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Media Futures
Theory and
Aesthetics
Christoph Ernst
Jens Schröter
Media Futures
Christoph Ernst • Jens Schröter
Media Futures
Theory and Aesthetics
Christoph Ernst Jens Schröter
Universität Bonn Universität Bonn
Bonn, Germany Bonn, Germany
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgments
v
Contents
1 Introduction 1
References 5
vii
viii Contents
Index111
About the Authors
ix
x ABOUT THE AUTHORS
xi
CHAPTER 1
Introduction
we imagine it. But history also teaches us that the future holds the possi-
bility of a sometimes limited, sometimes drastic “otherness” (Castoriadis
1987, 190). The future always holds unforeseen events. It changes exist-
ing relationships and surprises us with the “new.” All knowledge about the
future is thus also knowledge about this uncertainty.
In light of these assumptions, inquiry into “media futures” may sound
like unfounded speculation. Who can predict what future media will be?
In contrast to other aspects of the future that we can know with somewhat
greater certainty—for example, the fairly certain course of stars—develop-
ments in the area of media technologies are characterized by a much
greater degree of uncertainty. Yet this unpredictability represents an
opportunity. For even if one cannot say with a great deal of certainty what
form future media will take or which media will dominate in the future, it
is nevertheless possible to show how future media are imagined. This
imagination of future media is the subject of the present book.
Speaking of “future media” means, for us, speaking of the processes of
the imagination that are undertaken—setting out from a present—in rela-
tion to said future media. This present need not be our present. The his-
torical look back at “past futures” provides us with important insights: just
as it is helpful to ask how we imagine future media today, it is important
to ask how future media were imagined in the past.
The internet is full of amusing examples of wrong predictions.1 The
telephone was seen as a superfluous plaything. Television was considered
a technological impossibility or too boring for viewers. Some thought that
the computer could never weigh less than a ton and a half, or that no more
than 5000 computers would ever be sold. Moreover, it would be absurd
to have such devices at home. No one would wear them on their body,
either. It was said of the internet that it would collapse and disappear. And
competitors said of the iPhone that no one should expect it to be a market
success.2
From today’s perspective, we can smirk at these examples. It should
also be recognized, however, that under other circumstances these predic-
tions could have turned out to be correct. Even completely misguided
predictions can give us valuable insights into the expectations of their era.
Not least, these wrong predictions reveal the hurdles to hopes for change:
the persistence and constancy of relations that do not change or disappear
despite prognoses to the contrary are often underestimated in discourses
about the future.
1 INTRODUCTION 3
The more certain a prediction is, the less informative it is (see Rescher
1998, 60). Two insights can be derived from this: first, imaginations of the
future are relevant for our actions; they therefore also affect the develop-
ment of future media technologies. The supercomputer HAL 9000 from
the science fiction film 2001: A Space Odyssey (UK/USA 1968, dir. Stanley
Kubrick), which controls a spaceship and supervises its mission, was a fic-
tional character. But the way it is designed and presented, the way it inter-
acts with the astronauts, the scope of takes it can perform, the problems
that result from its actions fascinated an entire generation of scholars in
the field of artificial intelligence. HAL 9000 became an ideal (Stork 1997;
Ceruzzi 2011, pp. 98–102). Second, imaginations are also knowledge
about the future that is relevant for action when they do not refer ade-
quately to the state that will occur at a later point in time. Imaginations
even fulfill their epistemic functions independently of whether they tally
with the anticipated future “reality.” No one has yet built a HAL 9000.
But that is not the crucial thing. The point is rather that HAL 9000, as an
object conveyed through science fiction, concretized for us a set of ideas.
As a whole this offers a not unambiguous but nevertheless sufficiently
dense network of semantic elements that permit us to develop an “idea”
of artificial intelligence. We will call such consolidations “fascination
cores” (Glaubitz et al. 2011).
