The Technological Introject explores the futures opened up across the humanities and social sciences by the influential media theorist Friedrich Kittler. Joining the German tradition of media studies and systems theory to the Franco-American theoretical tradition marked by poststructuralism, Kittler’s work has redrawn the boundaries of disciplines and of scholarly traditions. The contributors position Kittler in relation to Marshall McLuhan, Jacques Derrida, discourse analysis, film theory, and psychoanalysis. Ultimately, the book shows the continuing relevance of the often uncomfortable questions Kittler opened up about the cultural production and its technological entanglements.

Twenty-three essays that document the intellectual itinerary of the philosopher and cultural historian, one of the most original thinkers in recent times. Friedrich Kittler (1943–2011) combined the study of literature, cinema, technology, and philosophy in a manner sufficiently novel to be recognized as a new field of academic endeavor in his native Germany. “Media studies,” as Kittler conceived it, meant reflecting on how books operate as films, poetry as computer science, and music as military equipment. This volume collects writings from all stages of the author’s prolific career. Exemplary essays illustrate how matters of form and inscription make heterogeneous source material (e.g., literary classics and computer design) interchangeable on the level of function—with far-reaching consequences for our understanding of the humanities and the “hard sciences.” Rich in counterintuitive propositions, sly humor, and vast erudition, Kittler’s work both challenges the assumptions of positivistic cultural history and exposes the over-abstraction and language games of philosophers such as Heidegger and Derrida.

Recent years have seen a wealth of new scholarship on the history of photography, cinema, digital media, and video games, yet less attention has been devoted to earlier forms of visual culture. The nineteenth century witnessed a dramatic proliferation of new technologies, devices, and print processes, which provided growing audiences with access to more visual material than ever before. This volume brings together the best aspects of interdisciplinary scholarship to enhance our understanding of the production, dissemination, and consumption of visual media prior to the predominance of photographic reproduction. By setting these examples against the backdrop of demographic, educational, political, commercial, scientific, and industrial shifts in Central Europe, these essays reveal the diverse ways that innovation in visual culture affected literature, philosophy, journalism, the history of perception, exhibition culture, and the representation of nature and human life in both print and material culture in local, national, transnational, and global contexts.

Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.

Introducing a largely neglected area of existing interactions between Greco-Roman antiquity and media theory, this volume addresses the question of why interactions in this area matter and how they might be developed further. It aims not only to promote awareness of the presence of the classics in media theory but also to encourage more media attentiveness among scholars of Greece and Rome. By bringing together an international team of scholars with interdisciplinary expertise in areas ranging from classical literature and classical reception studies to art history, media theory and media history, film studies, philosophy, and cultural studies, the volume as a whole engages with numerous aspects of 'classical' Greece and Rome revolving around issues of philosophy, cultural history, literature, aesthetics, and epistemology. Each chapter provides its own definition of what constitutes mediality and how it operates, constructs different genealogies of the concept of the medium, and engages with emergent fields within media studies that range from cultural techniques to media archaeology, diagrammatology, and intermediality. By seeking to foreground the persistency of Greco-Roman paradigms across the different strands of media theory the volume persuasively calls for a closer consideration of the conceptual underpinnings of the cultural practices around the transformation of ancient Greece and Rome into 'classics.'

How do digital media technologies affect society and our lives? Through the cultural theory hypotheses of hyper-modernism, hyperreality, and posthumanism, Alan N. Shapiro investigates the social impact of Virtual/Augmented Reality, AI, social media platforms, robots, and the Brain-Computer Interface. His examination of concepts of Jean Baudrillard and Katherine Hayles, as well as films such as Blade Runner 2049, Ghost in the Shell, Ex Machina, and the TV series Black Mirror, suggests that the boundary between science fiction narratives and the »real world« has become indistinct. Science-fictional thinking should be advanced as a principal mode of knowledge for grasping the world and digitalization.

In many ways the French Revolution--a series of revolutions, in fact, whose end has arguably not yet arrived--is modernity in action. Beginning in reform, it blossomed into wholesale attempts to remake society, uprooting the clergy and aristocracy, valorizing mass movements, and setting secular ideologies, including nationalism, in motion. Unusually manifold and complicated, the revolution affords many teaching opportunities and challenges. This volume helps instructors seeking to connect developments today--terrorism, propaganda, extremism--with the events that began in 1789, contextualizing for students a world that seems always unmoored and in crisis. The volume supports the teaching of the revolution's ongoing project across geographic areas (from Haiti, Latin America, and New Orleans to Spain, Germany, and Greece), governing ideologies (human rights, secularism, liberty), and literatures (from well-known to newly rediscovered texts). Interdisciplinary, intercultural, and insurgent, the volume has an energy that reflects its subject.

Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood’s influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood’s insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today’s hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include “the paleocybernetic age,” “intermedia,” the “artist as design scientist,” the “artist as ecologist,” “synaesthetics and kinesthetics,” and “the technosphere: man/machine symbiosis.” Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller—a perfectly cut gem of countercultural thinking in itself—places Youngblood’s radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.

Exterranean concerns the extraction of stuff from the Earth, a process in which matter goes from being sub- to exterranean. By opening up a rich archive of nonmodern texts and images from across Europe, this work offers a bracing riposte to several critical trends in ecological thought. By shifting emphasis from emission to extraction, Usher reorients our perspective away from Earthrise-like globes and shows what is gained by opening the planet to depths within. The book thus maps the material and immaterial connections between the Earth from which we extract, the human and nonhuman agents of extraction, and the extracted matter with which we live daily. Eschewing the self-congratulatory claims of posthumanism, Usher instead elaborates a productive tension between the materially-situated homo of nonmodern humanism and the abstract and aggregated anthropos of the Anthropocene. In dialogue with Michel Serres, Bruno Latour, and other interdisciplinary work in the environmental humanities, Usher shows what premodern material can offer to contemporary theory. Examining textual and visual culture alike, Usher explores works by Ronsard, Montaigne, and Rabelais, early scientific works by Paracelsus and others, as well as objects, engravings, buildings, and the Salt Mines of Wieliczka. Both historicist and speculative in approach, Exterranean lays the groundwork for a comparative ecocriticism that reaches across and untranslates theoretical affordances between periods and languages.

“Google is a champion of cultural democracy, but without culture and without democracy.” In this witty and polemical critique the philosopher Barbara Cassin takes aim at Google and our culture of big data. Enlisting her formidable knowledge of the rhetorical tradition, Cassin demolishes the Google myth of a “good” tech company and its “democracy of clicks,” laying bare the philosophical poverty and political naiveté that underwrites its founding slogans: “Organize the world’s information,” and “Don’t be evil.” For Cassin, this conjunction of globalizing knowledge and moral imperative is frighteningly similar to the way American demagogues justify their own universalizing mission before the world. While sensitive to the possibilities of technology and to Google’s playful appeal, Cassin shows what is lost when a narrow worship of information becomes dogma, such that research comes to mean data mining and other languages become provincial “flavors” folded into an impoverished Globish, or global English.