How do media – old and new – shape and transform knowledge? The research-in-progress website, Medial Operations, focuses on the complex transitions between noise, non-sense, information, and knowledge.
Tag Archives: technology
about ulysses lied
This seminar focuses on Kittler’s latest and perhaps most ambitious project, Musik und Mathematik. This work aims to present a cultural history of the Western world in four volumes, starting in ancient Greece, then passing through Rome, the middle ages and up to the present computerized age. In the Fall of 2009, alternating between locations at Utrecht University and the University of Amsterdam, organizers Sander van Maas en Jan Hein Hoogstad invite scholars from all disciplinary backgrounds to join in the reading.
down the drain
A presentation that I gave at the Amsterdam School for Cultural Analysis on the 29th of April 2009 for the How To Do Cultural Analysis and Why (Not) lecture series organized by Murat Aydemir.
new adventures in low-fidelity
This essay makes a case for media-epistemic pluralism, by staging an encounter between Friedrich Kittler’s Gramophone, Film, Typewriter and Ralph Ellison’s autobiographical story ‘Living with Music’. It argues that a medium does not function autonomously, but always forms a complex constellation with other media. This constellation takes shapes through the interventions of the conceptual persona of the engineer.
oh baby, i like it raw
A presentation that I gave on the 27th of October 2008 at the University of Minnesota in Minneapolis for the Music and Sound Studies Initiative lecture series organized by Sumanth Gopinath.
noise is the new meaning
A presentation that I gave on the 17th of November 2008 at the English Department of the University of Minnesota in Minneapolis for the eNow! lecture series organized by Terri Sutton.
mapping session 1
A prezi map made out of individual students projects for my course ‘Space is the Place: Literature, Music and Spatiality’.
a rather fortunate accident
Ironically, the results of mistakes often end up to be far more interesting than those of hard work. Marvin Gaye’s 1970 hit “What’s Going On” serves as one of those miraculous examples of serendipity. During the recording sessions a rather fortunate accident occurred. The singer had recorded two alternate takes of the lead-vocals that were one octave apart. When the artist asked the sound engineer on duty, Ken Sands, to play these two tracks for him, the technician unwittingly played them simultaneously in mono. The unintended result was a duet between the singer and himself