Friedrich A. Kittler: Gramophone, Film, Typewriter (1986–) [DE, EN]
Filed under book | Tags: · film, history of technology, literary theory, literature, media, media archeology, media theory, poetry, psychoanalysis, sound, sound recording, technology, typewriter, writing
“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.”
Publisher Brinkmann & Bose, Berlin, 1986
ISBN 3922660177
427 pages
English edition
Translated, with an Introduction by Geoffrey Winthrop-Young and Michael Wutz
Publisher Stanford University Press, 1999
ISBN 0804732337, 9780804732338
315 pages
Reviews: Bruce Clarke (Electronic Book Review, 1999), Alex Magoun (Technology and Culture, 2001).
Grammophon Film Typewriter (German, 1986, 7 MB, added on 2014-6-30, updated on 2019-5-2)
Gramophone, Film, Typewriter (English, trans. Geoffrey Winthrop-Young and Michael Wutz, 1999, updated on 2012-10-13)
Štěpán Vlašín (ed.): Avantgarda známá a neznámá (1970-72) [Czech]
Filed under book | Tags: · 1920s, art criticism, art history, avant-garde, constructivism, czech, literary criticism, literary theory, literature, poetry
Svazek I., 1971
Od proletářského umění k poetismu 1919-1924.
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Svazek 2., 1972
Vrchol a krize poetismu 1925-1928.
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Svazek 3., 1970
Generační diskuse 1929-1931
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K vydání připravil pracovní tým Ústavu pro českou literaturu Akademie věd České Republiky vedený Štěpánem Vlašínem.
Vydalo nakladelství Svoboda, 1970-72.
via Ústav pro českou literaturu AV ČR
Chris Funkhouser: Prehistoric Digital Poetry: An Archaeology of Forms, 1959-1995 (2007)
Filed under book | Tags: · art history, concrete poetry, digital poetry, hypermedia, hypertext, literature, media archeology, poetry
A singular and major historical view of the birth of electronic poetry.
For the last five decades, poets have had a vibrant relationship with computers and digital technology. This book is a documentary study and analytic history of digital poetry that highlights its major practitioners and the ways that they have used technology to foster a new aesthetic. Focusing primarily on programs and experiments produced before the emergence of the World Wide Web in the mid-1990s, C. T. Funkhouser analyzes numerous landmark works of digital poetry to illustrate that the foundations of today’s most advanced works are rooted in the rudimentary generative, visual, and interlinked productions of the genre’s prehistoric period.
Since 1959, computers have been used to produce several types of poetic output, including randomly generated writings, graphical works (static, animated, and video formats), and hypertext and hypermedia. Funkhouser demonstrates how hardware, programming, and software have been used to compose a range of new digital poetic forms. Several dozen historical examples, drawn from all of the predominant approaches to digital poetry, are discussed, highlighting the transformational and multi-faceted aspects of poetic composition now available to authors. This account includes many works, in English and other languages, which have never before been presented in an English-language publication.
In exploring pioneering works of digital poetry, Funkhouser demonstrates how technological constraints that would seemingly limit the aesthetics of poetry have instead extended and enriched poetic discourse. As a history of early digital poetry and a record of an era that has passed, this study aspires both to influence poets working today and to highlight what the future of digital poetry may hold.
Publisher University of Alabama Press, 2007
ISBN 0817315624, 9780817315627
349 pages
PDF (updated on 2012-10-23)
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