Jacob Böhme (1575–1624) has been recognized as one of the internationally most influential German authors of the Early Modern period. Even today, his writings continue to impact fields as diverse as literature, philosophy, religion and art. Yet Böhme and his reception remain understudied. As a lay author, his works were often suppressed and circulated underground. Borrowing Böhme’s idea of “three worlds” or planes of existence, this volume traces the transmission of his thought through three stations: from his first underground readers (...) in Central and Eastern Europe, to the Netherlands, where most of his writings were first published, to Britain, where early translations made him a popular author for generations to come. Drawing on the work of both established and younger researchers from around the world, this volume charts new territory. It fills many lacunae and reveals a number of exciting discoveries, especially regarding the production and diffusion of manuscripts and previously overlooked sites of engagement. This book will be of interest to a wide range of scholars interested in the development of philosophical, religious, literary and artistic thought from the 17th century to the present day. (shrink)

Plato’s Phaedrus, perhaps his most enigmatic and structurally convoluted dialogue, could easily be said to inaugurate a pointed critique of mass media that persists to the present day. Indeed, in certain corners of media theory, the origin myth of writing furnished in the Phaedrus (in which the Egyptian god Theuth presents writing as a gift to King Thamus) has in turn come to serve as a kind of origin myth for media theory: a primaeval pharmacopoeia of media effects. And yet, (...) this is an origin myth that can only underwrite not only its own non-originarity and non-truth, insofar as its very status as a written text ensures that it will never meet the criteria that it itself establishes for a reasoned account of things (logos). It remains perpetually orphaned, unable to defend itself, irrevocably cut off from its ‘father’, the speaking subject, and thus from the vitality of living discourse. But this paradox, I argue, is not a failing of the dialogue, but is a device intended to encourage the reader’s active involvement in the text’s status as medium. The Phaedrus is not just diagnostic, but therapeutic. (shrink)

The purpose of this chapter is to clarify what the concept of digital media might add to the understanding of mediatization and what the concept of mediatization might add to the understanding of digital media. It is argued that digital media open an array of new trajectories in human communication, which were not anticipated in previous conceptualizations of media and mediatization. If digital media are to be included, the concept of mediatization has to be revised and new parameters must be (...) integrated in the concept of media. At the same time, it is argued that the concept of mediatization still provides a variety of perspectives of relevance to the study of digital media. The claim that the concept of mediatization has to be reinterpreted can only be legitimized if digital media are considered distinct from the media formerly referred to in mediatization theory. Such characteristics are presented and digital media are defined in section 2, while section 1 is devoted to theories of mediatization and the notion of media. Section 3 analyses the relation between mediatization and digitization. Finally, in section 4, medium theory is revisited with a view to harvest some missing fruits in contemporary mediatization theory. (shrink)

Sometimes in the course of image-making, images are asked to represent unusual things. Around 1960, scientists and engineers working on the Computer-Aided Design Project at MIT began imagining that computers could be “active partners” to human designers. They began talking about a future of “human-computer symbiosis.” And they created a new type of image—the screenshot—that represented this new possibility. This paper describes early CAD research as a site for the emergence of the ideal of the interactive computer and how this (...) ideal was described and distributed through screenshots.Though we now routinely associate computers with interactivity, interactivity was beyond the average user’s experience in 1960.... (shrink)

In this article, I argue that one has yet to acknowledge the extent to which the notion of the aesthetic and its content is institutionally negotiated. A central question that we ought to bear in mind is: does the organization of “aesthetic knowledge” that the traditional disciplines facilitate promote or prevent insight into meta-aesthetic and transaesthetic concerns?

