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)

The article investigates the function and signification of doors in two silent films, Ernst Lubitsch's 1916 When I Was Dead and Charlie Chaplin's 1917 The Adventurer. Taking a theoretical perspective provided by the field of intellectual inquiry known as cultural techniques (Kulturtechniken), the door in these films is studied with respect to its procedural and functional operations. Specifically, the article focuses on the ways in which the employment of doors in each of the films relates to these films' configurations of (...) inside and outside as conceptual realms. The analysis presented shows that Lubitsch and Chaplin engage doors in uniquely different ways. It further reveals that, while the operation of the door in When I Was Dead reinforces an exclusive binary of inside and outside, which itself can be traced back to the film's concern with sexual difference, the operation of the door in The Adventurer essentially deconstructs the inside/outside binary, an act that can be linked to a critique of contemporary notions of industrial management and the treatment of humans as machines. (shrink)

Technology has developed to the point where a clear distinction between nature and culture seems to be dissolving. Against this background, a broad aspect of social research has emerged that considers an interdependence between the social and the material. So far, social-systems cybernetics as described by Luhmann has remained rather marginalized in these discussions. This article is intended to overcome this marginalization by developing the concept of meaning. Meaning can abstractly be defined as a ‘doing negativity’. Returning to systems theory, (...) it becomes obvious that verbalized meaning (expressed through language) is only one possible medium of meaning. Adopting some concepts from Helmuth Plessner, I introduce another medium of meaning – corporealized meaning (expressed in physical terms), which also operates meaningfully along the distinction between actuality and potentiality, and thus does negativity. I discuss consequences of observing the relationship between sociality and materiality from this perspective. (shrink)

Plessner’s Stufen des Organischen questions both the conditions of possibility as well as the consequences of a self-understanding of life. Originally written against the background of urbanisation, industrialisation and colonisation, the strength of Plessner’s work lies in his combination of an analyticalphilosophical conceptualisation, the introduction of materiality and the body as well as his historical–ethical dimension. As a re-sult of this combination, Plessner’s approach is well suited to contribute to the current inter-national discourse on the relationship of sociality and materiality. (...) This article provides an overview of the reception of Plessner in Germany and embeds his approach into current de-bates, discussing its value with regard to the sociality-materiality relationship. The focus is on three issues: the definition of the boundaries of the social, the relationship between the social and the body as well as the cultural historic-ethical situation. Finally, Plessner’s Steps of the Organic are related to the current issues of ecologisation and digitalisation, allowing us to see what a Plessnerian perspective on the materiality-sociality relationship can do with-in applied social theory. (shrink)

Against a remarkable hardware oblivion in discussions of algorithmic intelligence, this article insists that algorithmic thought, or abstract computation, cannot be separated from its technological implementation. It requires a material medium for an abstract mechanism to become a procedural event. Temporality is both the condition and the limiting (and irritating) factor in the computational function. ‘Radical’ media archaeology is proposed as a method for such an analysis, and the neologism of techno lógos to describe some aspects of algorithmic reason which (...) only unfold in the moment of its techno-processual coming-into-being. Some core operations, such as the time-discrete rhythm of actual computing algorithms, are discussed, where the ‘tempoReal’ flashes up in computing. In a wider sense, the time-discreteness of digital computing is related to an aesthetics of existence which acknowledges the machine element within human reasoning itself, while at the same time re-actualizing previous cultural techniques of non-narrative chronology. Turing the ‘man’ himself, in the sense of the Turing machine, can be addressed ‘itself’, in its archival sense as a sequence of expressions by symbols. (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)