The
Standard
Edition o f the Complete Psychological Works ofSigmund Freud.
Kittler-Friedrich-Optical-Media-pdf
Whether the screen is supposed to represent the quantity of real numbers or complex numbers is mathematically only a question of convention.
In any case, the computer functions not merely as an improved typewriter for secretaries, who are permitted to relinquish their old-fashioned typewriters, but rather as a general interface
between systems of equations and sensory perception - not to say nature. In 1980, the mathematician Benoit Mandelbrot proceeded to analyze a very elementary equation of a complex variable point for point on the computer screen. The equation itself had been known since 1917, but it would take mathematicians at best millions of days to calculate it with paper and pencil. It is also significant that the color samples first made possible on the computer screen have since been given splendid names like "apple men," "cantor dust," or "seahorse region," as they produced a nature that no human eye had previously recognized as a category: the category of clouds and sea waves, of sponges and shorelines. Digital image-process- ing coincides with the real, therefore, precisely because it does not want to be a reproduction like the conventional arts. Silicon chips, which consist of the same element as every pebble on the wayside, calculate and reproduce symbolic structures as digitizations of the real.
228
? ? COMPUTERS
For this reason, the transition from today's system, which consists of silicon chips for processing and storage and gold wires or copper webs for transmission, to systems of fiber-optic cables and optical circuits will exponentially increase not only the calculation speed of digital images, but also the mathematical structure of self-similarity discovered by Mandelbrot. For example, when a glass diffracts inci- dental light, producing the effects known since Fresnel as interfer- ence and color moire, it is already by nature a mathematical analysis that could only be processed in an extremely time-consuming way by serial Von Neumann computers. So why spend so much effort translating this light into electrical information and then process- ing this information serially or consecutively if the same light can already calculate itself and above all simultaneously? At the end of this lecture, I would like to look ahead to the future of optical media, to a system that not only transmits but also stores and pro- cesses light as light. In a last dramatic peripeteia of its deeds and sufferings, this ligbt will thus cease to be continuous electromagnetic waves. On the contrary, to adapt Newton freely, it will again func- tion in its twin nature as particles in order to be equally as universal, equally as discrete, and equally as manipulable as today's computers. The optimum of such manipulability in the virtual vacuum of inter- stellar space is already mathematically certain. With this optimum,
every individual bit of information corresponds to an individual light pixel, yet these pixels no longer consist of countless phosphorescent molecules, as on television and computer screens, but rather of a single light quantum or photon. Whereupon the maximum trans- mission rate of the information of a simple equation, which can no longer be physically surpassed, is: C = (3. 7007)(ffi/h). To put it into words, the maximum transmission rate of light as information or information as light is eqnal to the square root of the quotient of photon energy divided by Plank's constant mnltiplied by an empirical coefficient.
Equations are there for the purpose of being inconceivable and thns simply circumventing optical media and lectures about them. For this reason, allow me a single illustration at the end. Imagine an individual photon in a vacuum like the first star in the evening sky, which is otherwise empty and infinite. Think of the emergence of this single star in a fraction of a second as the only information that counts. And listen to this passage from Pynthon's great world war novel, where the old rocket officer from Peenemiinde talks to the young man whom he sent on the first rocket trip into space, from which he will never return:
229
? OPTICAL MEDIA
The edge of evening . . . the long curve of people all wishing on the first
star . . . Always remember those men and women along the thousands of miles of land and sea. The true moment of shadow is the moment in which you see the point of light in the sky. The single point, and the shadow that has just gathered you in its sweep . . . Always remember. (Pynchon, 1973, pp. 7S9-60)
So much for the algorithms of random, namely digital data in the domain of images. What I have been able to tell you are only the algorithms that America's National Security Agency, the NSA, have released up to now. There are possibly algorithms from general staffs or secret services that have long been more efficient, but which are still top secret. It is impossible to persuade oneself that November 9, 1989 (the fall of the Berlin Wall) marked the end of every war. The east is surely defeated - through propaganda television at the consumer level and through computer export embargoes at the pro- duction level; but in the southern hemisphere there still remains the problem of information versus energy, algorithms versus resources, which is at least 200 years old.
