In medias res -- Understanding media -- Of cetaceans and ships; or, the moorings of our being -- The fire sermon -- Lights in the firmament: sky media I (Chronos) -- The times and the seasons: sky media II (Kairos) -- The face and the book (inscription media) -- God and Google -- Conclusion: the sabbath of meaning -- Appendix: nonsimultaneity in cetacean communication.
Investigates the ways in which new technologies and theories of photography, phonography, moving images, and digital media engage with a diverse set of texts by British Romantic writers. Romantic Mediations investigates the connections among British Romantic writers, their texts, and the history of major forms of technical media from the turn of the nineteenth century to the present. Opening up the vital new subfield of Romantic media studies through interventions in both media archaeology and contemporary media theory, Andrew Burkett addresses the ways that unconventional techniques and theories of storage and processing media engage with classic texts by William Blake, Lord Byron, John Keats, Mary Wollstonecraft Shelley, and others. Ordered chronologically and structured by four crucial though often overlooked case studies that delve into Romanticism’s role in the histories of incipient technical media systems, the book focuses on different examples of the ways that imaginative literature and art of the period become taken up and transformed by—while simultaneously shaping considerably—new media environments and platforms of photography, phonography, moving images, and digital media. “Romantic Mediations brings contemporary media theory to major Romantic texts and their reception. Few if any scholars working in Romanticism and media have taken up the generational difference between Friedrich Kittler’s media theory and the more contemporary media archaeology of Jussi Parikka. Moreover, too often have media theories of Romanticism been restricted to digital media and screen technology. Andrew Burkett creates a new path for Romantic period scholarship by showing the potential of media archaeology for Romantic texts and their long afterlife.” — Ron Broglio, author of Technologies of the Picturesque: British Art, Poetry, and Instruments 1750–1830
Providing an overview of Japanese media theory from the 1910s to the present, this volume introduces English-language readers to Japan's rich body of theoretical and conceptual work on media for the first time. The essays address a wide range of topics, including the work of foundational Japanese thinkers; Japanese theories of mediation and the philosophy of media; the connections between early Japanese television and consumer culture; and architecture's intersection with communications theory. Tracing the theoretical frameworks and paradigms that stem from Japan's media ecology, the contributors decenter Eurocentric media theory and demonstrate the value of the Japanese context to reassessing the parameters and definition of media theory itself. Taken together, these interdisciplinary essays expand media theory to encompass philosophy, feminist critique, literary theory, marketing discourse, and art; provide a counterbalance to the persisting universalist impulse of media studies; and emphasize the need to consider media theory situationally. Contributors. Yuriko Furuhata, Aaron Gerow, Mark Hansen, Marilyn Ivy, Takeshi Kadobayashi, Keisuke Kitano, Akihiro Kitada, Thomas Looser, Anne McKnight, Ryoko Misono, Akira Mizuta Lippit, Miryam Sas, Fabian Schäfer, Marc Steinberg, Tomiko Yoda, Alexander Zahlten
In Phase Media, James Ash theorizes how smart objects, understood as Internet-connected and sensor-enabled devices, are altering users' experience of their environment. Rather than networks connected by lines of transmission, smart objects generate phases, understood as space-times that modulate the spatio-temporal intelligibility of both humans and non-humans. Examining a range of objects and services from the Apple Watch to Nest Cam to Uber, Ash suggests that the modulation of spatio-temporal intelligibility is partly shaped by the commercial logics of the industries that design and manufacture smart objects, but can also exceed them. Drawing upon the work of Martin Heidegger, Gilbert Simondon and Bruno Latour, Ash argues that smart objects have their own phase politics, which offer opportunities for new forms of public to emerge. Phase Media develops a conceptual vocabulary to contend that smart objects do more than just enabling a world of increased corporate control and surveillance, as they also provide the tools to expose and re-order the very logics and procedures that created them.