From metaphor machine to being-with apparatus
DOI:
https://doi.org/10.35699/2237-5864.2020.21540Keywords:
Media Archaeology, Media Practice, Digital Humanities, Installation, New Media TheoryAbstract
This paper takes a look at how we have developed devices to create and transmit meaning. It looks at how these devices have been designed and used to present a view of the world to the viewer. It also looks at what the tendencies within the functioning of media devices are and how that changes the way we perceive information and create world views. Furthermore, it asks how the nature of these devices determine how we communicate through them and what are the tensions they create. Lastly, we ask what this means for present and future use of such technology in an experiential and informative environment.
Downloads
References
BARTHES, Roland. Camera lucida: reflections on photography. New York: Hill and Wang, 1981.
BAUDRILLARD, Jean. Simulacra and simulation. Ann Arbor: University of Michigan Press, 1994.
BAUDRILLARD, Jean; Weibel, Peter; Neue Galerie am Landesmuseum Joanneum. Jean Baudrillard: Fotografien 1985-1998, [9.1.-14.2.1999, Neue Galerie Graz am Landesmuseum Joanneum, Graz] = Photographies = Photographs. Ostfildern-Ruit Germany. New York: Hatje Cantz, 1999.
BENJAMIN, Walter. On photography. Edited and translated by Esther Leslie. London: Reaktion Books, 2015.
BLANCHOT, Maurice. Friendship. Translated by Elizabeth Rottenberg. Stanford, Calif.: Stanford University Press, 1997.
CHUN, Wendy Hui Kyong. Programmed visions: software and memory. Cambridge, Mass.: MIT Press, 2011.
ELKINS, James. What photography is. New York: Routledge, 2011.
FLUSSER, Vilém. Towards a philosophy of photography. London: Reaktion, 2000.
FLUSSER, Vilém. Into the universe of technical images. Minneapolis, Minn.: University of Minnesota Press; Bristol: University Presses Marketing, 2011.
FLUSSER, Vilém. Does writing have a future? Introduction by Mark Poster, Translated by Nancy Ann Roth. Minneapolis, Minn.: University of Minnesota Press, 2011.
NEWHALL, Beumont. The history of photography from 1839 to the present day. New York: Museum of Modern Art, 1949.
STIEGLER, Bernard. Technics and time. Stanford, Calif.: Stanford University Press, 1998.
TALBOT, William Henry Fox. Pencil of nature (1969 reproduction of the 1844 edition. ed.). [S.l.]: Da Capo, 1969.
ZIELINSKI, Siegfried. Deep time of the media: toward an archaeology of hearing and seeing by technical means. Foreword by Timothy Druckrey. Cambridge, Mass.: MIT Press, 2006.
ZIELINSKI, Siegfried; WAGNERMAIER, Silvia. Variantology: on deep time relations of arts, sciences, and technologies. Translated by Gloria Custance. Köln: W. König, 2005.
ŽIŽEK, Slavo. On belief (Thinking in Action). London; New York: Routledge, 2001.
Downloads
Published
Issue
Section
License
Copyright (c) 2020 Kenneth Alan Feinstein

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the a Creative Commons Attribution-NonCommercial 4.0 International License that permits sharing of the work with acknowledgement of authorship and initial publication in this journal;
- Authors are permitted to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (e.g., the Creative Commons Attribution License).
- Authors are permitted and encouraged to publish and distribute their work online (e.g., in institutional repositories or on their home page) at any point before or during the editorial process, as this may generate productive changes as well as increase the impact and citation of the published work.
- It is the responsibility of the authors to obtain written permission to use in their articles materials protected by copyright law. Revista PÓS is not responsible for copyright breaches made by its contributors.







