ERKKI HUHTAMO PDF

February 2, 2021 0 By admin

Erkki Huhtamo, media historian and pioneering media archaeologist, is Professor in the Department of Design Media Arts at the University of California, Los. Visit ‘s Erkki Huhtamo Page and shop for all Erkki Huhtamo books. Check out pictures, bibliography, and biography of Erkki Huhtamo. Erkki Huhtamo, author and Professor of Media History and Theory at UCLA was keynote speaker at Scandinavia House, NYC which launched Streaming.

Author: Doshakar Zulkilmaran
Country: Netherlands
Language: English (Spanish)
Genre: Automotive
Published (Last): 5 October 2009
Pages: 61
PDF File Size: 10.26 Mb
ePub File Size: 15.25 Mb
ISBN: 382-4-87815-594-2
Downloads: 99723
Price: Free* [*Free Regsitration Required]
Uploader: Mokasa

This emphasis gives Huhtamo’s approach a culture-critical character. Zielinski’s next book, translated as Deep Time of the Media: When classifications of media archaeology have been attempted, a binary division has usually been drawn between the socially and culturally oriented Anglo-American studies and the techno-hardware approach of German scholars, who have taken their cue from Friedrich Kittler’s synthesis of Foucault, information theory, media history, and McLuhan’s emphasis on the medium as the message.

Professor Huhtamo has applied this approach to phenomena like “peep media” a notion he has coinedthe screen, panoramas and dioramas, video games, and mobile media. Drawing on an enormous mass of highly heterogeneous source material, the book demonstrated how distinctions between different audiovisual media were gradually erased during the twentieth century.

In The Gutenberg Galaxy McLuhan’s vision came to embrace the history of media efkki a more rigorous sense as he traced the dynamics between orality, the Gutenbergian printing revolution, and the new orality represented by televisual media.

Downloads | Erkki Huhtamo

Although it appeared first within literary scholarship, it soon spread to other areas, including history, where it inspired a movement known as the new cultural history. Media Archaeology performs media archaeology. It also purports to demonstrate how topoi are constantly evoked by cultural agents, from spokespeople, sales agents, and politicians to writers, journalists, exhibition curators, and, last but not least, media artists, who use them for various kinds of purposes, from sales pitches and ideological persuasion to aesthetic reflections on media culture and history.

  BHAI GURDAS JI VAARAN TRANSLATION PDF

However, these pioneering works represent only one of the possible roads toward media archaeology. Huhtamoo works frkki are developed under the influence of such modes of thinking assess the material and the technological through their discursive manifestations.

Similar authors to follow

Based on an extensive consultation of archival material which justified the use of the word archaeologyMannoni’s book no longer tried to present a closed historical narrative arranged as a set of interconnected causal chains inevitably leading toward cinema.

Although there is a strong emphasis on technology, Mannoni also discusses its applications and discursive manifestations. Images printed on translucent paper. University of California Press, Erkki Huhtamo – Collector.

Although the cultural agents themselves may not always acknowledge it, the media-archaeological dimension is an essential element of the contemporary mind-set, constantly bombarded by media and communications.

Popularity Popularity Featured Price: This influx of historically oriented media studies must be greeted with a cheer.

Erkki Huhtamo – Collector

Dismantling the Fairy Engine: He is internationally known as a pioneer of an emerging approach to media studies called media archaeology. Emphasizing such heterogeneity is an attempt not so much to deliberately diversify the existing body of media-archaeological theory and praxis as to encourage “traveling” between discourses and disciplines.

Zielinski’s pleas for openness, curiosity, and “traffic” between disciplines are commendable, but his apparent resistance to systematization and theorization runs the risk of atomism. Zielinski’s understanding of media is unconventional in its openness perhaps unintentionally recalling McLuhan’s amoebic definitions buhtamo, and his intellectual appetite bottomless.

On the one hand were radical contemporary artists, who had potential to break the vicious goals of the culture industry; on the other were the hidden treasures of the past that might provide keys for a cultural renewal. Mechanization was presented as a depersonalized force that erkii Western societies down huhfamo the minutest details of everyday life.

Zielinski’s position was influenced by his role as the founding director and later rector of the Academy of Arts and the Media in Cologne, which gave him an opportunity to build connections between media studies and experimental media practices. Providing a broad overview of the many historical and theoretical facets er,ki Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. For the media critic Geert Huhtxmo, media archaeology is by nature a “discipline” of reading against the grain, “a hermeneutic reading of the ‘new’ egkki the grain of the past, rather than telling of the histories of technologies from past to present.

  FESTUNG BRESLAU KRAJEWSKI PDF

The readers were left with a huge collection of notes, images, and ideas that constitute a database rather than a preorganized narrative. Benjamin is arguably the most prominent forerunner-beside Foucault-of media-archaeological modes of cultural analysis and is a major influence for cultural studies.

He first exhibited his collection at the Museum of CulturesHelsinki, as an exhibition titled Phantasmagoria: Edkki their highly divergent syllabi and reading lists testify, there ekki no general agreement about either the principles or the terminology of media archaeology.

Beside researching, teaching, and crisscrossing the world, I enjoy cycling, running, swimming, and growing, roasting, grinding and drinking my own coffee in LA – something I could not even dream about doing in Finland! These questions in themselves show how much our idea-and maybe even our definition-of cinema has changed even without appealing to digitization as a technology, which is nonetheless implicit as a powerful “perspective correction” and thus counts as an impulse in this retrospective re-writing of the past.

The interest in change and the “ruins” of the body and mind were evident in his other works as well, which famously touched huhyamo historical changes in the modes of perception.