice, and over time these blocks of ice collided and formed planets. For this lecture especially, we are confronted with the problem of acoustic media; although they are not included in the title, they are increasingly networked with optical media. This passage hopefully shows what a manipulation of the real can be in contrast to all figures and cultural codes.


On the other hand, I will also explain how the phases in the development of film are connected to media history in general – not only with the history of other entertainment media, like radio, but also with the development of science and technology and their military applications more generally.

A Battle for the Eyeballs 3. As we know, both happened in the nineteenth century, which began with the development of photography and ended with the development of film. The ancient gods found the answer to this problem easy, because they themselves were already statues in the temples: He was therefore the missing link between Roger Bacon in the fourteenth century and Leonardo da Vinci in the sixteenth.

Optical Media

The issue thus becomes not only which forms of competition film provoked for novelists – since they are all somewhere between the extremes of having their work adapted or rejected by the film industry – but also the new status of books themselves under audiovisual conditions. Media philology, as conducted by Kittler, starts from the fundamental fact of writing – which he takes to be the mother of all media.

Real guild secrets were replaced by the knowledge of engineers, which was in principle also possibly autodidactic, and ritual guild secrets were replaced by the specially invented and complementary secrets of associations like the Freemasons, which made imaginary theories out of the former practices of masons.

Fourth and last, the task of the receiver in a communication system is to decode the technically encoded signal and thus reconstruct as far as possible and feasible the message submitted from the sender.

At this point, though, I immediately recognize my own limits: Though much has rightly been made of his links to French poststructuralism a term he dismissesKittler has none of the epistemological hypochondria that some Anglo-American followers – especially of Derrida – take away from the movement. This concerns, more concretely, techniques of montage and editing, and thus everything that has been regarded as specific media aesthetics since the time of Walter Benjamin.