Wolfgang Ernst, Professor of Media Theories at the Humboldt University in Berlin, has become known through his work on media archaeology. Hence the inclusion of this translation represents an alternative take on cultural techniques. It places the legacy of cultural studies, or Kulturwissenschaften, in an interesting tension with the different epistemological demands that technical media impose. After Vico and Dilthey, argues Ernst, we need to investigate the specific modes of knowledge that technical media propose to cultural (...) techniques. Ernst’s media archaeology and the slightly different approach to cultural techniques found in some other contributions in this issue can be seen as two of the most intriguing ways in which current German media studies has been developing in relation to Friedrich Kittler’s impact. For Ernst, this has resulted in a more technical focus and also in the development of critiques of temporality that go beyond media history. Ernst argues that media temporality is not to be understood only through the cultural history of media technologies, but also how media technologies produce time. Machines have their own specific temporality, Eigenzeit. It is in this context that the article discusses the different approaches to cultural techniques, taking into consideration the specific time-critical and epistemic implications of technical media. (shrink)

_Cinema Futures: Cain, Abel or Cable? The Screen Arts in the Digital Age_ Edited by Thomas Elsaesser and Kay Hoffmann Amsterdam: Amsterdam University Press, 1998. ISBN: 90 5356 282 6 Hb; 90 5356 312 1 Pb 312 pp.

Writing Technology in Meiji Japan: A Media History of Modern Chinese Literature and Visual Culture. By Seth Jacobowitz. Harvard East Asian Monographs, vol. 387. Cambridge, Mass.: Harvard University Asia Center, Harvard University Press, 2015. Pp. xii + 299. $39.95.

A sand table is an intentional structure that is an early, indeed ancient, interactive platform for visualization and simulation. An intellectual furnishing that is also a tangible instance of speculative infrastructure, the sand table offers a tactile space for the rehearsal of tactics, staccato words whose roots lie in haptics and arrangement. While common in military settings, sand tables have also been used to teach the blind, train wilderness firefighters, conduct therapy for trauma victims, illustrate stories to children, and play (...) imaginative games. Today there is a direct line from this seemingly modest technology—an implementation of what has been called elemental media—to augmented reality and other tangible interfaces. Part media history, part media archaeology, this article argues that sand tables belong to the lineage of platforms for speculative thinking and world-building that culminated in the rise of the digital computer amid a Cold War complex of scenario-driven futurology (whose centerpiece was the so-called situation room). It also suggests that sand, in its literal granularity—the physical affordances of the minute particulars of its particulate matter—offers an alternative to the binary regimen of ones and zeros that is the extractive product of the refined silica out of which semiconductors are still made. (shrink)

Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology​ presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, while also examining the presence of moving images in museum and art spaces as a challenge for art history. The study is the fruit of twenty years of research and writing at the interface of (...) film history, media theory, and media archaeology by one of the acknowledged pioneers of new film history and media archaeology. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction as we experience them today. (shrink)

In Sensations of History, James J. Hodge argues that animation in new media art transforms historical experience in the digital age. Combining close textual analysis of experimental new media artworks with discussion of key phenomenological texts, Sensations of History argues for the broad critical significance of animation as we shift from analog to digital technologies. Hodge looks closely at animation aesthetics, which allow for a clear grasp of the ways digital technologies transform our sense of historical (...) experience. (shrink)

Media archaeological methods for extending the lifetime of new media into ‘old media’ have experienced a revival during the past years. In recent media theory, a new context for a debate surrounding media archaeology is emerging. So far media archaeology has been articulated together with such a heterogeneous bunch of theorists as Erkki Huhtamo, Siegfried Zielinski, Thomas Elsaesser and to a certain extent Friedrich Kittler. However, debates surrounding media archaeology as a method seem (...) to be taking it forward not only as a subdiscipline of (media) history, but increasingly into what will be introduced as materialist media diagrammatics. This article maps some recent media archaeological waves in German media theory. The text addresses Wolfgang Ernst’s mode of media archaeology and his provocative accounts on how to rethink media archaeology as a fresh way of looking into the use and remediation of media history as a material monument instead of a historical narrative and as a recent media theoretical wave from Germany that seems to not only replicate Kittler’s huge impact in the field of materialist media studies but develop that in novel directions. However, as will be argued towards the end, Ernst’s provocative take that hopes to distinguish itself as a Berlin brand of media theory in its hardware materiality and time-critical focus resonates strongly with some of the recent new directions coming from US media studies, namely in software and platform studies. (shrink)

Much has been written about how Foucault's archaeology of the modern episteme, emerging from early 19th-century Europe, was curiously divorced from its context of colonialism. Media archaeology, as Foucault's legacy, has also remained rather geopolitically insular and race agnostic in its epistemological reverse engineering of media modernity. Using screenwriting history as a case study, this article demonstrates how bringing decolonial thinking and media archaeology together can challenge linear narratives of modernity/coloniality in media history. The (...) article connects two seemingly disparate histories of archival absence and human obsolescence to reveal the construction of an elusive screenwriting modernity that has historically obscured parallel scripting practices and pre-existing scribal traditions. (shrink)

