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(Download PDF) Chronopoetics The Temporal Being and Operativity of Technological Media First Edition Wolfgang Ernst Online Ebook All Chapter PDF
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Chronopoetics
Media Philosophy
The Media Philosophy series seeks to transform thinking about media by inciting a turn
toward accounting for their autonomy and “eventness,” for machine agency, and for the
new modalities of thought and experience that they enable. The series showcases the
“transcontinental” work of established and emerging thinkers whose work engages with
questions about the reshuffling of subjectivity, of temporality, of perceptions, and of rela-
tions vis-à-vis computation, automation, and digitalization as the current twenty-first-cen-
tury conditions of life and thought. The books in this series understand media as a vehicle
for transformation, as affective, unpredictable, and nonlinear, and move past its consistent
misconception as pure matter-of-fact actuality.
For Media Philosophy, it is not simply a question of bringing philosophy to bear on an
area usually considered an object of sociological or historical concern, but of looking at
how developments in media and technology pose profound questions for philosophy and
conceptions of knowledge, being, intelligence, information, the body, aesthetics, war, and
death. At the same time, media and philosophy are not viewed as reducible to each other’s
internal concerns and constraints, and thus it is never merely a matter of formulating a phi-
losophy of the media; rather, the series creates a space for the reciprocal contagion of ideas
between the disciplines and the generation of new mutations from their transversals. With
their affects cutting across creative processes, ethico-aesthetic experimentations and bio-
technological assemblages, the unfolding media events of our age provide different points
of intervention for thought, necessarily embedded as ever in the medium of its technical
support, to continually reinvent itself and the world.
“The new automatism is worthless in itself if it is not put to the service of a powerful,
obscure, condensed will to art, aspiring to deploy itself through involuntary movements
which none the less do not restrict it.”
Eleni Ikoniadou and Scott Wilson
Software Theory, Federica Frabetti
Media After Kittler, Eleni Ikoniadou & Scott Wilson
Chronopoetics: The Temporal Being and Operativity of Technological Media, Wolfgang
Ernst, Translated by Anthony Enns.
Chronopoetics
The Temporal Being
and Operativity of
Technological Media
Wolfgang Ernst
All rights reserved. No part of this book may be reproduced in any form or by any
electronic or mechanical means, including information storage and retrieval systems,
without written permission from the publisher, except by a reviewer who may quote
passages in a review.
ISBN: HB 978-1-7834-8570-3
PB 978-1-7834-8571-0
v
Preface to the Focused
English Edition
The reader is hereby presented with the translation of selected and updated
chapters from twin volumes previously published in German: Chronopoet-
ics (Chronopoetik) identifies the internal time-based and timing mechanisms
of technological media, whereas Equitemporality (Gleichursprünglichkeit)
deals with the disruptions in human temporal perception induced by technical
media and their asynchronous being in what is known as “historical” time.1
With this comprehensive, knowledge-oriented analysis of media tempor(e)-
alities in mind, the present translation of selected chapters ranges from min-
ute technical descriptions to the analysis of media-induced phenomenological
time perception, up to the final temporal re-positioning of such technologies
against the historicist imagination. This structure unfolds both in a linear and
in a recursive way: as successive arrangement (Parts I–III), and as recurrent
topics within the subsections of the individual chapters themselves.
This book identifies technical instantiations of time(s). The guiding
assumption is that the essence of technical media is revealed only in the
processuality of their temporal operations. Such media do not simply exist
in time but result in timing agencies. Opening the “black box” of technologi-
cal media reveals a microcosm of temporal configurations. Micro-temporal
events within technical devices are critical for the success of media proces-
sualities like the electronic cathode ray image. Such time-criticality deserves
a precise description in its value for cultural knowledge beyond engineering
departments. An analysis of the temporal autonomy of media leads to the
discovery of a machine agency, which enriches the traditional philosophy
of time. Electronic and digitized media not only mirror traditional time con-
cepts but generate original figures of temporal processuality; they are thereby
vii
viii Preface to the Focused English Edition
Acknowledgments
My thanks for making the book possible go to the editors of the Media Phi-
losophy series, esp. to Eleni Ikoniadou’s driving enthusiasm for the transla-
tion project. This brings me to the translator Anthony Enns, who simply
Preface to the Focused English Edition xi
turned out to be the perfect choice for transposing such “German school
of media studies” argumentation into a text for readers in English. Further
gratitude goes to the Kulturverlag Kadmos, publishing house in Berlin (with
its Berliner Programm einer Medienwissenschaft series) for liberally grant-
ing permission to publish an abridged translation with Rowman & Littlefield.
Notes
key concepts and methods, as well as an argument for the importance of his
admittedly controversial approach to media theory.
