Download The truth of the technological world : essays on the by Friedrich A. Kittler, Erik Butler PDF

By Friedrich A. Kittler, Erik Butler

Friedrich Kittler (1943–2011) mixed the research of literature, cinema, expertise, and philosophy in a way sufficiently novel to be famous as a brand new box of educational pastime in his local Germany. "Media studies," as Kittler conceived it, intended reflecting on how books function as movies, poetry as laptop technological know-how, and song as army apparatus. This quantity collects writings from all levels of the author's prolific profession. Exemplary essays illustrate how issues of shape and inscription make heterogeneous resource fabric (e.g., literary classics and machine layout) interchangeable at the point of function—with far-reaching results for our figuring out of the arts and the "hard sciences." wealthy in counterintuitive propositions, sly humor, and huge erudition, Kittler's paintings either demanding situations the assumptions of positivistic cultural background and exposes the over-abstraction and language video games of philosophers comparable to Heidegger and Derrida. The twenty-three items accumulated the following rfile the highbrow itinerary of 1 of the main unique thinkers in fresh times—sometimes baffling, frequently debatable, and continually stimulating.

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No traditional metrical scheme governs the lines that Goethe wrote on the Kickelhahn, and no topic underlies and authenticates their equation of sleep and death. The peace the poem announces may be the same as on any other night or, alternately, the last one ever—only the false profundity of literary scholarship ignores the first reading (in order to have yet another text by Goethe on the “final things”). The alternative corresponds exactly to the charge placed on the maternal voice: of mediating between all forms of absence, both everyday and religious, through the fullness of its presence.

Birdland” was no land of winged creatures, but a bar in New York. “The Bird” was the name of an alto saxophone player. And when he played “Lullaby of Birdland,” it was a signal, not a lullaby. 44 4 The God of the Ears In Gedanken an Rochus und die Insel 12 The Greeks had a god who dwelled in the acoustic realm. When shepherds dreamed and the quiet of noon turned, Pan suddenly droned in the ears of all. Pan, a curve of auditory space, had always been closer to the Great Goddess than her despairing paramours, who chased her only in the field of vision.

What seems to be represented—the mythos of heroes—is hallucinated by a chorus that techniques of inducing ecstasy have made productive. The duality of protagonist and antagonist incarnates the sole hero of dithyrambs: the god they celebrate is “Zagreus”—“dismembered body” (Birth of Tragedy § 10, I 61). Nietzsche’s genealogy of drama interprets neither content nor form; it describes the “that” of its emergence. The community of worship is producer and spectator in one: ecstasy transports its members into the chorus, and it exalts the chorus into the god whom the transfigured community in turn beholds.

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