It is argued that since its institutionalization in the 1970s, Uses and Gratifications research has been heavily influenced by applied economic theories about Expectancy Value and Subjective Expected Utility. Underlying these theories are assumptions about the acting individual having full mastery of situations. This idea is contrasted with the way in which action theory portrays action. Here, mastery of situations is not assumed at forehand, but depends on the situation and is something that has to be achieved. Action theories further (...) emphasize the influence of others. Applying these ideas to the study of media use means that more attention has to be paid to processes of gaining mastery, to situational influences, and to the influence of others. It is argued that discrete-time event history analysis may be a valuable tool to accomplish this. This may contribute to the study of several important questions in communication research, regarding audience flow and audience selectivity, and the social uses of media use. (shrink)

Since the late-1980s the rise of the Internet and the emergence of the Networked Society have led to a rapid and profound transformation of everyday life. Underpinning this revolution is the computer – a media technology that is capable of not only transforming itself, but almost every other machine and media process that humans have used throughout history. In _Philosophy of Media_, Hassan and Sutherland explore the philosophical and technological trajectory of media from Classical Greece until (...) today, casting a new and revealing light upon the global media condition. Key topics include: the mediation of politics the question of objectivity automata and the metaphor of the machine analogue and digital technological determinism. Laid out in a clear and engaging format, _Philosophy of Media_ provides an accessible and comprehensive exploration of the origins of the network society. It is essential reading for students of philosophy, media theory, politics, history and communication studies. (shrink)

Berichte zur Wissenschaftsgeschichte, Volume 44, Issue 4, Page 414-432, December 2021.

This article develops the new concept of environing media against the case of Mexico’s complex history over the past five centuries. To do this, it stakes out a theoretical development consisting in a shift in understanding from media as content-delivery systems to data processors, combining it with a processual understanding of environment as an ongoing and historical process of environing. In addition, the article discusses examples of indigenous media, an area that has so far received very (...) little attention. The Aztec empire was as dependent on media forms as the Spanish colonizers who replaced it, and there are numerous cases of knowledges and practices surviving in hybrid forms, for example as part of maps. For much of its history, the field of media studies has been biased toward questions of (1) ideological or attitudinal influence caused by (2) modern or emergent technologies. This article goes in another direction by thinking about media as (1) environing and (2) residual. Media are agencies of civilizational and environmental order. The rise of digital media in recent decades has reinforced the fundamental logistical role of media as agencies that arrange, catalog, organize, network, and index people, places, and things. Our understanding of media as fundamental constituents of organization joins the recent interest in infrastructures. Calendars, clocks, towers, names, addresses, maps, registers, arms, and money are all infrastructural media. Such media become second nature, morphing biorhythms and altering ecosystems. Today’s planetary digital infrastructure builds upon the long legacy of resource management via databases. We argue for a longer genealogy of the nature shaping logistical role of media that is so evident today. In this article, we refine and exemplify these claims via a case study of some environing media in Mexico, a country with a deep and rich media history. (shrink)

Proponents of the “literacy” thesis share with proponents of the “extended mind” thesis the viewpoint that communication systems such as language or writing have cognitive implications that go beyond their purely social and communicative purposes. Conceiving of media as extensions of the mind thus has the potential to bring together and cross-fertilize research programs that are currently placed in distant corners of the study of mind, language, and society. In this issue, we bring together authors with a diverse set (...) of interests to identify promising areas of overlap, blaze new trails for us to explore, but also to highlight dissonances and challenges that will have to be addressed in future work. (shrink)

Between Summits I and II, media ethics established its legitimacy, summarized into recommendations for the field's future fluorescence. This history points to the challenges through which media ethics moves to another order of magnitude. A historical map of media ethics scholarship since 1980 divides into 5 domains, and each is introduced: theory, social philosophy, religious ethics, technology, and truth. From this content analysis of the literature, an agenda emerges for research and academic study that can raise (...) media ethics to a higher level. (shrink)

Sartre and the Media is the first book to offer a systematic account of Sartre's involvement in press publications and radio and television broadcasting in postwar France. Sartre's awareness of the growing power of the media to shape and influence public opinion was the motivating force underlying his interventions in the press from Combat and Le Figaro in 1944-45 to La Cause du Peuple, J'Accuse and Liberation in 1970-74, and in the French state-controlled radio and television network from (...) the 'Tribune des Temps Modernes' radio series of 1947 to the aborted 'Antenne 2' television history series of 1974-75. Focused principally on the nature of relations between intellectuals and the media, this book will appeal to those interested in the issues of freedom of expression and censorship in contemporary France. (shrink)