What I keep dreaming of and what people don’t like to hear because they believe
that technology and science are mere tools made for people in the street . . . is
that machines, especially the contemporary intelligent machines as conceived
Foreword xv
by Turing in 1936, are not there for us humans . . . but that nature, this glowing,
cognitive part of nature, is feeding itself back into itself.10
Kittler also explains the underlying reason for Foucault’s prediction “that
man would be erased, like a face drawn in sand at the edge of the sea”11
through reference to the rise of new media technologies: “The end of ‘man’
postulated by Foucault is brought on by a mechanism that writes writing.”12
Winthrop-Young similarly notes that Kittler’s “move into media studies
served to corroborate his programmatic as well as polemical emphasis on
ruptures. Foucault spoke of epistemes that changed without rhyme or reason;
Kittler was able to ascertain that these changes were related to media shifts.”13
According to Kittler, these media shifts ultimately lead to the erasure of
man, as “the ultimate subject of history is technology, understood . . . as the
processing of nature that for an extended period of time was dependent on
human intermediaries, but that now, with the arrival of digital technology,
is closer to a self-processing of nature that leaves humans behind.”14 Kittler
thus concludes that the concept of man was itself made possible by a medial
shift—an argument that reverses the traditional approach of Anglo-American
cultural studies, which assumes that humans are the driving force behind
technological development.
One of Kittler’s early students, Bernhard Siegert, identifies this shift in
emphasis from discourse to media as a pivotal moment in the formation
of German media theory: “The focus on the materiality and technicality of
meaning constitution prompted German media theorists to turn Foucault’s
concept of the ‘historical a priori’ into a ‘technical a priori’ by referring the
Foucauldian ‘archive’ to media technologies.”15 Kittler’s work thus repre-
sented a challenge to the humanist tradition as well as the practice of herme-
neutic analysis: “The insistence on these media reference systems, designed
as an attack on the reason- or mind-based humanist reference systems, was
guided by a deeply anti-humanist rejection of the tradition of the Enlighten-
ment and the established discursive rules of hermeneutic interpretation.”16
However, Kittler’s focus on this technical a priori soon led to accusations that
his own work was a symptom (if not the cause) of anti-humanist tendencies
within the humanities. In one of the earliest articles on German media theory
in English, for example, Michael Geisler criticizes Kittler’s approach for
ignoring both the content of media and the practices of media users:
In other words, Kittler’s work was criticized for its exclusive focus on the
material properties of media technologies, which seemed to exclude any
analysis of content or reception, which is the main focus of Anglo-American
cultural studies.
Kittler’s emphasis on the agency of media technologies also made him vul-
nerable to accusations of technological determinism. Lisa Gitelman argues,
for example, that Kittler ignores the complex ways in which media technolo-
gies come into existence:
Cultural Techniques
have been attempting for some time now.” Armitage, “From Discourse Networks to
Cultural Mathematics,” 32.
41. Wolfgang Ernst, “From Media History to Zeitkritik,” Theory, Culture & Society
30.6 (2013): 133.
42. Wolfgang Ernst, “Experimenting with Media Temporality: Pythagoras, Hertz,
Turing,” in Digital Memory and the Archive, ed. Jussi Parikka (Minneapolis: Univer-
sity of Minnesota Press, 2013), 185.
43. Ernst, “From Media History to Zeitkritik,” 137.
44. Bruce Sterling, The Dead Media Project, http://www.deadmedia.org.
45. Ernst, “Media Archaeography,” 56.
46. Lori Emerson, “Archives, Materiality and the ‘Agency of the Machine’: An
Interview with Wolfgang Ernst,” Library of Congress (8 February 2013), http://
blogs.loc.gov/digitalpreservation/2013/02/archives-materiality-and-agency-of-the-
machine-an-interview-with-wolfgang-ernst.
47. Ghislain Thibault, “What We Used to Call ‘Media History’: A Feature Inter-
view with Wolfgang Ernst,” Amodern (27 January 2013), http://amodern.net/article/
ernst-media-history.
48. Wolfgang Ernst, “Kittler-Time: Getting to Know Other Temporal Relation-
ships with the Assistance of Technological Media,” trans. Yuk Hui and James Burton,
in Media After Kittler, ed. Eleni Ikoniadou and Scott Wilson (London: Roman &
Littlefield, 2015), 61.
49. Chapter 9 in this volume.
50. Chapter 5 in this volume.
51. Chapter 3 in this volume.
52. Ernst, “From Media History to Zeitkritik,” 144.
53. Friedrich A. Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-
Young and Michael Wutz (Stanford: Stanford University Press, 1999), xxxix.
54. Ernst also describes this project as an extension of Kittler’s approach, as the
concept of time-critical media was already implicit in Kittler’s own insights into the
nature of time-measuring media. See Ernst, “Kittler-Time,” 54.
55. Martin Heidegger employs this term to refer to elements that exist together
without being placed in a hierarchy of primacy. In other words, equiprimordial ele-
ments cannot be derived from each other and cannot exist without each other, as they
are equally fundamental and mutually dependent. This term can also be translated
as “co-original.” See Martin Heidegger, Being and Time, trans. Joan Stambaugh
(Albany: State University of New York Press, 1996), 124.
56. Chapter 8 in this volume.
57. Ernst, “Media Archaeography,” 56–57.
58. Thibault, “What We Used to Call ‘Media History.’”
59. Chapter 8 in this volume.
60. Ernst, “Media Archaeography,” 57–58.
61. Emerson, “Archives, Materiality and the ‘Agency of the Machine.’”
62. Jussi Parikka, “Afterword: Cultural Techniques and Media Studies,” Theory,
Culture & Society 30.6 (2013): 154.
63. Jussi Parikka, “Operative Media Archeology: Wolfgang Ernst’s Materialist
Media Diagrammatics,” Theory, Culture & Society 28.5 (2011): 60.
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