By Wendy Hui Kyong Chun
New Media, Old Media is a finished anthology of unique and vintage essays that discover the tensions of outdated and new in electronic tradition. prime foreign media students and cultural theorists interrogate new media just like the web, electronic video, and MP3s opposed to the backdrop of past media reminiscent of tv, movie, images, and print. The essays supply new benchmarks for comparing all these claims; political, social, moral, made in regards to the electronic age. dedicated to ancient study 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 remodeled. the various themes explored in provocative quantity contain web pages, webcams, the increase and fall of dotcom mania, web journalism, the open resource circulation, and computing device viruses.
New Media, previous Media is a foundational textual content for common readers, scholars, and students of latest media around the disciplines. it really is crucial analyzing for someone attracted to figuring out the cultural influence of latest media.
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Additional info for New Media, Old Media: A History and Theory Reader
No ask yourself that] Foucault’s ancient paintings stops round 1850. ” Friedrich Kittler, “Nachwort,” in Aufschreibsysteme 1800/1900 (2nd ed. ), (Munich: Wilhelm Fink, 1987), 429. 18. Friedrich Kittler, Discourse Networks (Stanford: collage of Stanford Press, 1996). 19. Friedrich Kittler, “Die Welt des Symbolischen, eine Welt der Maschine,” in Draculas Vermächtnis (Leipzig: Reclam, 1993), 58–80. See additionally Hans Ulrich Gumbrecht and okay. Ludwig Pfeiffer (eds. ), Materialities of communique (Stanford: Stanford collage Press, 1994). 20. “Digital Cinema: supply, occasion, Time” in T. Elsaesser, ok. Hofmann (eds. ), Cinema Futures. Cain Abel or Cable (Amsterdam: Amsterdam college Press, 1996), 201–222. Early movie historical past and multi-media 29 21. “One of the most important initiatives of paintings has consistently been the construction of a requirement which may be totally chuffed merely later. The background of each paintings shape exhibits serious epochs during which a undeniable artwork shape aspires to results that may be absolutely got merely with a replaced technical common. ” Walter Benjamin, The murals within the Age of Mechanical replica, Illuminations (New York: Schocken, 1969), 237. 22. Altman calls this the “representation of illustration” and he attracts the next end: “This new method considers that each ideological strength needs to via necessity grapple with the residue of one other ideological impetus embodied in competing representational modes. ” Rick Altman, “Representational Technologies,” Iris, vol. 2, no. 2, (1984), sixteen. 23. Tom Gunning, D. W. Griffith and the Origins of yank Narrative movie (Urbana: college of Illinois Press, 1991); Noel Burch, lifestyles to these Shadows (Berkeley: collage of California Press, 1990); Charles Musser, prior to the Nickelodeon: Edwin S. Porter and the Edison Manufaturing corporation (Berkeley: collage of California Press, 1991) and William Uricchio, “Cinema as Detour? ” in, ok. Hicketier, E. Müller, & R. Rother (eds. ), Der movie in der Geschichte (Berlin: Sigma, 1997), 19–25. 24. On Marey, see Marta Braun, Picturing Time: The paintings of Etienne-Jules Marey (Chicago: college of Chicago Press, 1992). 25. For a shift within the review not just of the French pioneers, see Laurent Mannoni, Le grand paintings de l. a. lumière et de l’ombre (Paris: Nathan, 1994). The reassessment of Oskar Messter is due principally to Martin Loiperdinger’s archival paintings. See M. Loiperdinger (ed. ), Oskar Messter: ein Filmpionier der Kaiserzeit (Frankfurt: Strömfeld/Roter Stern, 1994). 26. Paul Virilio, struggle and Cinema: Logistics of conception (London: Verso, 1997). Friedrich Kittler, “Gramophone, movie, Typewriter,” October forty-one (Summer 1987): 101–118. 27. See Thomas Y. Levin, Ursula Frohne, and Peter Weibel (eds. ), CTRL [SPACE]: Rhetorics of Surveillance from Bentham to important Brother (Cambridge: MIT Press 2002). 28. For the presence of optical toys and precision tools within the artist’s studio, see David Hockney, mystery wisdom (London: Phaidon, 2001). 29. Extrapolating from Tom Gunning’s idea of the “cinema of attraction,” a number of students have argued for any such “return.