While throughout history, knowledge and information have been mostly bound in language and text, new twenty-first-century media increasingly tend to break with this tradition of linear sequentiality. This paper will present an account of how this development may be explained by a relationship between the use of digital technologies on the one hand, and the user’s cognitive processes on the other. This will be done by, first, outlining two existing conceptions of human cognition and, subsequently, by confronting these (...) with observations in the field of philosophy of media, most prominently the position of Marshall McLuhan. (shrink)

The 2000 U.S. presidential election was one of the most bizarre and fateful in American history. Described in books as a “deadlock,” “thriller,” “the perfect tie,” and even “Grand Theft 2000,” studies of the election have dissected its anomalies and scandals and have attempted to describe and explain what actually happened.1 In this study, I will analyze how the turn toward media politics and spectacle in U.S. political campaigns and the curious and arguably archaic system of proportional voting (...) in the U.S. tilted the campaign toward George W. Bush and were prejudicial to the election of Al Gore. Gore received over 540,000 votes more than Bush, but because of the U.S. system of proportional voting won less electoral votes and lost the crucial state of Florida. In this chapter, I will argue that media representation of the two candidates and the anomalies of the U.S. system of proportional representation in an arguably archaic Election College were major factors in the highly controversial ascent to the presidency of George W. Bush. Of course, the U.S. Supreme Court decision directly decided the election results and the story of Election 2000 is highly complex and contested. Yet focus on the media in the election and problems with the system of proportional representation provide revealing lenses on the events of the 2000 election and call attention to major problems in the U.S. system of representational democracy. (shrink)

Wundt's Völkerpsychologie (VP) is an exceptional case in the history of psychology. Outlined in 1863 in the second volume of Vorlesungen über Menschen- und Thierseele (Lectures on the Human and Animal Soul), VP was finally published 37 years later in 10 volumes during the last 20 years of the author's life. The work was characterized by an ambitious program of multimethod and transdisciplinary research. This article explores the intellectual and contextual reasons for the early successes and failures of VP. (...) We analyzed n = 264 articles published in the German press and n = 220 books, reviews, and articles published in scientific journals that explicitly cited the 10 volumes between 1900 and 1920. VP received considerable criticism from linguists and philologists, who claimed that its results were of little practical use for their research. The first volumes of VP were criticized for their abstract character and psychological indifferentism; on the other hand, positive reviews emphasized their attempt to systematize and give a philosophical order to the individual investigations of philology, linguistics, comparative history, religious studies, and so on. The normative-methodological role that VP tried to play in relation to the other historical sciences was significantly criticized, and this was a determining factor in its diminishing impact over time. Some of Wundt's hypotheses were philosophically at odds with the project of German cultural imperialism that was being developed at the time and with which most of his intellectual enemies agreed. (shrink)

Media ecology is not the theoretical stream of communication studies and it is not limited to Marshall McLuhan´s work and thinking; however, we focus on McLuhan’s approach to media ecology for this special issue on the philosophy of Marshall McLuhan. Media ecology is a complex and systemic metadiscipline whose object of study is the changes and effects that have occurred in society as a result of the evolution of technology and media throughout history.

Media art can be conceived as laboratory, at the edges of art. These technological experiments give priority to innovation and exploration by means of new media. In metaphorical terms, we could say that the emphasis is on creating new languages that allow us, in a later phase, to write prose or poetry with it.In my paper, I discuss why the common view on media art falls short. Media art is not just about mixing media but (...) rather about mixing art. Several different challenges are at stake that beget a hybrid post-medium condition. (1) The artistic practice of media art often concerns exercises in remediation (i.e. resonating visual narratives of old media in new media). Here, we encounter a repetition of historical themes and re-makes or re-enactments of classical art pieces. These experiments thus mix the history of art. (2) Media art is often also about immersion (i.e. interactively enclosing the spectactor in a audiovisual or virtual realm). In experiments with CAVE-installations or 3D-cinema using digital goggles, for instance, we notice a combination of an artistic interest with a phenomenologicaland a scientific one (cf. so-called postfenomenology, robotics, experimental psychology). Hence, these experiments mix art with science. (3) Media art is not just a friction between art an technoscience. It takes place at a junction between art, creative industry, design, sociology and politics. Concerning the latter, I willdiscuss the culture-critical potential of i.e. hacktivism, marx 2.0 and bio-performances like Stelarc and Orlan. (4) Media art is not simply a genre that aims for recognition as a part of or a completion of fine art. While democratizing new media technology, it actually blurs the idea of genre, altering and opening up the very canon of fine art, music art, live art, performance art, video art and cinema. (shrink)