On a June weekend in 1959, an elite group of sociologists, philosophers, editors, artists, and television producers gathered in the Poconos to discuss media. Their invitation was to “Mass Media in Modern Society,” an interdisciplinary conference hosted by the Tamiment Institute and Daedalus, the house organ of the Academy of Arts and Sciences. What constituted mass media in 1959—and who publicized media, then a new concept in the vernacular, as a topic of mass concern—were the thirty-five celebrity panelists’ unresolved and (...) obsessive themes. Turning to the minutes from the conference as well as its two afterlives in print, this essay disambiguates the nascent media concept’s ideological, technological, and environmental implications, five years before Marshall McLuhan’s breakthrough text, Understanding Media: The Extensions of Man. Within the panelists’ responses is not a coherent theory of media but a multitude of overdetermined media metaphors—and a model for understanding media as such, then and now. The mid-twentieth-century consolidation of the media concept is where most of its greatest theorists (from Raymond Williams to John Guillory) conclude their analyses, but it’s where this study begins. (shrink)

It was not until the emergence, in the 19th century, of new technical devices – such as the telegraph and the phonograph – that the term medius came to serve as a collective noun (media) for advanced communication technologies. Although mediation is extensively theorized in philosophy and sociology, and is approached by medium theory and media studies, the concept remains undertheorized in the field of communication theory.By exploring the problem of mediation and by challenging its representationalist and transmissive accounts, this (...) paper posits mediation beyond the medium. It traces mediation as a relational principle which can be best understood as modulation involving inherent translation, inflection and movement. Mediation is not a simple transportation of meaning through a passive intermediary. It is not just something which stands or comes between things otherwise separated or opposed. Mediation is neither a middle-thing linking separate entities, nor do things get mediated: They are already forms of mediation. Mediation is, foremost, a connecting mean that generates modified experiences and relations, a modulating process that re-connects at the moment it separates. (shrink)

Often presented as a new form of materialism, theories of media have been repeatedly fascinated by the idea of dematerialization—more precisely, by a vision of the history of technical media as a process teleologically oriented toward a future characterized by the overcoming of the weight, the opaqueness, and the resistance of materiality and by the advent of new, pervasive forms of instantaneous communication. Light, be it natural or artificial, has often played a key role in this historical narrative. With its (...) diffused presence, limitless plasticity, ultimate speed, ambiguous status between infinitely small particles and electromagnetic waves, and crucial role in the transmission of images and signals, light has often raised the question of the materiality of media itself, pointing to the possibility of immediacy—of an immediate, instantaneous, immaterial transmission. In this article I analyze the presence of this idea of dematerialization as the end point of media history in the writings of László Moholy-Nagy and Marshall McLuhan, whose thinking about media is centered on the assumption that light is the most fundamental medium, one that leads the entire range of technical media to gradually dematerialize and merge within the environment or even dissolve into the atmosphere. (shrink)

This article revisits the debate between Leibniz and Clarke to explore conceptual shifts in the use of the term medium. A basic tenet of physics since antiquity says that every act of communication ‐ that is, every transmission of a force from the place of its cause to that of its effect ‐ requires a medium to ensure its interaction. In the context of the Early Modern Period, media were regarded as mediating instances that enabled communication. If these instances were (...) not immediately connected but rather spatially separated from one another ‐ as in the case of gravitation, magnetism or electricity ‐ then there had to be a medium to ensure both the transmission of the force and the causal connection. Although the mediation of the medium took place in an inexplicable way, it seemed to explain one process or another by its mere introduction. The epistemological foundations of communicability ‐ those with which Leibniz, Clarke and Newton were attempting to come to terms ‐ remain relevant to the descriptive language with which we depict our present and its technological condition. Without duration there is no mediation but rather immediacy and simultaneity. Immediacy means that the necessary separation between the two events, the abyss of communication, is negated. Immediacies, like instantaneous actions at a distance, presuppose the difference they are deemed to eradicate. (shrink)

This paper explores the deep historical contexts for imagining natural disasters. By focusing on a foundational event in the Western disaster imaginary – the eruption of Vesuvius in AD 79 – and its remediation across centuries, the paper suggests that the real-time aesthetic of the mediation of extreme nature events that now abounds in contemporary culture is profoundly embedded in processes of historical intermediality. The term remediation is used to denote a genuinely historical mechanism by which past and present (process (...) and event) are simultaneously made visible. Empirically, the paper investigates the superimposition of temporal dimensions in recreations of the ancient disaster from the late 18th century to the present. Using the insights gained from this spectacular case study, the paper ends by arguing that a re-temporalization of historical analysis itself is needed for history to contribute to contemporary concerns with the present as a conjuncture of multiple and conflicting time scales. (shrink)