These introductory remarks outline the German concept of Kulturtechniken by tracing its various overlapping meanings from the late 19th century to today and linking it to developments in recent German theory. Originally related to the agricultural domain, the notion of cultural techniques was later employed to describe the interactions between humans and media, and, most recently, to account for basic operations and differentiations that give rise to an array of conceptual and ontological entities which are said to constitute culture. In (...) the second part of the essay, cultural techniques are analyzed as a concept that allows theorists to overcome certain biases and impasses characteristic of that domain of German media theory associated with the work of the late Friedrich Kittler. (shrink)

The paper discusses some of the key factors that shaped Friedrich Kittler’s anglophone reception. Four points are of special importance: the truncated appropriation of Kittler’s ‘middle period’ by American academics; the structural and ideological reasons for the failure of North American German Studies to capitalize on the growing interest in Kittler; the charges of technodeterminism; and Kittler’s difficult role in the debate over posthumanism.

The introduction provides a short outline of Kittler’s biographical background and briefly discusses the stages of his work: The initial discourse-analytical stage of the late 1970s that centered primarily on literary text; the media-theoretical stage of the 1980s and early 1990s that focused in particular on electric and electronic media; and a current stage dedicated to rewriting the origin of one the most basic cultural technologies: the alphanumeric notation system.

_Quod non est in actis, non est in mundo_. Once files are reduced to the status of stylized icons on computer screens, the reign of paper files appears to be over. With the epoch of files coming to an end, we are free to examine its fundamental influence on Western institutions. From a media-theoretical point of view, subject, state, and law reveal themselves to be effects of specific record-keeping and filing practices. Files are not simply administrative tools; they mediate and (...) process legal systems. The genealogy of the law described in Vismann's _Files_ ranges from the work of the Roman magistrates to the concern over one's own file, as expressed in the context of the files kept by the East German State Security. The book concludes with a look at the computer architecture in which all the stacks, files, and registers that had already created order in medieval and early modern administrations make their reappearance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How The Mule Got Its Tale: Moretti’s Darwinian BricolageGeoffrey Winthrop-Young* (bio)Franco Moretti. Atlas Of The European Novel. London: Verso, 1998. [AN]Franco Moretti. Modern Epic: The World System From Goethe To García Márquez. Trans. Quentin Hoare. London: Verso, 1996. [ME]1. Darwinian Preliminaries1805: Cousin de Grainville, Le dernier homme. A world in which humans have displaced the oceans dies from ecological exhaustion. 1836: Louis Geoffroy, Napoléon et la conquête du monde. (...) A history in which Napoleon wins at Waterloo and becomes emperor of the world. 1854: Charlemagne-Ischir Defontenay, Star ou Psi de Cassiopée. A distant planetary system filled with its own mythologies, histories and migration patterns.... A litany of lost names and titles: dead, discarded, ignored, out of print, reduced to pulp and brief entries in reference books, known only to experts specializing in early French science fiction. Cut off from each other with little sense of coherence or continuity, two generations of writers had been probing the many possibilities of a new literary form, some of them in highly imaginative ways, but nobody could have foretold the fate of what Félix Bodin had named littérature futuriste. Suddenly, the literary equivalent of a mass extinction wiped out a broad spectrum of conjectural imaginations. Did they deserve their fate? Wrong question. Who is to blame for their disappearance? Cui bono? The prime suspect, no doubt, is Jules Verne. “It was as if SF had for sixty years sought in vain for an institutional ‘landing point,’” surmises Marc Angenot, before pointing out that Verne’s success coincided with, indeed was based on, the repression of a wide array of promising alternatives [64]. Displaying that jovial bluntness which in his days passed for commendable virility, he extracted certain formal features from his environment, eliminated the rest, and engineered his selections into a highly marketable literary model. A lot began with Verne, but a lot ended with him, too.At the outset a rapidly emerging set of random and undirected variations opens up a multiplicity of future possibilities; then a choice is made, a selection that locks in one particular variant while locking out the competition. Subsequently, a winner—who need not be the best or most promising candidate, but who by virtue of his selection manages to impose definite constraints on future developments—spawns a tradition that coasts along until another crisis is heralded by yet another round of proliferation and selection. Readers familiar with Franco Moretti’s work will recognize this Darwinian scenario, which provides the theoretical backbone for his analyses. In the programmatic essay “On Literary Evolution” in the revised edition of Signs Taken for Wonders, it allows him to whittle down the development of the European novel from its experimental phase in the eighteenth century to the victory of the Bildungsroman in the nineteenth century and its subsequent disintegration to what must be the shortest account of the history of the novel ever written: “Novels/novel/novels” [264]. In The Way of the World it helps explain how it was possible for the Bildungsroman “to emerge victorious from that veritable ‘struggle for existence’ between various narrative forms that took place at the [End Page 18] turn of the eighteenth century” [10]. Modern Epic, in turn, uses the Darwinian model to plot the evolution of the hybrid genre announced in its title, while Atlas of the European Novel explains the morphological change novels undergo when they move from one space to another. But why Darwin? Or, since “Darwin” means many different things to many different Darwinists: why this punctuated, nongradualist, highly contingency-tolerant Gouldian Darwin? How much do we gain by applying the proliferation/lock-in sequence to the development of devices, texts, and genres? What motivates the optimism that the Darwinian paradigm may “help us to explain in a new—and better—way numerous questions that literary history has never succeeded in resolving satisfactorily”? [ME 5].But then why raise these arcane questions? Surely, Moretti’s books center on more relevant issues. Atlas is about space—and given the current critical focus on space, what more timely topic could there be? And what more obvious criticism than... (shrink)

Focusing on Kittler’s reading of Goethe’s ‘Wanderer’s Nightsong’ and Pink Floyd’s ‘Brain Damage’, the article traces Kittler’s development from discourse analysis to media theory. Where more traditional approaches would stress notions of self-reflexivity (both the poem and the song elaborate on their effects and foreground their own construction), Kittler performs, in his own words, a kind of ‘implosion’: The words of Goethe’s poem collapse back into the discursive order they evoke, and Pink Floyd’s song performs its own technology. But it (...) is precisely this implosion that has an intoxicating effect, which paves the way for a more political, or at least politicized, reading of Kittler’s work that highlights his indebtedness to the cultural transgressions of the 1960s. (shrink)

This article provides a short introduction to Friedrich Kittler’s 1980 essay ‘Authorship and Love’ by showing how it fits into the development of Kittler’s thought. The stark contrast between superficially similar scenes in Goethe’s Werther and Dante’s Divine Comedy, each of which is said to represent fundamentally different conceptualizations of authorship and love, is a revealing instance of Kittler's distinctive and polemical appropriation of French post-structuralism as well as of his subsequent switch from discourse analysis to media theory. Ultimately, ‘Authorship (...) and Love’ even points ahead to Kittler’s final work on music and mimesis in ancient Greece. (shrink)

The essay offers a close reading of the inaugural address _Termite Craze_ by the entomologist Karl Escherich, the first German university president to be appointed by the Nazis. Faced with a divided audience and under pressure to politically align the university, Escherich, a former member of the NSDAP, discusses how and to what extent the new regime can recreate the egalitarian perfection and sacrificial predisposition of a termite colony. The paper pays particular attention to the ways in which Escherich tries (...) to appease the various factions in his audience (faculty, students and the Nazi party); in doing so, it also discusses how Escherich depicts his address in the altered versions of his later memoirs. (shrink)