Gramophone, Film, Typewriter by Friedrich Kittler (book.

Human identity, as constituted in the discourse network of 1900, is forced through the available media channels of the gramophone, film and typewriter. 2000. The Discourse Network of 2000 is the most hesitantly sketched stage of Kittler’s chronological frameworks.

In the past decade(s) Friedrich Kittler’s Gramophone, Film, Typewriter (1986) has gained much notoriety (and criticism) in the field of media studies and beyond.In the reading group we aim to gain a better understanding of a lesser known part of Kittler’s oeuvre: his take on the materiality of media and the emergence of a primacy of data as well as the role of information and noise in what.

Dense and theoretically devasting, Discourse Networks was Kittler's seminal work of media archaeology, making good on the work of the French post-structuralists (and the under-acknowledged influence of Marshall McLuhan). In this work, Kittler argues against the universality of hermenuetics, arguing that interpretation is not the primary state of man, and that meaning is not the goal of the.

Design is part of ordinary, everyday life, to be found in every room in every building in the world. While we may tend to think of design in terms of highly desirable objects, this book encourages us to think about design as ubiquitous (from plumbing to television) and as an agent of social change (from telephones to weapon systems).

Kittler, Friedrich Gramophone, Film, Typewriter Stanford University Press 1999. Kittler, Friedrich Optical Media Cambridge Polity Press 2010. Kivy, Peter Authenticities, Philosophies, and Reflections on Musical Performance Ithaca and London Cornell University Press 1995. Klein, Hermann Thirty Years of Musical Life in London New York Century 1903. Klein, Hermann Herman Klein and the Gramophone.

Book Description. Design is part of ordinary, everyday life, to be found in every room in every building in the world. While we may tend to think of design in terms of highly desirable objects, this book encourages us to think about design as ubiquitous (from plumbing to television) and as an agent of social change (from telephones to weapon systems).

According to German scholar Friedrich A. Kittler in his book Gramophone, Film, Typewriter, Nietzsche's writing style became more aphoristic after he started using a typewriter. Nietzsche began using a Malling-Hansen Writing Ball because of his failing eyesight which had disabled his ability to write by hand. The idea that Nietzsche's writing style had changed for better or worse when he.

Polt R. (2015) A Heideggerian Critique of Cyberbeing. In: Pedersen H., Altman M. (eds) Horizons of Authenticity in Phenomenology, Existentialism, and Moral Psychology. Contributions To Phenomenology (In Cooperation with The Center for Advanced Research in Phenomenology), vol 74. Springer, Dordrecht. First Online 06 October 2014.

Cambridge Core - English Literature 1900-1945 - The Cambridge Companion to Modernist Culture - edited by Celia Marshik.

In “Gramophone, Film, Typewriter”, Kittler discusses how all media have been reduced into “rows of numbers”, which is the concept that he pushes further in “There is No Software” by stating that hardware is the only significant aspect of computation.

The parallel that I am drawing between nineteenth century transformation of history and pasts in a digital age is in the historical condition of what we consider solid as well as the commodification of data that occurred to support that solidity. In short, our current understanding of history, the history that might be changing under pressure.

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.