The author suggests to look at media research from a historical perspective and compare the projects of the “golden period”, that is, the 1990s – early 2000s, with the works of recent years. After preliminary contextual explanations, choosing for a more detailed presentation projects of S. Zielinski and J. Parikka, the author shows how the tasks of media studies and their methodology change during the transition from large-scale panoramas claiming to build a new history from the perspectives (...) of media to often fragmented and situational analyses of components of chosen media (for example, the translation of color dispersion into the chemical language of a photograph of a distant star). This was the way by which archaeology, attentive to geological time, turned into archival work being done for “commercial use or machine learning”. This is how the radical approaches to media research characteristic of the first media theorists are leveled, because scientists publishing their works since the second half of the 2010s contribute to the normalization of media theory by bringing it to the long-discussed topics of other disciplines, such as cognitive functions or theories of signs. At the same time, media theory of recent years is being largely politicized, adopting governmental instructions and reducing the “variantology” and multiplicity of media that were developed earlier. (shrink)

History in a Post-Truth World: Theory and Praxis explores one of the most significant paradigm shifts in public discourse. A post-truth environment that primarily appeals to emotion, elevates personal belief and devalues expert opinion has important implications far beyond Brexit or the election of Donald Trump, and has a profound impact on how history is produced and consumed. Post-truth history is not merely a synonym for lies. This book argues that indifference to historicity by both the purveyor (...) and recipient, contempt for expert opinion that contradicts it, and ideological motivation are its key characteristics. Taking a multidisciplinary approach, this work explores some of the following questions. What exactly is post-truth history? Does it represent a new phenomenon? Does the historian have a special role to play in preserving public memory from 'alternative facts'? Do academics more generally have an obligation to combat fake news and fake history both in universities and on social media? How has a 'post-truth culture' impacted professional and popular historical discourse? Looking at theoretical dimensions and case studies from around the world, this book explores the violent potential of post-truth history and calls on readers to resist. (shrink)

What is the role of communication technology and media in making American society more adaptive, equitable, and democratic? Analyzing the field of communication against an in-depth picture of American society, this provocative, wide-ranging text explores how communication enterprises are intrinsically linked to the establishment and maintenance of social power. Throughout the book, changes in communication capabilities are related to changes in wealth and income distribution, the structures of economic organizations, work and the professions, minorities, law and government, urbanization, popular (...) culture, and globalization. In an engaging narrative the author presents empirical evidence that suggests that popular beliefs about the democratic role of media and communications often are misguided. While we are in an information age, it is not an information revolution that can liberate society. Emphasizing new technologies and media in contemporary American society, Rossides shows how most forms of social communication throughout history—language, gestures, clothing, buildings and spaces, ships and railroads—have sustained social power. (shrink)

This monograph presents a synthesis and reconstruction of Rudolf Arnheim’s theory of media. Combining both Arnheim’s well-known writings on film and radio with his later work on the psychology of art, the author presents a coherent approach to the problem of the nature of a medium, space and time, and the differentia between different media. The latent ontological commitments of Arnheim’s theories is drawn out by affirming Arnheim’s membership in the Brentano school of Austrian philosophy, which allows his (...) theories to be clarified and strengthened, particularly with the metaphysical writings of Roman Ingarden. The resulting theory is relational, portraying essential medial differences with neutral criteria and allowing for a rigorous definition of a medium. The way in which a medium is based on the inherent dispositions of medial materials creates a highly appealing theory that is determinate without being deterministic. The theory is thus highly timely as people in media studies seek to address the determinate nature of media after the post-medium condition. The book will appeal to researchers and graduate students in cultural and media studies as well as architecture and design. (shrink)

