This article argues that the abundance of Greek figures and scenarios in Kittler’s recent work points to a shift in his oeuvre, which, however, does not represent a radical break with his ‘hardware studies’. At the turn of the 21st century, Kittler champions an emphatic notion of culture as a necessary supplement to science and technology. This conceptual marriage mediates grand historical narratives of cultural identity. Specifically, Kittler’s texts provide us with narratives of Greek origin which serve to re-capture collective (...) identities in the age of globalization. On the explicit level, this identity is predominantly European, but the search has national components as well. With his turn to culture, the organizing trope of 19th-century German nationalism, Kittler has also embraced the legacy of German philhellenism, which articulated national identities through the theme of ‘elective affinity’. Kittler’s Greece occupies the very structural place it had in 19th-century German philhellenism: It stands in for both the foundation of European civilization and its virtual better self, a realm of sensual culture untainted by modern capitalism and Empire. Most of the figures inhabiting this realm are familiar from 19th-century discourse as well, but these discursive loops are fueled by contemporary feedback. Kittler’s Greek narratives have developed out of postwar academic discourses and connect to other post-unification Greek fantasies. (shrink)

This e-Special Issue of Theory, Culture & Society focuses on the German media theorist Friedrich Kittler’s (1943–2011) impact across the field of humanities. By including Kittler’s own texts and other scholars’ articles that continue or comment on Kittler’s work, the editors have sought to address the core aspects of Kittler’s provocative insights into how media technologies underpin our cultural formations. The editorial introduction sets out key sections on technology, aesthetics, ontology and epistemology, identified as the significant axes where Kittler opens (...) up traditional notions of art and humanities. The sections also develop a common theme having to do with a media material understanding of aesthetics and philosophical determinations of the concept of media from Ancient Greeks to computational culture. (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)