By Siegfried Zielinski
“Siegfried Zielinski argues that the heritage of the media doesn't continue predictably from primitive instruments to complicated equipment; in Deep Time of the Media, he illuminates turning issues of media history—fractures within the predictable—that aid us see the recent within the old.
Drawing on unique resource fabrics, Zielinski explores the know-how of units for listening to and seeing via thousand years of cultural and technological historical past. He discovers the contributions of ‘dreamers and modelers’ of media worlds, from the traditional Greek thinker Empedocles and traditional philosophers of the Renaissance and Baroque sessions to Russian avant-gardists of the early 20th century. ‘Media are areas of motion for built makes an attempt to attach what's separated,’ Zielinski writes. He describes types and machines that make this connection: together with a theater of mirrors in sixteenth-century Naples, an automaton for musical composition created by way of the seventeenth-century Jesuit Athanasius Kircher, and the eighteenth-century electric tele-writing computer of Joseph Mazzolari, between others.”
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Additional info for Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means
He is revered there like a Sicilian freedom ﬁghter. In Palermo I also came across completely unexpected presences from the past: Tadeus Kantor’s death and love machines in the museum of marionettes that have been so inﬂuential in the history of theater and animation; a dilapidated institute for research on human physiology; the Gemellaro Museum of paleontology, whose treasures are lovingly displayed in one cramped little room. ” His investigations of this world ended in Naples and Vesuvius, also my next port of call: the city of della Porta, where he wrote his Magia naturalis; beloved of Goethe, Crowley, Benjamin, Sartre, Pasolini, and Beuys; a city that so many of the masters visited at least once.
Between the stations of Rome and Riga lay many others: Warsaw, Wrocl-aw, Budapest, St. Petersburg, Prague, Weimar, and smaller towns, whose signiﬁcance will become apparent in the course of my narrative. In this way, a map, a cartography of technical visioning, listening, and—in addition to my original plan—combining came into existence, which is so very different from the geography of media that we are familiar with. It runs through the propositions I advance in the ﬁnal chapter. The mythical hero with the gaze that controls is Argus, whose name derives from the Latin arguere (to prove, to illuminate).
The moon he assigns to water. The myriad forms of interplay between the two, the inner ﬁre and water, give rise to everything that we call nature and life. Baron Georg Philipp Friedrich von Hardenberg was also no stranger to the world below ground: he earned his living as an administrative assistant in the Saxony salt works. As a poet, he called himself Novalis. In chapter 5 of his unﬁnished novel Heinrich von Ofterdingen (1802), his alter ego in a twofold sense, Friedrich von Hohenzollern, who is an aristocrat and a miner, meets with a hermit in the course of his travels.