Throughout Iran’s modern history, control of the public sphere has remained in the hands of the state. With virtually no trace of a civil society, public opinion has played only a minimal role in influencing state affairs. The 1979 Islamic revolution could be viewed as a break in this historical trend, but public opinion retreated into the background once the clerics solidified their power -- and then kept it by invoking religious orthodoxy to deflect any challenges. Thus, it should (...) have been no surprise that the press revolution, which began in the late 1990s as Mohammad Khatami came to power, collapsed a few years later. While an array of newspapers and journals are still published in Iran today, the persecution of leading editors and publishers with pro-reform sympathies has successfully cleared the field of any real threat to the status quo.The early theorists of the reform movement that came to be identified with President Khatami saw a free and independent press as a vital part of an Islamic Repub lic. For centuries, they argued, the state had used its control over the media -- first the publication of books, then newspapers and finally radio and television -- to push society toward the rulers’ desired ends. In contrast, the reformers saw a free press as the best way to foster open debate and political and social pluralism, unleashing forces that would allow society at large to determine its own fate. In other words, there could be no pre-determined end, shaped by fiat. Their chosen weapon in the battle for a civil society was the newspaper, a medium with a rich history in Iran of social and political activism. Persian newspapers, particularly those published abroad and smuggled into Iran in the nineteenth and early twentieth centuries, had been responsible for remarkable changes in the political landscape. They introduced liberal social and political ideas from Europe and provided readers with a new, simplified language in which to debate such notions. Most important of all, the early press helped create the very idea of society as a political actor in its own right. Within months of Khatami’s move to the Presidential Palace, his new appointees in the Ministry of Culture and Islamic Guidance unleashed a “press revolution.” They quickly streamlined the issuing of publication licenses; countered Iran’s traditional centralism by encouraging the rise of local and provincial newspapers; eased the financial hardships of independent publishers; and sought protection under the existing Press Law for controversial editors and commentators facing the hostility of the ruling clerics. The result was a wave of entrepreneurial and journalistic creativity unmatched since the Constitutional Revolution of 1906-1911.By the spring of 2000, the hard-line clerics had had enough. They used their almost complete control of the public space to shut the door on the “press revolution” and to drive their critics, including many learned clerics, back into private dissent. Dozens of newspapers were closed and prominent journalists were prosecuted, most for violating so-called Islamic norms; anything like public discourse was forced back into the shadows. The ease with which the clerical establishment crushed the free press reflected the basic weaknesses and miscalculations of the reform movement. The senior theologians had established themselves as far back as the Constitutional Revolution as the final arbiters of freedom of expression under Islam. Without a wholesale re-evaluation of the role of the clergy and the very concept of freedom in a religious system of government, this power was destined to go unchecked. The reformers had also put too much emphasis on a free press, in the absence of any other real building blocks of civil society. Newspapers were expected to play the roles of political parties, of independent think tanks and, in the case of Jameah and Tous, of exemplars of social, political and economic independence. It was a burden the Iranian press was simply unable to carry. (shrink)

In this text I examine the online presence of antisemitism and the ways it is spreading on a global level. I focus on different forms of antisemitism, distributed through numerous social network platforms. I also dwell on the possible causes of this phenomenon, with all its consequences. Antisemitism has always been present in public discourse, and thus its presence in online space is not new or unusual, but what surprises is certainly a significant failure of responsible institutions to prevent this (...) phenomenon and punish perpetrators. In the last ten years, the level of online antisemitism has significantly risen. Covert and overt types of antisemitism on social networks represent a serious social problem, and a threat directed not only towards the Jewish community, but also towards every society that fosters the values of human rights, equality, peaceful communication and non-violence in all its forms. (shrink)

A genesis of media didactics was deconstructed through a theoretical-comparative and historical methodological approach, with the aim of gaining insight into its history and characteristics, defining the discipline, and recent development trends. The study elaborates the role of media in education, schooling, teaching, and learning. The anatomy of the social circumstances of the emergence of certain curriculum innovations and their consequences for global education as well as the development of media didactics is systematically explained. A synthesis (...) of the facts obtained from the analysed concept makes it evident that the development of media didactics was influenced by the concept of instructional technology transferred from the USA, as well as several social and technological factors. Theoretical and practical essence of media didactics is established in the application of various media with the purpose of arranging individualized, i.e., student-centred teaching. Over time, the characteristics and role of media in teaching have changed in accordance with the dominant didactic theories. A crucial challenge for media didactics is foreseen in the form of the application of artificial intelligence in education and schooling. (shrink)

This paper analyses the international media coverage of the dispute surrounding the pardons the Polish President granted in 2015 to two politicians, arrested almost a decade later. However political this case has become, it is underlain by a specific interpretive problem concerning the presidential pardon power under the Constitution, particularly whether it can be exercised before a final conviction (the so-called ‘individual abolition’). This question has long been controversial in scholarship and, in recent years, has been addressed by top (...) Polish courts, passing conflicting rulings. Attempting to probe into the intersection of journalism, politics, law and linguistics, this paper evaluates the issue’s portrayal in 37 articles published on major news websites around the time of the arrest. It is argued that when reporting local legal news, international media engage in a dual translation, rendering legal communications in one language into media communications in another. While ‘lossless’ transfer cannot be expected, this research shows that certain limits should not be crossed to maintain journalistic standards. In particular, most articles entirely omit the scholarship and rulings confirming the validity of the pardons. Consequently, readers are not given an opportunity to become aware of all relevant facts and perhaps seek further information. On the positive side, it has been found that simple and accessible language does not necessarily mean material distortions in the coverage of legal issues. The research thus suggests that reporting domestic legal news for international audiences requires understanding the source context, conscious language use and a reliable selection of information. (shrink)

During the Communist regime, after Poland was officially proclaimed the People’s Republic of Poland, the aim of the Polish Communist government was to control all aspects of society. Communist ideals were enforced in books and other publications; censorship was introduced on all published materials. This paper aims to present the situation of media in People’s Poland, as well as to provide a background and description of Polish censorship. Additionally, this paper will exposit and examine the socio-political role of Tygodnik (...) Powszechny in Polish society. As TP is a Catholic weekly, an outline of the unique socio-political role of the Polish Roman Catholic Church in communist Poland will accompany the above analysis. This paper is based on the research conducted by the author in partial fulfillment of the requirements for the Master of Arts degree written and defended at the Central European University in Budapest in 2012. (shrink)

