Toward the end of the nineteenth century, the hegemony of the
printed word was shattered by the arrival of new media technologies
that offered novel ways of communicating and storing data.
Previously, writing had operated by way of symbolic mediation--all
data had to pass through the needle's eye of the written
signifier--but phonography, photography, and cinematography stored
physical effects of the real in the shape of sound waves and light.
The entire question of referentiality had to be recast in light of
these new media technologies; in addition, the use of the
typewriter changed the perception of writing from that of a unique
expression of a literate individual to that of a sequence of naked
material signifiers.
Part technological history of the emergent new media in the late
nineteenth century, part theoretical discussion of the responses to
these media--including texts by Rilke, Kafka, and Heidegger, as
well as elaborations by Edison, Bell, Turing, and other
innovators--"Gramophone, Film, Typewriter" analyzes this momentous
shift using insights from the work of Foucault, Lacan, and McLuhan.
Fusing discourse analysis, structuralist psychoanalysis, and media
theory, the author adds a vital historical dimension to the current
debates over the relationship between electronic literacy and
poststructuralism, and the extent to which we are constituted by
our technologies. The book ties the establishment of new discursive
practices to the introduction of new media technologies, and it
shows how both determine the ways in which psychoanalysis conceives
of the psychic apparatus in terms of information machines.
"Gramophone, Film, Typewriter" is, among other things, a
continuation as well as a detailed elaboration of the second part
of the author's "Discourse Networks, 1800/1900" (Stanford, 1990).
As such, it bridges the gap between Kittler's discourse analysis of
the 1980's and his increasingly computer-oriented work of the
1990's.
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