Gramophone, Film, Typewriterepub,mobi,azw3格式电子书下载，作者：Friedrich Kittler-读书派

Toward the end of the nineteenth century, the hegemony of the printed word was shattered by the arrival of new media technologies that offered novel ways of communicating and storing data. Previously, writing had operated by way of symbolic mediation--all data had to pass through the needle's eye of the written signifier--but phonography, photography, and cinematography stored physical effects of the real in the shape of sound waves and light. The entire question of referentiality had to be recast in light of these new media technologies; in addition, the use of the typewriter changed the perception of writing from that of a unique expression of a literate individual to that of a sequence of naked material signifiers. 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. "Gramophone, Film, Typewriter" is, among other things, a continuation as well as a detailed elaboration of the second part of the author's "Discourse Networks, 1800/1900" (Stanford, 1990). As such, it bridges the gap between Kittler's discourse analysis of the 1980's and his increasingly computer-oriented work of the 1990's.

Friedrich A. Kittler is a professor at the Institute for Aesthetics and Cultural Studies at Humboldt University, Berlin.

nbpr

05-12

Kittler主要的论点是，媒介，尤其是从历史角度来考察的时候，不仅影响我们的思维，它们事实上“就是”我们思维（thinking）的形式。在标题中的三种媒介发明之前（19世纪末）人类的认识是被书写独裁的。留声机、电影和打字机的出现分别将认识分割为听、视、语言，并分别把三者和拉康的实在界、想象界和符号界对应起来。这就有点像人类学里的Sapir-Whorf假说，也就是一个人的母语结构将影响甚至决定他认知世界的方式。只不“母语”这个能指在Kittler这里被替换成了书写和另外三种媒介。稍稍结合现实一想就能发现，这种主张确实有直觉上的依据，比如我在想象一些虚构的地点时，需要把它们“上传”到我大脑构想的某个空间以便进一步制图（mapping）——恰如互联网的用语逻辑。

Derridager

02-22

整体像在读八卦（各种技术演进过程的小插曲、文学故事等），学理性不足，读起来也颇具挑战——难以把握内在的逻辑。类伊尼斯和麦克卢汉，是一种基于历史陈述的溯源式写法。反人本主义风格明显——人非技术/媒介的决定者，这种风格在事无巨细关于技术描写（留声机的振动、电影蒙太奇、停格等）得到发扬。试图讨论媒介本体论的意义，但是比较难把握（还是因为自己水平不行）。深受后结构主义者（拉康、德里达、福柯）影响，整本书对于以前印刷媒介的颠覆——技术媒介如何通过声音、影像的储存等将印刷媒介上符号象征外的可能的意识/想象状态揭示出来，可以视为从拉康角度的一次对于象征（符号）界的超越（到想象界）？再有便是关于“时间轴”的论述，多种分流的技术媒介出现，还将印刷媒介无法回溯时间的特性颠覆，使得时间得以被媒介“控制”。

胖达叔

01-07

以我观之，分三个部分，基特勒深受法国后结构主义影响的部分，他太爱拉康了；技术的部分，我看不懂；历史的内容基本上被他置换为了文学和哲学讨论。就我看得懂的而言，这本书尤其导论让人深受启发，但是其行文风格糟糕透了。最糟糕的是，好几页连续饮用别人的著作，真的可以这样赚稿费吗？