Media; It is a concept that encompasses all mass media. The most important task; the principle of impartiality and meeting the needs of the public for freedom of information. The media has facilitated the awareness, education, orientation and dissemination of all kinds of information in all fields. Today's media affects people's needs and desires positively or negatively. Media is like a double-edged sword. It has both positive and negative aspects. Human beings needed to know and (...) understand each other after they settled down. For this reason, people have tried to communicate with each other in various ways. As time passed, the means of communication used in society developed and written communication was changed from verbal communication. Before Islam, Arabs were in contact with the societies living around them. Arab tribes communicated among themselves through various means such as poetry, eulogy, oratory, setting mountain tops on fire, and homing pigeons. Since Arabia has been on two important trade routes for a long time, they made international communication through trade. The most important methods applied for communication in the period of ignorance; poetry, ode, oratory, club, fair etc. they used to eat. The Prophet started his first invitation by communicating with people in the first years of his prophethood. He held personal meetings with various tribesmen who came to Mecca during certain seasons. During the Meccan period, With the first revelation to the Prophet, he began to invite all humanity to Islam in the person of the Meccan society. The Prophet tried to convey his messages to the Meccan society by specifying the characteristics and purposes of his invitation. The notables of the Makkan polytheists did not take him seriously, The notables of the Makkan polytheists did not take him seriously, they mocked him and described him as a magician, poet, soothsayer, magician, separator, madman and demonized. Despite all these slanders, The Prophet continued to announce his message by communicating with everyone at all times and places. After the Prophet's migration from Mecca to Medina, communication and communication areas with the people in Medina became easier. The Prophet communicated with the kings and rulers of neighboring countries by sending letters to invite them to Islam. She also sent a letter to the Jews living in Medina, inviting them to abide by the agreements and promises they made. He strengthened communication with the Arab delegations who came to Medina to become Muslims and the delegations sent to meet with the Arab tribes. The Prophet communicated with the polytheists during the peace process with the Treaty of Hudaybiyah. On the one hand, the Tabuk Campaign to the Byzantine border to secure the borders of the Muslims in Medina became a means of communication for both the border and surrounding tribes. The Prophet's explanation, interpretation and hadiths of the Qur'an from the beginning of his prophethood have been the greatest media power for Muslims. The Prophet used various communication methods in his communication with people. While communicating with them, he took into account the characteristics of people and society. He tried to communicate with people at every opportunity. (shrink)

This article examines three cases of mid-20th-century oil media—oil-related imagery, iconographies, and media—in visual culture: a series of popular science books entitled The Story of Oil published in the US, an oil-themed set of Kuwaiti postage stamps (1959), and an art exhibition in Zurich (1956) titled Welt des Erdöls: Junge Maler sehen eine Industrie (World of Petroleum: Young Artists See an Industry). While depicting crude oil in its natural habitat was a common photographic theme in the early 20th-century (...) United States, the material discussed shows that, by the mid-20th century, crude oil no longer had the same visual presence. The iconography of oil in the three case studies came to rely increasingly on images of oil infrastructure and on context-specific depictions of living within petro-modernity or petro-culture, meaning lifestyles fueled by cheap fossil energy. However, it is not just the changes in visual representations of petroleum that matter; any debate about the visibility and invisibility of petroleum has to take into account the very media through which petroleum has become visually communicated—that is, the precise forms of oil's mediatization. The aesthetic negotiation of petroleum through media-based visual representations has been crucial for the dematerialization of fossil matter in its conversion to fossil energy, as well as the decoupling of sites of extraction from sites of production and consumption in the public imagination. As petro-culture has morphed into national or even global culture (rather than representing just one possible energy source among many), oil media has paved the way for our intimate relationship with fossil energy-dependent lifestyles, which is one of the biggest drivers of climate change. (shrink)

In recent years, the translation of Debray’s writings and the study of his media thoughts have become increasingly popular in China, but the ‘medium’ in his media discourse has never been clarified. Debray pointed out that the focus of the media is ‘mediation’, which actually reveals a new way of thinking and reasoning. He then proposed four stages of mediological reasoning: Message, Medium, Milieu and Mediation. This article believes that based on this framework (i.e. 4M), Debray used (...) McLuhan’s theory as a hub for analysis and launched a set of research methods and tools aimed at exploring the multiple nature of medium and message on the sense of interaction between culture and technology, which also involved the utility of ‘mediasphere’ as an exploration principle to question the past and future of mankind and the media conditions. This approach provides an avenue for us to understand ourselves and transmissions in different space-time categories at both practical and theoretical levels. This article emphasizes that it is better not to interpret Debray’s thoughts as a theory parallel to the existing medium theories because its focus is on research approaches rather than arguments. Besides, although Debray’s medium theory is based on his experience and thinking in Europe and Latin America, there are reasons for the publicity of Debray’s ideology in China. From the perspective of history, culture and human geography, Chinese civilization can be said to contain rich ideological resources of mediation. This is of great significance to re-understand China’s history and reality in the new context of globalization, and to discover the global value of China’s experience. (shrink)

