The first philosophy of technology, constructing humans as technological and technology as an underpinning of all culture Ernst Kapp was a foundational scholar in the fields of media theory and philosophy of technology. His 1877 Elements of a Philosophy of Technology is a visionary study of the human body and its relationship with the world that surrounds it. At the book's core is the concept of "organ projection"d: the notion that humans use technology in an effort to project their organs to the outside, to be understood as "the soul apparently stepping out of the body in the form of a sending-out of mental qualities"into the world of artifacts.Kapp applies this theory of organ projection to various areas of the material world-the axe externalizes the arm, the lens the eye, the telegraphic system the neural network. From the first tools to acoustic instruments, from architecture to the steam engine and the mechanic routes of the railway, Kapp's analysis shifts from "simple"tools to more complex network technologies to examine the projection of relations. What emerges from Kapp's prophetic work is nothing less than the emergence of early elements of a cybernetic paradigm.

A diverse, enriching volume of media analysis from a pioneering thinker in the field Expanding on Siegfried Zielinski's groundbreaking inquiry into "deep time" of the media, the essays in Variations on Media Thinking further the eminent media theorist's unique method of expanded hermeneutics, which means for him interpreting technical artifacts as essential parts of our cultural lives. Covering such topics as the televisualized "Holocaust," the ubiquity of media today, the Internet, the genealogy of sound art, and history's first hacker movement, these essays further diversify Zielinski's insight into the hidden layers of media development, which he first articulated in his pioneering work Deep Time of the Media. Including many previously untranslated and scarce essays, these "written time machines" open new lines of investigation for cultural scholars. From the automata of the Arabic-Islamic Renaissance (800-1200) to the largest and loudest techno-event ever, known as The Symphony of Sirens-which transformed Baku in 1922 into an immense music box of modern noise-Variations on Media Thinking covers Zielinski's inquiries since 1975. Richly illustrated and full of provocation, brilliant insight, and fascinating research, this volume is perfect for students of media archaeology, philosophy, and technology, as well as any adventurous, rigorous thinkers engaged with culture and media.

The media are now redundant. In an overview of developments spanning the past seventy years, Siegfried Zielinski's [ . . . After the Media] discusses how the means of technology-based communication assumed a systemic character and how theory, art, and criticism were operative in this process. Media-explicit thinking is contrasted with media-implicit thought. Points of contact with an arts perspective include a reinterpretation of the artist Nam June Paik and an introduction to the work of Jake and Dinos Chapman. The essay ends with two appeals. In an outline of a precise philology of exact things, Zielinski suggests possibilities of how things could proceed after the media. With a vade mecum against psychopathia medialis in the form of a manifesto, the book advocates for a distinction to be made between online existence and offline being.

The first philosophy of technology, constructing humans as technological and technology as an underpinning of all culture Ernst Kapp was a foundational scholar in the fields of media theory and philosophy of technology. His 1877 Elements of a Philosophy of Technology is a visionary study of the human body and its relationship with the world that surrounds it. At the book's core is the concept of "organ projection": the notion that humans use technology in an effort to project their organs to the outside, to be understood as "the soul apparently stepping out of the body in the form of a sending-out of mental qualities" into the world of artifacts. Kapp applies this theory of organ projection to various areas of the material world-the axe externalizes the arm, the lens the eye, the telegraphic system the neural network. From the first tools to acoustic instruments, from architecture to the steam engine and the mechanic routes of the railway, Kapp's analysis shifts from "simple" tools to more complex network technologies to examine the projection of relations. What emerges from Kapp's prophetic work is nothing less than the emergence of early elements of a cybernetic paradigm.

A quest to find something new by excavating the "deep time" of media's development-not by simply looking at new media's historic forerunners, but by connecting models, machines, technologies, and accidents that have until now remained separated. Deep Time of the Media takes us on an archaeological quest into the hidden layers of media development-dynamic moments of intense activity in media design and construction that have been largely ignored in the historical-media archaeological record. Siegfried Zielinski argues that the history of the media does not proceed predictably from primitive tools to complex machinery; in Deep Time of the Media, he illuminates turning points of media history-fractures in the predictable-that help us see the new in the old. Drawing on original source materials, Zielinski explores the technology of devices for hearing and seeing through two thousand years of cultural and technological history. He discovers the contributions of "dreamers and modelers" of media worlds, from the ancient Greek philosopher Empedocles and natural philosophers of the Renaissance and Baroque periods to Russian avant-gardists of the early twentieth century. "Media are spaces of action for constructed attempts to connect what is separated," Zielinski writes. He describes models and machines that make this connection: including a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electrical tele-writing machine of Joseph Mazzolari, among others. Uncovering these moments in the media-archaeological record, Zielinski says, brings us into a new relationship with present-day moments; these discoveries in the "deep time" media history shed light on today's media landscape and may help us map our expedition to the media future.