Thesis Eleven

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.

Kittler was among the first to invite Derrida to lectures in Germany, and to translate Derrida’s texts into German. Yet a cursory tally in his references does not always do justice to what Kittler’s media theory owes to deconstruction. Discourse Networks credits Derrida with a mere ‘rediscovery’ of grammatology, although Wellbery’s foreword labors mightily to identify the deconstructive traits in Kittler’s work. Gramophone, Film, Typewriter reduces The Post Card’s complex networks to an allegation that ‘voice remains the other of typescripts' – as if Kittler had not in fact taken a much more subtle evaluation of hearing oneself speak from Derrida. What happens to the writability and citability of texts if they are sorted into such neat binary distinctions of logical or poetic orientation? What, to Kittler, is the quotability and readability of the body of work titled Derrida?

This ‘technical memoir’ shares insider knowledge of a specific scholarly and scientific situation in the second half of the 1990s: how a group of students and researchers at Humboldt-University Berlin, together with their teacher, media historian Friedrich Kittler, combined historical questions with computer science. The discussions and projects developed in this circle constituted a scholarly practice which would be called today digital humanities.

For a long time, ‘culture’ appears only to be an effect of the power of discourses and media in Friedrich Kittler’s works. But in his Berlin lecture series on the cultural history of cultural studies, he discusses the historical formations in which a discrete science of culture could emerge. His perspective not only highlights the historical foundations but also the blind spots of cultural studies.

This article follows the recurrent theme in Friedrich Kittler’s 40 years of prolific academic writing, which is of course the media-related production of discourse. Five heuristic principles are identified in his work: enabling, reduction, historization, the abolishment of the ‘two cultures', and post-hermeneutics. The paper closes with criticism of the intrinsic limits of Kittler’s point of view.

The article situates Kittler’s view on the question of visual technology within his general media theory and critically examines Kittler’s optical paradigm with regard to questions of (visual) technology, discourse, strategy and style. Focus is given to the link between visual technology and the Renaissance period.

Janina Bauman was a sociologist of everyday life. Her autobiographical texts, Winter in the Morning (1986), A Dream of Belonging (1988), and the synthetic volume Beyond These Walls (2006), manage a kind of personal poignancy combined with world-historic content and attention to the detail of everyday life that sets her work apart. This essay responds to these attributes and offers a contribution to her remembrance as a writer, an actor in and observer of everyday life in Warsaw and Leeds across the 20th century.

After suggesting that Stephen Turner’s work is characterized by a determination to offer viable alternatives to blockages generated by adherence to dogmas, particularly those generated by adherence to Kantian metaphysics, this review article concentrates on his recent book Explaining the Normative. The article sets out the book’s descriptions of a wide variety of positions, ‘each of which accounts for a different kind of normativity’. Perhaps the only common feature of these positions is the idea of ‘the necessity or indispensability of the normative’. Turner challenges the normativists’ certainty, employing a range of argumentative strategies which add up to the project of explaining the normative. The article seeks to show how Turner goes about this project and to show that he succeeds in his quest to undermine the normativists’ claim that the normative itself cannot be explained. Ultimately, Turner is able to say to them, politely but firmly, ‘Yes it can’.

This essay reviews Helen Nissenbaum’s Privacy in Context (2010), focusing in particular on her dismissal of the public/private dichotomy. Taking issue with the problem she constructs of ‘privacy in public’, her unitary reading of the dichotomy and ‘socializing’ of the value of privacy, or what she calls ‘contextual integrity’, and her treatment of technology in the abstract, the essay then goes on to argue that the framework she proposes is incapable of addressing the contemporary incursion of market logic into every other aspect of social and political life in the digital economy, and therefore of protecting privacy at all. The essay concludes with an insistence on the need to approach contextual privacy problems from a political economic perspective and with a political conception of privacy, and for that to be founded upon a protean appreciation of the public/private dichotomy.