In the world war between algorithms and resources, the 2,000-year- old war between algorithms and alphabets and between numbers and letters has practically faded into obscurity. For this reason, I would like to address my final words directly to you. For the past 14 lec- tures about optical media I have resisted the temptation to write my own computer graphics programs (whatever "own" means in the world of algorithms). Instead, simple boring lecture manuscripts emerged under the dictates of a text-processing program named WORD 5. 0. As long as Europe's universities have not installed high- performance data lines to all auditoriums and dormitories, no other choice remains. Under high-tech auspices, however, the entire lecture has been a waste of time. I am comforted by the hope that your generation will lay the high-frequency fiber-optic cables and crack the secret world war algorithms. All that remains is for me to thank your old-fashioned open ears and to conclude with an old-fashioned rock song, which penetrated the ears of my generation, which as you know, nothing and no one can close.
Leonard Cohen, A Bunch of Lonesome Heroes
I sing this for the army,
I sing this for your children
And for all who do not need me.
230
? ? BIBLIOGRAPHY
Alberti, Leon Battista. On Painting. Trans. John R. Spencer. New Haven: Yale University Press, 1966.
Arnheim, Rudolf. Kritiken und Aufsiitze zum Film. Ed. Helmut Diederichs. Munich: Carl Hansel; 1977.
Bachmann, Ingeborg. Songs in Flight: The Collected Poems of Ingeborg Bachmann. Trans. Peter Filkins. New York: Marsilio Publishers, 1994.
Barkhausen, Hans. Filmpropaganda fur Deutschland im Ersten und Zweiten Weltkrieg. Hildesheim: alms Press, 1982.
Barthes, Roland. On Racine. Trans. Richard Howard. New York: Hill and Wang, 1964.
Battisti, Eugenio. Filippo Brunelleschi: The Complete Work. Trans. Robert Erich Wolf. New York: Rizzoli, 1981.
Belting, Hans. Likeness and Presence: A History ofthe Image before the Era of Art. Trans. Edmund Jephcott. Chicago: University of Chicago Press, 1994.
Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction. " Illuminations. Trans. Harry Zohn. New York: Schocken Books, 1969, pp. 217-5l.
Bergk, Johann Adam. Die Kunst, Bucher zu lesen, nebst Bemerkun- gen uber Schriften und Schriftsteller. Jena: Hempel, 1799.
"Bertillonsches System. " Meyers Grofles Konversations-Lexikon. 20 vols. Leipzig: Bibliographisches Institut, 1902-08. Vol. 2, 1905, pp. 732-3.
Bidermann, Jakob. Cenodoxus. Stuttgart: Philipp Reclam, 1965. Blumenberg, Hans. The Legitimacy ofthe Modern Age. Trans. Robert
M. Wallace. Cambridge, MA: MIT Press, 1983.
Boltzmann, Ludwig. Populare Schriften. Ed. Engelbert Broda.
BraunschweiglWiesbaden: Friedrich Vieweg & Sohn, 1979. 231
? ? ? BIBLIOGRAPHY
Bolz, Norbert. Am Ende der Gutenberg-Galaxts: D,e neuen Kommunikationsverhdltnisse. MUlllCb: Wilhelm Fink Verlag, 1993.
Bosse, Heinrich. Autorschaft ist Werkherrschaft: Ober die Entste- hung des Urheberrechts aus dem Geist der Goethezeit. Paderborn; Ferdinand Schiiningh, 1981.
Braunmiihl, Anton von. Vorlesungen iiber Geschlchte der Trzgo- nometrie. 1. Teil: Von den dltesten Zeiten bis zur Erfindung der Logarithmen. Leipzig: B. G. Teubner, 1900.
Bruch, Walter. Kleine Geschichte des deutschen Fernsehens. Berlin: Hande & Spender, 1967.
Bruch, Walter and Riedel, Heide. PAL - das Farbfernsehen. Berlin: Deutsches Rundfunk-Museum, 1987.
Biichner, Georg. "Leonce and Lena. " Trans. Anthony Meech. The Complete Plays. Ed. Michael Patterson. London: Methuen, 1987, pp. 113-46.
Biichner, Georg. Leben, Werk, Zeit: Ausstellung zum 150. Jahrestag des "Hessischen Landboten". Marburg: Jonas Verlag, 1985.
Buddemeier, Heinz. Panorama, Diorama, Photographie: Entstehung und Wirkung neuer Medien im 19. Jahrhundert. Munich: Wilhelm Fink Verlag, 1970.
Busch, Bernd. Belichtete Welt: Eine Wahrnehmungsgeschichte der Fotografie. Munich: Carl Hanser, 1995.
Clark, Ronald William. Edison: The Man Who Made the Future. New York: Putnam, 1977.
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press, 1991.
Eder, Josef Maria. History o f Photography. Trans. Edward Epstean. New York: Dover, 1978.