In the first part of the book, we present, using the example of the pro-
cess of media change, how one can think about the question of future
media from the perspective of media studies. In the second part of the
book, we go into greater depth by discussing influential ideas from the
fields of media theory, science and technology studies, (critical) future
studies, philosophy, and social theory. Finally, in the third part, four exam-
ples are analyzed that make it possible to grasp the described processes of
imaging future media from the perspective of media studies.
Usually, the line between an introduction and a scholarly achievement
runs where either “merely” a summarizing overview of a field is offered or
a thematic field is opened up in a new way. The present introduction does
not fit into that schema. In some cases, it is a compilation of that which is
known, from the perspective of media studies; in other cases, however, it
goes into more detail about authors and contexts that are more marginal
in the field. The intention for the book is to provide an introduction to the
concepts of the subject and to make further research possible. Seen in this
way, this introduction could be termed “research-oriented.”
1 INTRODUCTION 5
Notes
1. For this reason, Nicolas Pethes (2003) has fundamentally questioned the
possibility of “prediction.” Instead, many possible prognoses are made, one
of which sometimes happens to turn out to be correct in retrospect.
2. All of these predictions were collected at freeCodeCamp (2017).
3. We have deliberately chosen a metaphor here that refers to fluids and alloys
and not a formulation such as “texture” or “mesh.” This is connected to
Cornelius Castoriadis’s concept of the radical imagination and his metaphor
of “magma,” which is discussed in Sect. 3.1.
4. This insight can even be found in approaches to media theory that otherwise
focus more on the “hard facts” of the history of science and technology:
“For film did not fall from heaven, but rather it can only be understood
through the fantasies and the politics that its invention was responding to.
The fact that television, as far as I can see, was not once seriously imagined
until its factual development also calls for analysis.” (Kittler 2010, 22).
5. The present book is intended as an attempt at an overview that offers per-
spective. There are in-depth analyses of the connection of digital media and
the imagination, but here we can only refer to them. For detailed discussion,
see, for example, Winkler (1997) and Harrell (2013).
References
Castoriadis, Cornelius. 1987. The Imaginary Institution of Society. Translated by
Kathleen Blarney. Malden, MA: Polity.
Ceruzzi, Paul E. 2011. Manned Space Flight and Artificial Intelligence: ‘Natural
Trajectories of Technology’. In Science Fiction and Computing: Essays on
Interlinked Domains, ed. David L. Ferro and Eric G. Swedin, 95–116. Jefferson,
NC & London: McFarland & Company.
6 C. ERNST AND J. SCHRÖTER
First Thesis: Future media exist as possible objects produced by the imagination
that shape practical and theoretical knowledge about processes of media change
in the present. By imagining future media as possible objects, one obtains a
“picture” of media change.
important. Other media, such as language, change more slowly. The class
of technological media includes such media as writing, book printing,
photography, telegraphy, film, radio, television, the computer, and the
internet.3 One contemporary leading medium is the smartphone. The suc-
cess of the smartphone since the iPhone was presented by Steve Jobs, the
CEO of Apple, in 2007 is impressive. The questions as to how the smart-
phone will develop and what leading medium will follow it are highly rel-
evant right now. Media evolve in association with science and technology
and are subject to strong economic influences.
Second Thesis: The term “future media” refers to imagining media technolo-
gies. Imagining media technologies is tied to heterogeneous discourses in which
scientific inventions, technological innovations, and economic interests interact
and are focused on specific objects.
Third Thesis: Future media are not identical to “new media.” Rather, under
existing social conditions, talk about “new media” is a form of speaking which
addresses “new media” as “future media.”
When future media are seen as “new media,” they are often linked to
“media revolutions” (Grampp et al. 2008). Media change produces
dynamic situations in which a culture’s practices and a society’s ways of life
change. User interfaces are, for example, key technologies of digital media
10 C. ERNST AND J. SCHRÖTER
Fourth Thesis: Media upheavals are processes of media change that are marked
by the tension between continuity and change. In these processes, imagining
future media is intended to show which future scenarios are possible and how
profound their probable consequences are—in the sense of knowledge that pro-
vides orientation.
