Cultural Techniques

Siegert, Bernhard

doi:10.1515/9780823263783

Cited by 4 publications

(3 citation statements)

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“…When we speak of cultural techniques, therefore, we envisage a more or less complex actor network that comprises technological objects as well as the operative chains they are part of and that configure or constitute them. 29 The materiality of these technological objects and operative chains is noteworthy here. 30 By analogy, parliamentary enactments which are materially inscribed on and communicated with scrolls of calfskin vellum will allow for different laws than enactments printed on cellulose-based 26 archival paper, a change that happened in the UK as recently as 2017.…”

Section: B From Media To Cultural Techniquesmentioning

confidence: 97%

Media, Cultural Techniques, and the Law: The Other Cornelia Vismann

Minkkinen

2023

German Law Journal

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In the Anglophone world of law, the German legal historian and legal theorist Cornelia Vismann (1961–2010) is best known as an acute interpreter of French high theory, especially of Jacques Derrida, Jacques Lacan, and Michel Foucault. This type of reception is, I argue, somewhat distorted. For her English-speaking colleagues, French “poststructuralism” provides the interface that enables Vismann to enter into shared discursive constellations with her Anglo-American critical legal colleagues. But at the same time, such a reception also downplays the very specifically German soil from which her unique scholarship arose. This Article discusses Vismann’s German background as media theory, the discipline that she was mostly associated with by her compatriots. The Article then assesses what Vismann’s media-theoretical contributions potentially offer to the contemporary study of law. For this “other Vismann,” the media-theoretical study of law was, I suggest, a practically oriented critical discipline that focused on law’s “cultural techniques” and how they operated. I also briefly touch upon what is generally known as “German media theory” through key figures such as Friedrich A. Kittler and Bernhard Siegert.

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Section: B From Media To Cultural Techniquesmentioning

confidence: 97%

Media, Cultural Techniques, and the Law: The Other Cornelia Vismann

Minkkinen

2023

German Law Journal

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“…Through the symbolic exclusion of the time of physical switching operations (and thus the noise of analog circuitry), noise reduction became systemic in digital media. 85 In short, both continuous analog and discrete digital media are based on "analog" representations of physical phenomena. Nevertheless, they deal with the noise of their basic physical operations, and bridge the gap between representation and represented, in fundamentally different ways.…”

Section: The Noise Resonance Of Sound Mediamentioning

confidence: 99%

The Logic of Noise Reduction

Kromhout¹

2021

The Logic of Filtering

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Chapter 2 explores the conceptual implications of the myth of perfect fidelity by further analyzing the two case studies introduced in chapter 1. While analog noise reduction and the addition of “dither”-noise in the digital domain at first seem diametrically opposed (reducing and adding noise, respectively), closer analysis shows that they both serve to conceal the physical influence of the medium on the reproduced sound. Following a conceptual logic of noise reduction, they strive to achieve the most accurate copy of the “original” sound. Information theory has shown, however, that this influence of media technological transmission channels on the output signal is inevitable, because the physical limitations of the medium cannot be fully overcome. The chapter therefore suggests replacing the myth of perfect fidelity with the competing concept of a noise resonance of sound media, to account for the fact that noise, distortion, and randomness unavoidably shape all reproduced sound.

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“…For if, as Siegert consistently argues, media are fundamental to processing just such an order of cultural distinctions-separating signal from noise, inside from outside, and, we might add in relation to the issues broached by Klute, "normal" from "pathological"-a "transgressive use" of such media would not only "erase signs, and deterritorialize sounds and images" but also "destabilize" such culturally coded distinctions, even, indeed especially, where they appear most thoroughly naturalized. 68 Thus can media appear not only as "code-generating" but also as "code-destroying interfaces" that can effect, via augmented noise, "the erasure of distinctions as well as the deterritorialization and disfiguration of representations." 69 In this manner, Warhol's association with the threat to seemingly stable hegemonic cultural distinctions that we have examined above with regard to Klute accurately, if symptomatically, reflects an important consequence of his engagement with media technologies.…”

Section: Klute 2: Artist As Media Eventmentioning

confidence: 99%

Something One Recognizes Yet Can't See: Andy Warhol in and as Media

Joseph

2019

Grey Room

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and historians who have sought to take Warhol's popular impact seriously. 4 To do so, it is instructive to compare Warhol's appearance within two widely disseminated products of mainstream commercial culture: the third episode of the ninth season of the popular middlebrow television program The Love Boat, broadcast on the ABC television network on October 12, 1985, and the Academy Award-winning motion picture Klute, released in late June 1971. An examination of the different functions Warhol served within these two mass-media products will, in turn, open onto certain of the theoretical stakes pertaining to Warhol's engagement with media technologies.

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Cultural Techniques

Cited by 4 publications

References 0 publications

Media, Cultural Techniques, and the Law: The Other Cornelia Vismann

Media, Cultural Techniques, and the Law: The Other Cornelia Vismann

The Logic of Noise Reduction

Something One Recognizes Yet Can't See: Andy Warhol in and as Media

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