KITTLER OPTICAL MEDIA PDF

He begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organised. Kittler also discusses the development of various mechanical devices, like the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counterreformation. After examining this history, Kittler then addresses the ways in which images were first stored and made to move through the development of photography and film. The central question, however, is the impact of film on the ancient monopoly of writing, as it not only provoked new forms of competition for novelists but also fundamentally altered the status of books. In the final section, Kittler examines the development of electrical telecommunications and electronic image processing from television to computer simulations.

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He begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organised. Kittler also discusses the development of various mechanical devices, like the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counterreformation.

After examining this history, Kittler then addresses the ways in which images were first stored and made to move through the development of photography and film.

Kittler discusses the competitive relationship between photography and painting as well as between film and theater, as innovations like the Baroque proscenium or "picture-frame" stage evolved from elements that would later constitute cinema.

The central question, however, is the impact of film on the ancient monopoly of writing, as it not only provoked new forms of competition for novelists but also fundamentally altered the status of books. In the final section, Kittler examines the development of electrical telecommunications and electronic image processing from television to computer simulations. In short, these lectures provide a comprehensive introduction to the history of image production, which is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture.

Preliminary Remarks 1. Theoretical Presuppositions 2. Technologies of the Fine Arts 2. Optical Media 3. Brilliant and remarkably original, he offers a kind of media analysis whose method is dialectically acute and philosophically deep. No one interested in what it means to live in a media-saturated age can neglecthis vital and controversial work.

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Friedrich Kittler

Friedrich Adolf Kittler was born in in Rochlitz in Saxony. His family fled with him to West Germany in , where from to he went to a natural sciences and modern languages Gymnasium in Lahr in the Black Forest , and thereafter, until , he studied German studies , Romance philology and philosophy at the Albert Ludwigs University of Freiburg in Freiburg im Breisgau. During his studies, he was especially influenced by the writings of Jacques Lacan , Michel Foucault and Martin Heidegger. In , Kittler received his doctorate in philosophy after a thesis on the poet Conrad Ferdinand Meyer. He invoked this doctrine on his deathbed in

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Optical Media

He begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organised. Kittler also discusses the development of various mechanical devices, like the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counterreformation. After examining this history, Kittler then addresses the ways in which images were first stored and made to move through the development of photography and film. Kittler discusses the competitive relationship between photography and painting as well as between film and theater, as innovations like the Baroque proscenium or "picture-frame" stage evolved from elements that would later constitute cinema. The central question, however, is the impact of film on the ancient monopoly of writing, as it not only provoked new forms of competition for novelists but also fundamentally altered the status of books. In the final section, Kittler examines the development of electrical telecommunications and electronic image processing from television to computer simulations.

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