Imagining future media can provide knowledge about media change that
provides orientation. This knowledge sometimes mobilizes ideas that are
stored deeply in the collective memory of a culture. They correspond to
the necessity to picture for oneself what has become possible as a result of
the upheaval and to sort which of its elements are realistic from those that
are not realistic. Media upheavals demand thinking about possibilities. Not
infrequently, this results in the case that media upheavals—like technologi-
cal upheavals in general—make it possible to realistically expect things that
had been articulated as an idea before the upheaval but were considered
impossible. Imagination is the ability to picture something individually
and collectively; in historical cultural and social situations, the imaginary
offers an inventory of culturally specific forms of what one can imagine.
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d’un solide coup de tête, elle m’envoya rouler dans un fossé plein
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j’avais appris que je n’étais pas invincible et, par la suite, je me
gardai de renouveler mon attaque.
Lorsque le mauvais temps m’empêchait de sortir, je
recommençais nos batailles avec des soldats de plomb. J’en
possédais une quantité, car mes grands-parents qui me gâtaient
comme je l’ai dit et qui encourageaient mon goût pour les jeux de
Bellone, m’en donnaient des boîtes à toute occasion : étrennes,
anniversaires, etc.
Mes lectures m’ancrèrent dans cette conviction que l’Empereur
était infaillible, qu’il ne pouvait jamais avoir tort. Toute opposition à
ses volontés me semblait un sacrilège. Je considérais ses
adversaires comme d’ineptes croquants dont la résistance devait
être punie par de formidables raclées. Aussi, quand j’en fus aux
revers : la retraite de Russie, Leipsick, la première abdication, je
tombai dans une désolation indicible. Quoique je n’eusse encore rien
lu de Victor Hugo, comme lui « j’accusais le destin de lèse-majesté ».
Autour de mon dieu, je ne distinguais plus que des traîtres et des
lâches. Le retour de l’île d’Elbe me rendit quelque allégresse.
Frémissant d’enthousiasme, je hurlai par les corridors cette phrase
de la proclamation impériale : « L’aigle a volé de clocher en clocher
jusqu’aux tours de Notre-Dame ! » Mais Waterloo me précipita de
nouveau dans le désespoir. Je ne voulais pas que la bataille eût été
perdue. Je lisais et relisais les pages funèbres avec le désir enragé
que « l’infâme » Grouchy vînt quand même à la rescousse et que la
Garde mît Blücher et Wellington en compote. Je vous certifie que j’ai
pleuré quand Napoléon abdiqua pour la seconde fois. Ah ! si j’avais
tenu Fouché, Lafayette et les pleutres du gouvernement provisoire,
quelle bastonnade, mes amis !
L’exil à Sainte-Hélène me navra. Je haïssais les Anglais d’une
haine irréductible. Je barbouillai d’encre l’effigie d’Hudson Lowe qui,
à mon avis, déshonorait le volume où l’agonie de Napoléon était
rapportée. Et pour atténuer mon deuil, je relus passionnément la
campagne d’Austerlitz…
Si je récapitule, dans l’ensemble, ces premiers souvenirs, il
m’apparaît que mon enfance annonce nettement ce que je devais
être jusqu’au jour où la Grâce divine me conduisit à la foi catholique
et l’expérience de la vie au royalisme. Travaillé, sans doute,
d’hérédités rebelles à la règle, poussé comme une plante sauvage, à
peu près sans contrôle, dénué de principes religieux, doué d’une
imagination exubérante qui se portait aux aventures, à la poésie et
au romantisme, surestimant, d’après l’histoire de Napoléon, la force
sans contre-poids, ni entraves, me développant à une époque de
mœurs plates, de démocratie pourrissante et de parlementarisme
infécond — tout conspirait à ce que je devinsse un révolté.
Et c’est, en effet, ce qui arriva.
CHAPITRE II
LA GUERRE DE 1870
Avec ce refrain :