The motive for late eighteenth-century proto-technics of photography and cinema was never quite mimetic representation: it was generating autonomous impressions of natural phenomena within the tradition ofNaturphilosophie. The article analyses a series of connections between ‘natural hieroglyphs’ (von Lichtenberg), Jacques-Alexandre-César Charles’s ‘megascope’, Wedgwood’s pre-photography, Lavater’s silhouettes and antecedents of Marey’s ‘graphic method’. The goal is to document precursor ideas, devices, setups and frameworks of photoimaging medias to show that the genealogy of photography and cinema intersected through many polymath transverses within (...) the ambit of natural philosophy (and the context of slavery). (shrink)

Clouds are therefore a fine metaphor for intermediary and automatic beings… Trees too are clouds: only, they are slower at occupying space. In the new landscape of media archaeology—especially variantology, which insists on ramified rather than convergent developments—media, too, appear to be imperceptibly changing from stable trees into metastable clouds. If we accelerate that motion, then the whole McLuhan-Kittler-Parikka media forest of semi-separate specimens starts to look like a self-rearranging ballet—a murmuration across species. At a certain historical rate, in other (...) words, problems of media ontology and phylogenesis tend to turn into animated sequences in which individual or individuated media.. (shrink)