By Siegfried Zielinski
The media at the moment are redundant. In an outline of advancements spanning the previous seventy years, Siegfried Zielinski’s [ . . . After the Media] discusses how the technique of technology-based verbal exchange assumed a systemic personality and the way idea, artwork, and feedback have been operative during this procedure. Media-explicit pondering is contrasted with media-implicit suggestion. issues of touch with an arts point of view contain a reinterpretation of the artist Nam June Paik and an advent to the paintings of Jake and Dinos Chapman. The essay ends with appeals. In an overview of an exact philology of tangible issues, Zielinski indicates probabilities of how issues might continue after the media. With a vade mecum opposed to psychopathia medialis within the kind of a manifesto, the ebook advocates for a contrast to be made among on-line lifestyles and offline being.
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Additional info for [...After the Media]: News from the Slow-Fading Twentieth Century
The IBM 7070 was 3 8 On the Manchester Mark 1 see David Link (2006 ) , p . l 9f. 3 9 His sources were Michihito Hachiya 's Hiroshima Dia ry , Paul Goldwin's The Mystery of the Elevator, and Lao Tzu's Tao Te Ching; see the Almanacco Letterario Bompiani 1 962 and our English translations in Variantology 5 (Cologne 20 1 1 ) . 53 one of th e electronic mon sters that la r ge banks used to d o their routine a ccounti n g fa st er a nd m o re pre c ise l y. 40 The ex periments of the Ita lian a va n t - g a rde are perform e d on a machine from the USA.
46 4 5 Brion Gysin ( 1 98 7 ) ; s e e a lso B rion Gysin (20 1 0 ) . 46 Dwoskin ( 1 9 7 5 ) , p . 59; the author is a founding member of the Lon d on Filmm a k e r Coop. 59 Cut-up fr o m The Third Mind signa tures o f the a uthors ( 1 9 6 5 ), at the bottom rig h t are and Gysin (Paris 1 98 6 ) . B u rroughs the During this time, Oswald Wiener, the Austrian coun terpart of the American Beat Generation writers, is working for the queen of Italian typewriter manufa ctur ers in the data processing section.
Three paradigms in particular underpin Simon don's philosophical reflections on technology: technical objects like machines must be understood as heteroge neous constructions; technical objects have to be con ceived in terms of ensembles; and technical objects are not fixed once a nd for all but are subject to continual change . In Deleuzian terms they are phenomena of be coming. Simondon's central idea that the machine is an alien which includes human elements, reveals an under standing of culture as a close-knit fabric of the human and the technological.