Reason is often thought of as a fixed entity, as a definitive body of facts that do not change over time. But during the Enlightenment reason was also seen as a process, as a set of skills enacted on a daily basis. How, why, and where were these skills learned? Concentrating on the notebooks created by Scottish students over the course of the long eighteenth century, Matthew Eddy argues that notekeeping was a mode of writing and rewriting reason. He reveals (...) it as a capability-building exercise that enabled students to mobilize everyday forms of material culture in a way that empowered them to judge and enact the enlightened principles they encountered in the classroom. The cognitive skills required to make and use notebooks were not simply aids to reason-they were part of reason itself. The book begins by problematizing John Locke's comparison of the mind to a blank piece of paper, the tabula rasa. Although it is one of the most recognizable metaphors of the British Enlightenment, scholars seldom consider why it was so successful for those who used it. Eddy makes a case for using the material culture of early modern manuscripts to expand the meaning of the metaphor in a way that offers a clearer understanding of the direct relationship that notekeepers learned to draw between reasoning and notekeeping. Starting in the home, moving to schools, and then ending with universities, the rest of the book explores this argument by reconstructing the relationship from the bottom up. Media and the Mind will prove useful to those interested in book history, manuscript culture, history of education, history of childhood, Scottish Enlightenment philosophy, and the Enlightenment broadly understood. (shrink)

During a series of protests in Hong Kong about a leadership transition widely perceived to give Mainland China greater political influence, the Hong Kong Museum of History held a Special Exhibition of the Terracotta Warriors of Xian, China. Sponsored by "The Leisure and Cultural Service Department, " the exhibit featured the first emperor of the Qin Dynasty who ushered in "an epoch-making era in Chinese history that witnessed the unification of China" (Museum Exhibition). This essay explores the multi- (...) class='Hi'>media aspects of the exhibit, arguing that encounters with dramatic music and fully immersive digital experiences are examples of an embodied, affective form of constitutive rhetoric. Put differently, the museum's multi-media elements demonstrate how Maurice Charland's theory of a constitutive rhetoric can be informed by recent work on affect and can provide one point from which to engage affect theory and the "affective dimension of politics.". (shrink)

This paper argues identity documents (ID) prefigure wearables as artefacts connected with archives. As participants with human practices, they constitute an apparatus that engenders sensibilities about the proper way to participate in society, through the use of socio-technical systems. The use of these artefacts is necessary to make individuals legible to the state. Refusing them renders us insensible. Through a media archaeology of the history and use of IDs through modern Europe, an understanding emerges of the agential properties (...) of artefacts and their essential role in establishing a social imaginary of the state. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"New" Media, Art, and Intercultural CommunicationBart Vandenabeele (bio)It is fairly common — but perhaps not altogether innocent — to avoid addressing new media and intercultural aspects of communication in one and the same essay. Here, however, both issues are treated together. I shall investigate, in a perhaps somewhat unusual way, the phenomenon of "new" artistic media and some related issues such as virtual reality, computer and (...) telecommunications technology, and cyberspace. I offer some philosophical remarks, especially of an epistemological kind, that are important to every debate in which terms like multimedia art, "new" media art, and screen based art occur. I argue that the novelty of some changes in the use of artistic media tends to be overemphasized and dramatized. Furthermore, I shall point to the lack of interest in intercultural aspects of artistic communication and to the relevance an intercultural orientation can have for reflection on the phenomenon of so-called "new" media in art.1It has often been claimed that art is the best possible window into another community. Art would be a universal language and contact with works of art supposedly offers the best direct or immediate internal access to another community. This is purported to be a kind of access that cannot possibly be matched by knowledge about the geography, religion, and history. Even John Dewey believes that "au fond, the aesthetic quality is the same for Greeks, Chinese, Americans."2 This idea is surprisingly reminiscent of Clive Bell's "discovery" of Significant Form in so-called primitive art.3 Dewey says thatbarriers are dissolved, limiting prejudices melt away, when we enter into the spirit of Negro or Polynesian art. This insensible melting is far more efficacious than the change effected by reasoning, because it enters directly into attitude."4To this contention one could object in the following way. Immediate contact with for example, Congolese Nkisi nkondi fetish statues (in the museum of [End Page 1] African Art and History in Tervuren), which are bristling with nails are quite shocking to Europeans — such as Joseph Conrad in the Congo.5 Only by acquaintance with facts that are external to the artwork can one get real access to and understanding of them. One has to know that the nails are meant to seal dispute resolutions and that the statues "were considered so powerful that they were sometimes kept outside the village."6 Only when I know this, will my first perception be seriously altered. It is an objection that is often made against the privilege enjoyed by the immediate contact with the senses: knowledge of the "context" can enhance our appreciation of the art of the foreign community.Both the universalist view and the objection are flawed.7 First of all, we have to ask whether we can make such a sharp distinction between internal and external information and, second, whether it is correct to presuppose a typical proper aesthetics to make artistic communication possible. Is not every form of life already the (not fully definable) outcome of conscious or unconscious influence by other forms of life? What would be the so-called "own" internal aesthetics by which we should judge the famous "Turkish" Iznik tiles that reflect especially the Ottoman rulers' interest in Chinese porcelain, or the "Japanese" aesthetics of Zen Buddhism that is the result of a century-long historical interaction between Japanese culture and the new, foreign religion of Buddhism, which traveled from Japan to India via China and Korea? What would be the "typical" English garden, which was realized on the basis of travel reports from the Far East? And what of the Eastern influence on so-called typical Western painters as Matisse, Whistler, and Degas or composers such as Debussy, Messiaen, Ravel, Rimski-Korsakow and Puccini? What is clear is that it is completely unclear what is "own," "typical," or "authentic." Live communities are never isolated islands developing by themselves. It is as impossible to demarcate strictly the "proper" from the "foreign" as it is to find a universal language that would make artistic communication possible in an absolutely definitive way.Just as it is not necessary to share a language to communicate8 — this holds both for people... (shrink)