Edgerton, Samuel, Jr. The Heritage of Giotto's Geometry: Art and Science on the Eve of the Scientific Revolution. Ithaca: Cornell University Press, 1991.
Edgerton, Samuel, Jr. The Renaissance Rediscovery of Linear Per- spective. New York: Basic Books, 1975.
Eisner, Lotte H. The Haunted Screen: Expressionism in the German Cinema and the Influence ofMax Reinhardt. Trans. Roger Greaves. London: Secker and Warburg, 1973.
Enzensberger, Hans Magnus. Mausoleum: Thirty-seven Ballads from the History of Progress. Trans. Joachim Neugroschel. New York: Urizen, 1976.
232
? ? BIBLIOGRAPHY
Faulstich, Werner, ed. Kritische Stichworte zur Medienwissenschaft. Munich: Wilhelm Fink Verlag, 1979.
Flaubert, Gustave. Sentimental Education. Trans. Robert Baldick. London: Penguin, 1964.
Freud, Sigmund.
The Standard Edition o f the Complete Psychological Works ofSigmund Freud. 24 vols. Trans. James Strachey. London: Hogarth Press, 1953-74.
Greard, M. O. Jean-Louis-Ernest Meissonier, ses souvenirs - ses entretiens precedes d'une etude sur sa vie et son oeuvre. Paris: Librmne Hachette, 1897.
Greve, Ludwig, Pehle, Margot and Westhoff, Heide, eds. Hatte ich das Kino! Die Schriftsteller und der Stumm{ilm. Marbach: Deutsche Schillergesellschaft, 1976.
Halbach, Wulf R. "Reality Engines. " Computer als Medium. Ed. Norbert Bolz, Friedrich Kittler, and Christoph Tholen. Munich: Wilhelm Fink Verlag, 1993, pp. 231-44.
Heidegger, Martin. "The Age of the World Picture. " The Question Concerning Technology and Other Essays. Trans. William Lovitt. London: Garland, 1977, pp. 115-54.
Herr, Michael. Dispatches. London: Picador, 1978.
Hoffmann, E. T. A. The Devil's Elixirs. Trans. Ronald Taylor. London:
John Calder, 1963.
Hoffmann, E. T. A. Eight Tales of Hoffmann. Trans. J. M. Cohen.
London: Pan Books, 1952.
Hoffmann, E. T. A. Fantasie- und Nachtstiicke. Ed. Walter Miiller-
Seidel. Munich: Winkler Verlag, 1967.
Holmes, Oliver Wendell. "The Stereoscope and the Stereograph. "
The Atlantic Monthly 3 (1859): 738-48.
Innis, Harold. Empire and Communications. London: Oxford Uni-
versity Press, 1950.
Jauss, Hans Robert. "Nachahmungsprinzip und Wirklichkeitsbegriff
in der Theorie des Romans von Diderot bis Stendhal. " Nachah- mung und Illusion. Ed. Janss. 2nd edn. Munich: Eidos Verlag, 1969, pp. 157-78.
Jay, Paul. Lumieres et images, la photographie: Histoire sommaire des techniques photographiques au XIXe siecle. Chalon-sur-Saone: Musee Nicephore Niepce, 1981.
Kaes, Anton, ed. Die Kino-Dehatte: Texte zum Verhaltnis von Literatur und Film 1909-1929. Tiibingen: Niemeyer, 1978.
Kant, Immanuel. Critique ofJudgment. Trans. J. H. Bernard. New York: Hafner, 1951.
233
? ? ? BIBLIOGRAPHY
Kraker, Arthur. Technology and the Canadian Mind: InnislMcLuhanl Grant. New York: St. Martin's Press, 1984.
Kurze1-Runtscheiner, Erich. Franz Freiherr von Uchatius. Vienna: Osterreichischer Forschungsinstitut fur Geschichte der Technik, 1937.
Lacan, Jacques. Bcrits: A Selectzan. Trans. Bruce Fink. New York: Norton, 2002.
Lacan, Jacques. The Four Fundamental Concepts of Psycho- Analysis. Ed. Jacques-Alain Miller. Trans. Alan Sheridan. New York: Norton, 1981.
Lambert, Johann Heinrich. Neues Organon oder Gedanken iiber die Erforschung und Bezeichnung des Wahren und dessen Untersche- idung vom Irrtum und Schein. 3 vols. Ed. Gunter Schenk. Berlin: Akademie Verlag, 1990, vol. 2.
