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New media

This is the general page on the development of new media since drawing and writing. For digital new media see information age.

"Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs in response to a minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappear at a simple movement of the hand, hardly more than a sign."-- Paul Valéry, “ La conquête de l’ubiquité ” (1928), Pièces sur l'Art

Parent categories: new - media

Related: adaptation and remediation - content - reproduction

Modernism's new media: cinema - gramophone - radio - telephone

Compare: dead media


Every era since early Modernity has had its new media. The 15th century saw the development of the movable type printing press and woodcut printing. The 19th century saw the development of newspapers and high-volume printing. The early 20th century saw the development of radio, phonographs and cinema, followed in the mid 20th century by the electric guitar. The end of the 20th century was the age of digital media.

Some media survive, others die, as can be witnessed from this amusing list on dead media. [Jan 2006]

See also: http://en.wikipedia.org/wiki/New_media

Notes on the speed of recording

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Notes on the speed of playback

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Sex and new media

A particular efficient method of studying new media is studying the particular erotica it engendered.
Sex, as we know, is a heat-seeking missile that forever seeks out the newest medium for its transmission. William Burroughs, a man who understands the dark side of sexuality better than most, sees it as a virus that is always on the hunt for a new host - a virus that almost always infects new technology first. --Gerard Van Der Leun, 1993, http://www.wired.com/wired/archive/1.01/cybersex.html

Gramophone, Film, Typewriter (1986) - Friedrich A. Kittler

Gramophone, Film, Typewriter (1986) - Friedrich A. Kittler [Amazon.com] [FR] [DE] [UK]

Card catalog description
Part technological history of the emergent new media in the late nineteenth century, past theoretical discussion of the responses to these media - including texts by Rilke, Kafka, and Heidegger, as well as elaborations by Edison, Bell, Turing, and other innovators - Gramphone, Film, Typewriter analyzes this momentous shift using insights from the work of Foucault, Lacan, and McLuhan. Fusing discourse analysis, structuralist psychoanalysis, and media theory, and the author adds a vital historical dimension to the current debates over the relationship between electronic literacy and poststructuralism, and the extent to which we are constituted by our technologies.

See also: gramophone - film - modernism - new media - technology


Technocriticism is a branch of critical theory devoted to the study of technological change.


Figures engaged in technocritical scholarship and theory include Donna Haraway and Bruno Latour (who work in the closely related field of science studies), N. Katherine Hayles (who works in the field of Literature and Science), Phil Agre and Mark Poster (who work in the closely related field of information studies), Marshall McLuhan and Friedrich A. Kittler (who work in the closely related field of media studies), Susan Squier and Richard Doyle (who work in the closely related field of biomedical studies), and Hannah Arendt, Walter Benjamin, Martin Heidegger, and Michel Foucault (critical theorists and philosophers who sometimes wrote about technology). --http://en.wikipedia.org/wiki/Technocriticism [May 2006]

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