Against Transmission introduces the technical history and phenomenology of media, a field of study that explains the characteristics of contemporary life by looking to the technical properties of machines. By studying the engineering of signal processing, the book interrogates how the understanding of media-as-machine exposes us to a particular phenomenological relationship to the world, asking: what can the hardware of machines that segment information into very small elements tell us about experiences of time, memory and history? (...) This book offers both a detailed and radical investigation of the technical architecture of media such as television, computers, cameras, and cinematography. It achieves this through in-depth archive research into the history of the development of media technology, combined with innovative readings of key concepts from philosophers of media such as Harold A. Innis, Marshall McLuhan, Friedrich Kittler, Siegfried Zielinski and Wolfgang Ernst. Teaming philosophical inquiry with thorough technical and historical analysis, in a broad range of international case studies, from early experimental cinema and television to contemporary media art and innovative hardware developments, Barker shows how the technical discoveries made in these contexts have engineered the experiences of time in contemporary media culture. (shrink)

National history has once again become a battlefield. In internal political conflicts, which are fought on the terrain of popular culture, museums, schoolbooks, and memorial politics, it has taken on a newly important and contested role. Irrespective of national specifics, the narratives of new nationalism are quite similar everywhere. National history is said to stretch back many centuries, expressesing the historical continuity of a homogeneous people and its timeless character. This people struggles for independence, guided by towering leaders (...) and inspired by the sacrifice of martyrs. Unlike earlier forms of nationalism, the main enemies are no longer neighbouring states, but international and supranational institutions. To use national history as an integrative tool, new nationalists claim that the media and school history curricula should not contest or question the nation and its great historical deeds, as doubts threaten to weaken and dishonour the nation. This book offers a broad international overview of the rhetoric, contents, and contexts of the rise of these renewed national historical narratives, and of how professional historians have reacted to these phenomena. The contributions focus on a wide range of representative nations from around all over the globe. (shrink)

This article considers the expropriation, description, and cultivation of land as a central problem for media history and political ecology. Recent work in the history and theory of media has posited the cultivation of land as a primordial cultural technique or a material operation that underlies signification. Such work stops short, however, of considering that operation—which begins with the drawing of lines on the ground—as a form of labor and hence a dimension of political economy comparable (...) to Rousseau’s account of the origin of property. John Bellamy Foster has shown how Marx’s early development of a neo-Epicurean materialism led, when informed by mid-nineteenth-century scientific agriculture, to what Foster calls Marx’s theory of “metabolic rift,” the disruption of the metabolic interchange between nature and society mediated by human labor. This article returns to the unfinished business of critical theory that rejoins the critique of culture with the critique of nature, by showing how a mediapolitics of land governs the dialectical processes described by eco-Marxists like Foster. Specifically, the article considers the material production of land for both agriculture and industry, informed by scientific agriculture and with plantation slavery as a limit case, through the work of Henry Charles Carey. Rethinking the political economy of land in this way extends the cultural materialism predominant in media history and theory into a more fully historical materialism adequate to an ecological situation in which all that may once have been solid has truly melted, or burned, into air. (shrink)