In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium's individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur.
Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as "in-betweens," shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational.
Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l'oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic.
Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.

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.

"Quod non est in actis, non est in mundo," (What is not on file is not in the world.) Once files are reduced to the status of stylized icons on computer screens, the reign of paper files appears to be over. With the epoch of files coming to an end, we are free to examine its fundamental influence on Western institutions. From a media-theoretical point of view, subject, state, and law reveal themselves to be effects of specific record-keeping and filing practices. Files are not simply administrative tools; they mediate and process legal systems. The genealogy of the law described in Vismann's "Files" ranges from the work of the Roman magistrates to the concern over one's own file, as expressed in the context of the files kept by the East German State Security. The book concludes with a look at the computer architecture in which all the stacks, files, and registers that had already created order in medieval and early modern administrations make their reappearance.

Operation Valhalla collects eighteen texts by German media theorist Friedrich Kittler on the close connections between war and media technology. In these essays, public lectures, interviews, literary analyses, and autobiographical musings, Kittler outlines how war has been a central driver of media's evolution, from Prussia's wars against Napoleon to the so-called War on Terror. Covering an eclectic array of topics, he charts the intertwined military and theatrical histories of the searchlight and the stage lamp, traces the microprocessor's genealogy back to the tank, shows how rapid-fire guns brought about new standards for optics and acoustics, and reads Thomas Pynchon's Gravity's Rainbow to upset established claims about the relationship between war, technology, and history in the twentieth century. Throughout, Operation Valhalla foregrounds the outsize role of war in media history as well as Kittler's importance as a daring and original thinker.

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.

Operation Valhalla collects eighteen texts by German media theorist Friedrich Kittler on the close connections between war and media technology. In these essays, public lectures, interviews, literary analyses, and autobiographical musings, Kittler outlines how war has been a central driver of media's evolution, from Prussia's wars against Napoleon to the so-called War on Terror. Covering an eclectic array of topics, he charts the intertwined military and theatrical histories of the searchlight and the stage lamp, traces the microprocessor's genealogy back to the tank, shows how rapid-fire guns brought about new standards for optics and acoustics, and reads Thomas Pynchon's Gravity's Rainbow to upset established claims about the relationship between war, technology, and history in the twentieth century. Throughout, Operation Valhalla foregrounds the outsize role of war in media history as well as Kittler's importance as a daring and original thinker.

In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium's individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur.
Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as "in-betweens," shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational.
Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l'oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic.
Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.

A new critical assessment of the works of the Austrian-Jewish author, in whom there has been a recent resurgence of interest, from the perspective of world literature. The twenty-first century has seen a renewed surge of cultural and critical interest in the works of the Austrian-Jewish author Stefan Zweig (1881-1942), who was among the most-read and -acclaimed authors worldwide in the 1920s and1930s but after 1945 fell into critical disfavor and relative obscurity. The resurgence in interest in Zweig and his works is attested to by, among other things, new English translations and editions of his works; a Brazilian motion picture and a best-selling French novel about his final days; and a renewed debate surrounding the literary quality of his work in the London Review of Books. This global return to Zweig calls for a critical reassessment of his legacy and works, which the current collection of essays provides by approaching them from a global perspective as opposed to the narrow European focus through which they have been traditionally approached. Together, theintroduction and twelve essays engage the totality of Zweig's published and unpublished works from his drama and his fiction to his letters and his biographies, and from his literary and art criticism to his autobiography. Contributors: Richard V. Benson, Jeffrey B. Berlin, Darien J. Davis, Marlen Eckl, Mark H. Gelber, Robert Kelz, Klemens Renoldner, Birger Vanwesenbeeck, John Warren, Klaus Weissenberger, Robert Weldon Whalen, Geoffrey Winthrop-Young. Birger Vanwesenbeeck is Associate Professor of English at the State University of New York at Fredonia. Mark H. Gelber is Senior Professor of Comparative Literature and German-Jewish Studies at Ben-Gurion University of the Negev, Israel.

TURN-OF-THE-CENTURY EXTREME SPORT WALL AND ROOF CLIMBING (1905)
"(Including illuminating Appendices on Furniture, Tree and Haystack Climbing)"

Five years after successfully launching the original in the Night Climbing series, The Roof-Climbers Guide to Trinity, on an unsuspecting world in 1900, Geoffrey Winthrop-Young penned an astonishingly erudite parody of the literature guides of the time. With extensive stegophilic references and quotations drawn from the literature of the the last two thousand years and more, he nearly manages to prove that Catullus and Aristophanes, Shakespeare and Longfellow - amongst very many others - were avid enthusiasts and exponents of roof climbing...

