内容简介

Toward the end of the nineteenth century, the hegemony of the printed word was shattered by the arrival of new media technologies that offered novel ways of communicating and storing data. Previously, writing had operated by way of symbolic mediation--all data had to pass through the needle's eye of the written signifier--but phonography, photography, and cinematography stored physical effects of the real in the shape of sound waves and light. The entire question of referentiality had to be recast in light of these new media technologies; in addition, the use of the typewriter changed the perception of writing from that of a unique expression of a literate individual to that of a sequence of naked material signifiers. Part technological history of the emergent new media in the late nineteenth century, part theoretical discussion of the responses to these media--including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators--"Gramophone, Film, Typewriter" analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies. The book ties the establishment of new discursive practices to the introduction of new media technologies, and it shows how both determine the ways in which psychoanalysis conceives of the psychic apparatus in terms of information machines. "Gramophone, Film, Typewriter" is, among other things, a continuation as well as a detailed elaboration of the second part of the author's "Discourse Networks, 1800/1900" (Stanford, 1990). As such, it bridges the gap between Kittler's discourse analysis of the 1980's and his increasingly computer-oriented work of the 1990's.


Friedrich A. Kittler is a professor at the Institute for Aesthetics and Cultural Studies at Humboldt University, Berlin.

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  • Solomon.
    经过几周沉甸甸的铺垫:二月上旬开始先被德里达的弗洛伊德蹂躏,下旬开始进入施蒂格勒的马德格尔,三月上旬再次被德里达的现象学系统施虐,我对基特勒的媒介技术是挺期待的,毕竟是除了波兹曼,麦克汉卢外当代最有颠覆性的媒介哲学家了。法国味很地道,写作思路骨架是福柯的谱系学,同时还操着后结构主义死狗般的语言在英美学界吃香,摆脱了德国哲学传统的文艺倾向,在媒介史里用拉康的拓扑也很有启发性,又很自然地把媒介理论与法兰克福的社会批判英国马克思主义的生态环保编在一起,通过其对于数字时代网络的地图学侦查又可以看出他对鲍德里亚符号学的改造,十分渊博。但就是这样一本对于媒介理论的拓路,以及我早已看出技术哲学就是当今欧陆为数不多的出路之时,让我不知道什么时候自己还会想起第一次读德国哲学迎来的闪光,法国哲学的激情,永远不会2022-03-15
  • 世相
    读的艰难。希望读完拉康以后能有更深的理解。2019-10-01
  • nöui
    me: a writing machine2021-01-19

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