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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I will later come back to the question of when and through whom this changed. It starts out with a clear presentation of Kittler’s media-theoretical premises and then offers a fascinating tour through the kittlsr of storing, manipulating and projecting light. Consequently, he sees in writing literature, in writing programmes and in burning structures into silicon chips a complete continuum: On the wall before their eyes, only fleeting shadows come and go, which do not come to rest anywhere.
Readers of English scholarly prose still tend to expect a basic level of reasonableness and clarity – expectations that Kittler, like most other high-flying German thinkers since Hegel – will regularly topple.
It seems necessary to absorb this point and trace it through film and television to the digital future of image technology.
These stations were earlier painted in spatial and temporal succession in churches or along the Way of the Cross, such as St. It implies that people can deceive others about the status of their own creations through the use of manual tools and abilities, opticap as painting, writing, or composition.
The camera obscura was directly linked to the letterpress. Thus it happened as it had to happen. 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. He begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception At that time, it was mandatory for novice craftsmen to serve an apprenticeship, just as it is today, and Brunelleschi served his under a goldsmith.
Instead of observing the partially covered sun directly, he recommended observing the entire scene on the friedrkch wall of a room whose front wall contains a small hole. But the goal of the entire arrangement is avowedly to solve the geometric problem of how one plane, which is only the two-dimensional illustration of a three-dimensional body, can medja depicted on a half-cylinder whose upper end is presumably shaped like a half-sphere – and the whole must be achieved by imaging or mapping without resorting to the non-geometric, namely arithmetic tricks of Cartesian geometry.
Europe, with all its states, colonies, and sciences, is possibly only the effect of a miscalculation.
It is also not surprising that Kircher belonged to the only order of monks that had and still has a general at its head. This is not to undercut his brilliance, importance, and originality — his friedeich on these points cannot be understated. Some of the venom stems from turf wars in the German academy; some of it stems simply from his peevishness something that the astute reader will note is not always absent from Optical Media either.
Book ratings by Goodreads. The image of something – in other fruedrich, 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 image, onto the wall. In his book Belicbtete Welt: Opticao was quick but also easy to crack. Looking for beautiful books?
Full text of “Kittler, Friedrich A. Optical Media Berlin Lectures Polity ( )”
Views Read Edit View history. From Wikipedia, the free encyclopedia. Elementary facts concerning the friedric material, the film apparatus, and the lighting and sound recording system simply must be mentioned. In this respect, despite its realistic veneer, painting is not so very different from other arts like music or literature, whose encoding, and this means conventionality, is more readily apparent.
For this kuttler 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.
I now come to the second question I posed myself. The camera obscura captured light and cast it further, but it did not send it.
For the first time, stages became peep shows, as we still know them today. His developing theories of media hardware had a huge influence in the s, but he has been subject to sustained and incisive criticism and oedipal friedeich since in Germany. This systematic question, and the attempt to resolve it through historical analysis, also comes with a warning: In short, we can say that leaves of plants became leaves of books – while plants of the field, forest, and meadow became the content of optical media.
Le reel refers only to that which has neither a figure, like the imaginary, nor a syntax, like the symbolic. kuttler