THE FIRST NIGHT CLIMBING TITLE

In several inter-connected sections GW-Y explores and explains the different ages and types of building and the necessary differences in materials used prompting the alternative ways of tackling said. He examines the rich literary history of the sport in global proverbs, poetry and prose. The varied costumes, the prevalence of women roof-climbers and geographic differences in thought are all woven together in an almost exhaustive expose of this sport that remains so popular today but has a philosophy as difficult to define now as then: ""The change of centuries has brought no cessation in the perennial pestering as to the nature of this climbing infatuation. The unenlightened still press with old-time pertinacity for a logical exposition of the instinct which induces rational beings to spread themselves over knobby countries or polish uncomfortable walls; mountaineers have long abandoned the attempt to answer, and wallers may imitate their compassionate shrug. What philosophic system could congeal into frigid words this harmonious exaltation?""

We have no doubt the guide will be as useful now as then but concur with the contemporary reviewer when he notes:
""As it is probable that this review will lead to a large demand for the work in big cities by professional and business men, it is fair to point out to intending purchasers that the book is theoretical only, and not intended to take the place of a local climbers' guide, such as the Roof Climber's Guide to Trinity.""

If you're a fan of free-running, parkour, buildering and, of course, wall and roof climbing, then this fascinating book will make your day.

OTHER UNMISSABLE NIGHT CLIMBING TITLES FROM OLEANDER: The Bible of All Climbing Disciplines - The Night Climbers of Cambridge by Whipplesnaith (Cut and Paste 9781909349551 to search)
The Original Night Climbing title - The Roof-Climber's Guide to Trinity - Omnibus Edition (Cut and Paste 9780900891922)

A new critical assessment of the works of the Austrian-Jewish author, in whom there has been a recent resurgence of interest, from the perspective of world literature. The twenty-first century has seen a renewed surge of cultural and critical interest in the works of the Austrian-Jewish author Stefan Zweig (1881-1942), who was among the most-read and -acclaimed authors worldwide in the 1920s and1930s but after 1945 fell into critical disfavor and relative obscurity. The resurgence in interest in Zweig and his works is attested to by, among other things, new English translations and editions of his works; a Brazilian motion picture and a best-selling French novel about his final days; and a renewed debate surrounding the literary quality of his work in the London Review of Books. This global return to Zweig calls for a critical reassessment of his legacy and works, which the current collection of essays provides by approaching them from a global perspective as opposed to the narrow European focus through which they have been traditionally approached. Together, theintroduction and twelve essays engage the totality of Zweig's published and unpublished works from his drama and his fiction to his letters and his biographies, and from his literary and art criticism to his autobiography. Contributors: Richard V. Benson, Jeffrey B. Berlin, Darien J. Davis, Marlen Eckl, Mark H. Gelber, Robert Kelz, Klemens Renoldner, Birger Vanwesenbeeck, John Warren, Klaus Weissenberger, Robert Weldon Whalen, Geoffrey Winthrop-Young. Birger Vanwesenbeeck is Associate Professor of English at the State University of New York at Fredonia. Mark H. Gelber is Senior Professor of Comparative Literature and German-Jewish Studies at Ben-Gurion University of the Negev, Israel.

TURN-OF-THE-CENTURY EXTREME SPORT The distant towers of the Great, New and Cloister Courts looming against the dark sky, lit by the flickering lamps far below; the gradations of light and shadow, marked by an occasional moving black speck seemingly in another world; the sheer wall descending into darkness at his side, above which he has been half-suspended on his long ascent; the almost invisible barrier that the battlements from which he started seem to make to his terminating in the Cloisters if his arm slips; all contribute to making this deservedly esteemed the finest view point in the College Alps. By turns sage and foolhardy, the advice contained within represents the cumulative experience of three inquisitive, ambitious and daring men - the authors of the three editions of The Roof-Climber's Guide to Trinity - and their accomplices. Geoffrey Winthrop-Young, John Hurst andRichard Williams were each their generations' luminaries in an historic sport, now known as Night Climbing; one by its very nature sparsely populated and largely anonymous. THE ORIGINAL NIGHT CLIMBING CLASSIC This Omnibus Edition contains the full texts and images from each of those editions, as well as the appendices to the First Edition, and features a special introduction by Richard Williams, author of the Third Edition, in which he details the collected wisdom and history of Night Climbing, andfinally removes the cloak of anonymity that has until now protected the identities of those first intrepid nocturnal explorers. Although many may baulk at the methods described in the narrative, few could question the diligence spent obtaining that content, or deny the impeccable locution and erudition displayed in presenting the illicit achievements in this cult classic. As the Guide itself posits, its existence will have been justified if it has succeeded in providing the young stegophilist making his first night venture upon the Trinity Roofs with a clue, however poor, to the creditable unravelling of their somewhat complex mazes. OTHER UNMISSABLE NIGHT CLIMBING TITLES FROM OLEANDER: The Bible of All Climbing Disciplines - The Night Climbers of Cambridge by Whipplesnaith Cut and Paste 9781909349551 to search)

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone