“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.”
‘The digital realm is an avant-garde to the extent that it is driven by perpetual innovation and perpetual destruction. The built-in obsolescence of digital culture, the endless trashing of last year’s model, the spendthrift throwing away of batteries and mobile phones and monitors and mice . . . and all the heavy metals, all the toxins, sent off to some god-forsaken Chinese recycling village . . . that is the digital avant- garde’ (Cubitt, non-dated)
The fact that Babbage’s Analytical Engine was to be entirely mechanical will help us to rid ourselves of a superstition. Importance is often attached to the fact that modern digital computers are electrical, and that the nervous system also is electrical. Since Babbage’s machine was not electrical, and since all digital computers are in a sense equivalent, we see that this use of electricity cannot be of theoretical importance. Of course electricity usually comes in where fast signalling is concerned, so that it is not surprising that we find it in both these connections. In the nervous system chemical phenomena are at least as important as electrical. In certain computers the storage system is mainly acoustic. The feature of using electricity is thus seen to be only a very superficial similarity. If we wish to find such similarities we should took rather for mathematical analogies of function.
“There has been considerable interest in bacterial communities wherein a bacterium is connected to neighbor- ing bacteria by means of narrow nanowires. It is believed that the purpose of the nanowires is to allow for intercellular electronic communications. More advanced on the evolutionary scale are the more modern bacterial communities which are wireless. The electromagnetic signals sent from a bacterium to neighboring bacteria can be due to relatively low frequency electron level transitions within DNA.”
“To the human, the transformation of rhythm to pitch occurs at a particular perceptual threshold of roughly 16 to 20 Hz. For example, a sonic rhythm sped up above roughly 20 pulses per second will blur perceptually from a rhythm to a pitch. For our studies, we specifically examine these gaps between each new bit of information received by an observer. These gaps can exist spatially as the interval between each bit, or temporally as the duration between each bit. Our investigations presented here visually demonstrate formal aspects of underlying frequency space and structure inspired by the examination of two particular works of the composer Karlheinz Stockhausen; Kontakte and Elektronische Musik Studie II.”
“His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. 2 (1962), detonated successfully in front of an audience gathered in the desert outside Las Vegas.”