Bruce Sterling

Erkki Huhtamo

Siegfried Zielinski

Edwin Carels

Zoe Beloff

John Akomfrah

Timothy Druckery

Excavating the Dream of the Ultimate Communication Medium

The Book of Imaginary Media

In an overview of developments spanning the past seventy years, Siegfried Zielinski discusses how the means of technology-based communication assumed a systemic character and how theory, art, and criticism were operative in this process. [ . . . After the Media] advocates for a distinction to be made between online existence and offline being.

News from the Slow-fading Twentieth Century

...after the Media

Variations on Media Thinking

Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means (Electronic Culture: History, Theory, and Practice)

Peter Weibel

Daniel Irrgang

Freestyle thinking--that is Vilém Flusser's intellectual modus operandi: challenging and offensive, paradoxical and audacious. His thought knows no disciplines or subjects nor does it pay tribute to other academic frameworks or rituals. Above all else his thought wants to intervene in ongoing cultural and artistic processes and influence them. In order to achieve this, no closed theoretical systems are necessary--only open, operative structures. The Flusseriana is a toolbox capable of being developed and expanded. It contains more than two hundred "thinkthings" (Denkdinge) of all kinds: particularities like "Indian Summer," "Atlas," "Submissiveness," "Animal," and "Mediterranean Sea"; condensed Flusserian thought concerning the big eternal questions such as "History," "Language," "Myth," and "Religion"; the central concepts of his media analysis including "Apparatus," "Abstraction," "Cybernetics," and "Telematics"; as well as Flusser's own neologisms, "Communicology," "Universe of Dots," and the old and the new "Imaginations." More than one hundred authors produced the entries under these entries in a dialogic practice entirely in the spirit of the philosophical writer from Prague.

Bodenlos - Vilém Flusser und Die Künste

A quest to find something new by excavating the deep time of media's development - not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development - dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history - fractures in the predictable - that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of dreamers and modelers of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. separated, Zielinski writes. He describes models and machines - including a theatre of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others - that make this connection. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the deep time media history shed light on today's media landscape and may help us map our expedition to the media future.

Toward an Archaeology of Hearing and Seeing by Technical Means

Deep Time of the Media

George Dyson

David Edgerton

Alfred Jarry

Enda Duffy

Pauline Oliveros

Mark Fell

Timothy Druckrey

Arie Altena

Thomas W. Patteson

Joel Ryan

Catherine Christer Hennix

Robin Hayward

Hilary Jeffery

Keith Fullerton Whitman

Gilles Aubry

Hilel Schwartz

Omar Muñoz-Cremers

Critical essays and interviews in this volume reveal the significance and intricacies of time and particularly how we experience it. Time is a complex and ambiguous concept. Relativity theorists and quantum mechanics have tinkered with the seemingly unambiguous concept of time since the beginning of the previous century. Art, film, and music make abstract notions of time tangible and comprehensible, and manipulate how we experience it. The ongoing development and implementation of technology constantly challenge, change and undermine our perception of time. This book is, in a sense, a homage to the human experience of time. One half of this anthology consists of articles and essays dealing with conceptions and imaginings of time in the fields of technology, culture and literature. The other half, collects interviews, with composers and performing musicians, concerning their intimate knowledge of working with time.

Travelling Time 

The production, distribution, and perception of moving images are undergoing a radical transformation. Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision -the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film - cinema and television - are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible. Audiovisions provides a historical underpinning for this active approach. Spanning 100 years, from the end of the 19th to the end of the 20th century, it reconstructs the complex genesis of cinema and television as historically relative - and thus finite - cultural forms, focussing on the dynamics and tension in the interaction between the apparatus and its uses. The book is also a plea for "staying power" in studies of cultural technology and technological culture of film. Essayistic in style, it dispenses with complicated cross references and, instead, is structured around distinct historical phases. Montages of images and text provide supplemental information, contrast, and comment.

Cinema and Television as Entr'actes in History

Audiovisions

De productie, de distributie, en de waarneming van bewegende beelden zijn onderhevig aan een radicale transformatie. Doordat steeds snellere computers en digitale technologie kracht bundelen, ontstaat er een nieuwe vorm van 'audiovisie'. Bijna niets zal hetzelfde blijven. De ooit 'normale' media voor het uitdragen van film - de bioscoop en de televisie - blijken niet meer te zijn dan een intermezzo in de geschiedenis van de audiovisuele media. Dit boek interpreteert de veranderingen niet als cultureel verlies maar als een uitdaging: de nieuwe 'audiovisie' moet anders benaderd worden om strategische interventie mogelijk te maken. 'Audiovisions' ondersteunt deze benadering op historische wijze. Door te kijken naar 100 jaar, van het eind van de negentiende tot aan het eind van de 20ste eeuw, laat het zien waarom de bioscoop en televisie als eindige, culturele vormen gezien moeten worden. Tevens is het boek een pleidooi voor ' blijvend kracht' van studies naar culturele technologie en de technologische cultuur van film. Essayistisch in stijl, is het boek gestructureerd rond verschillende historische fasen. De beelden en bij de tekst zorgen voor supplementaire informatie, contrast, en aanvullend commentaar.

A quest to find something new by excavating the "deep time" of media's development—not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development—dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history—fractures in the predictable—that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.

Bodenlos - Vilém Flusser und die Künste

Marcel René Marburger

Der fortgeschrittenen Abstraktion der Technologien der Gesellschaften im ausgehenden 20. Jahrhundert stellte Vilém Flusser die technischen Bilder entgegen: Nicht Simulation und Verlust an Realität, sondern der existenziale Entwurf neuer Möglichkeiten ist ihr ontologischer Vektor. Sie sind nicht Abbilder der Welt, sondern konstruieren diese als Virtualitäten. Der Aufsatz verortet die Genese des Technobilds in Informationsästhetik und Videokunst, die als Herkünfte des Flusser'schen Bildbegriffs selten berücksichtigt werden. Dabei begegnet uns mit der Zeichenklasse der Diagramme nicht nur eine Verwandtschaft zur Abstraktion und Konkretion des technischen Bildes, sondern auch eine diagrammatische Denk- und Entwurfspraxis Flussers, die Gegenstand weiterer Forschung sein kann.

Daniel Irrgang. Vom Umkehren der Bedeutungsvektoren. Prototypen des technischen Bildes bei Vilém Flusser. International Flusser Lectures

Siegfried Zielinski

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