By Wendy Hui Kyong Chun, Thomas Keenan
Wendy Hui Kyong Chun, Thomas Keenan (eds.)
New Media, outdated Media is a entire anthology of unique and vintage essays that discover the tensions of previous and new in electronic tradition. top overseas media students and cultural theorists interrogate new media just like the web, electronic video, and MP3s opposed to the backdrop of previous media corresponding to tv, movie, images, and print. The essays offer new benchmarks for comparing all these claims; political, social, moral, made concerning the electronic age. devoted to old examine and to theoretical innovation, they recommend that during the sunshine of electronic programmability, likely forgotten moments within the historical past of the media we glibly name previous could be rediscovered and reworked. the various subject matters explored in provocative quantity comprise web content, webcams, the increase and fall of dotcom mania, web journalism, the open resource stream, and machine viruses.
New Media, outdated Media is a foundational textual content for common readers, scholars, and students of recent media around the disciplines. it really is crucial analyzing for someone drawn to figuring out the cultural impression of recent media.
Contents:
Introduction: Did someone Say New Media? Wendy Hui Kyong Chun
Part I: The Archaeology of latest Media
1. Early movie historical past and Multi-Media: An Archaeology of attainable Futures? Thomas Elsaesser
2. electrical energy Made seen, Geoffrey Batchen
3. "Tones from out of Nowhere": Rudolph Pfenninger and the Archaeology of artificial Sound, Thomas Y. Levin
Part II: Archives
4. Memex Revisited, Vannevar Bush
5. Out of dossier, Out of brain, Cornelia Vismann
6. Dis/continuities: Does the Archive turn into Metephorical in Multi-Media house? Wolfgang Ernst
7. Breaking Down: Godard's Histories, Richard Dienst
8. Ordering legislation, Judging heritage: Deliberations on court docket television, Lynne Joyrich
Part III: Power-Code
9. the fashion of assets: feedback at the thought and background of Programming, Wolfgang Hagen
10. technology as Open resource strategy, Friedrich Kittler
11. chilly battle Networks or Kaiserstr. 2, Neubabelsberg, Friedrich Kittler
12. Protocol vs. Institutionalizaion, Alexander R. Galloway
13. Reload: Liveness, Mobility, and the internet, Tara McPherson
14. new release Flash, Lev Manovich
15. Viruses Are right for you, Julian Dibbell
16. The Imaginary of the substitute: Automata, versions, Machinics--On Promiscuous Modeling as Precondition for Poststructuralist Ontology, Anders Michelsen
Part IV: community Events
17. details, problem, disaster, Mary Ann Doane
18. the unusual worldwide Media occasion and the Tactical Intellectural [version 3.0], McKenzie Wark
19. Imperceptible Perceptions in our Technological Modernity, Arvind Rajagopal
20. Deep Europe: A heritage of the Syndicate community, Geert Lovink
21. The mobile phone and the gang: Messianic Politics within the modern Philippines, Vicente L. Rafael
Part V: Theorizing "New" Media
22. Cybertyping and the paintings of Race within the Age of electronic copy, Lisa Nakamura
23. community topics: or, The Ghost is the Message, Nicholas Mirzoeff
24. Modes of electronic identity: digital applied sciences and Webcam Cultures, Ken Hillis
25. Hypertext Avant l. a. Lettre, Peter Krapp
26. community Fever, Mark Wigley
Afterword: The Demystifica-hic-tion of In-hic-formation, Thomas Keenan
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Additional resources for New Media, Old Media: A History and Theory Reader
Example text
For an archeological approach, on the other hand, it may be a matter not only of broadening the range of questions considered pertinent, but once more to shift the angle of inquiry and revise one’s historiographic premises, by taking in the discontinuities, the so-called dead-ends, and by taking seriously the possibility of the astonishing otherness of the past. That the case for a wider agenda in film history, as well as for a different focus, is a compelling one, has not been an insight exclusively owed to the new media.
Again, what matters is the evidence this example provides of photography’s ability to exactly reproduce patterns. 14 Perhaps that is why there is so little embellishment on the part of the maker, except for one corner that has been allowed to turn back and fold over itself (also a feature of the example chosen for The Pencil of Nature). This intimation of depth in an otherwise flat pictorial scene works to remind us of the lace’s physicality, of the fact that lace does take up space in the real world, even if not in the photogram.
As an overt simulation, then, the photogram’s persuasive power depends on a lingering spectre of the total entity, a continual re-presentation of the initial coming together of image and lace on the photographic paper. Accordingly there is always this prior moment, this something other than itself, to which the photogram (and photography in general) must continually defer in order to be itself. 14). 8 And using a starklypatterned piece of lace as a matrix was a convenient way to produce high-contrast images with his still-primitive chemistry.