Lasswitz, Kurd. Gustav Theodor Fechner. 3rd edn. Stuttgart: Frammann, 1910.
Lessing, Gotthold Ephraim. Laocoon: An Essay on the Limits of Painting and Poetry. Trans. Edward Allen McCormick. Baltimore:
Johns Hopkins University Press, 1984.
Loyola, Ignacio de. The Spiritual Exercises of Saint Ignatius. Trans.
Thomas Corbishley. London: Burns and Oates, 1963.
Mallarme, Stephane. CEuvres completes. Ed. Henri Mondor and
G. Jean-Aubry. Paris: Gallimard, 1945.
McLuhan, Marshall. Understanding Media: The Extensions of Man.
New York: McGraw-Hill, 1964.
Monaco, James. How to Read a Film: The Art, Technology, Lan-
guage, History and Theory of Film and Media. New York: Oxford
University Press, 1977.
Morin, Edgar. The Cinema, or The Imaginary Man. Trans. Lorraine
Mortimer. Minneapolis: University of Minnesota Press, 2005. Munsterberg, Hugo. The Film: A Psychological Study; The Silent
Photoplay in 1916. New York: Dover, 1970.
Nabokov, Vladimir. Lolita. New York: G. P. Putnam's Sons, 1958. Nadar (Felix Tournachon). Quand j'hais photographe. Paris: E.
Flammarion, 1899.
Nietzsche, Friedrich. "On the Future of Our Educational Institu-
tions. " The Complete Works of Friedrich Nietzsche. Ed. Oscar Levy. Trans, J. M. Kennedy. 18 vols. New York: Russell & Russell, 1964. Vol. 3.
Ong, Walter J. Orality and Literacy: The Technologizing of the Word. London: Routledge, 1991.
Pinthus, Kurt, ed. Das Kinobuch. Zurich: Arche, 1963. 234
? BIBLIOGRAPHY
Plumpe, Gerhard. Der tote Blick: Zum Diskurs der Photographie in der Zeit des Realismus. Munich: Wilhelm Fink Verlag, 1990.
Poe, Edgar Allan. "The Oval Portrait. " The Complete Works of Edgar Allan Poe. Ed. James A. Harrison. New York: AMS Press, 1965. Vo! ' 4, pp. 245-9.
Pynchon, Thomas. Gravity's Rainbow. New York: Vikmg Press, 1973.
Pynchon, Thomas. V, New York: Harper & Row, 1990.
Ranke, Wmfried. "Magla naturalis, physique amusante uud auf- geklarte Wissenschaft. " Lanterna magica: Lichtbilder aus Men- schenwelt und Gotterwelt. Ed. Detlev Hoffmann and Almut Junker.
Berlin: Verlag Frolich & Kaufmann, 1982, pp. 11-53.
Rings, Werner. Die 5. Wand: Das Fernsehen. Vienna/Diisseldorf:
Econ-Verlag, 1962.
Ritter, Johann Wilhelm.
between systems of equations and sensory perception - not to say nature. In 1980, the mathematician Benoit Mandelbrot proceeded to analyze a very elementary equation of a complex variable point for point on the computer screen. The equation itself had been known since 1917, but it would take mathematicians at best millions of days to calculate it with paper and pencil. It is also significant that the color samples first made possible on the computer screen have since been given splendid names like "apple men," "cantor dust," or "seahorse region," as they produced a nature that no human eye had previously recognized as a category: the category of clouds and sea waves, of sponges and shorelines. Digital image-process- ing coincides with the real, therefore, precisely because it does not want to be a reproduction like the conventional arts. Silicon chips, which consist of the same element as every pebble on the wayside, calculate and reproduce symbolic structures as digitizations of the real.
228
? ? COMPUTERS
For this reason, the transition from today's system, which consists of silicon chips for processing and storage and gold wires or copper webs for transmission, to systems of fiber-optic cables and optical circuits will exponentially increase not only the calculation speed of digital images, but also the mathematical structure of self-similarity discovered by Mandelbrot. For example, when a glass diffracts inci- dental light, producing the effects known since Fresnel as interfer- ence and color moire, it is already by nature a mathematical analysis that could only be processed in an extremely time-consuming way by serial Von Neumann computers. So why spend so much effort translating this light into electrical information and then process- ing this information serially or consecutively if the same light can already calculate itself and above all simultaneously? At the end of this lecture, I would like to look ahead to the future of optical media, to a system that not only transmits but also stores and pro- cesses light as light. In a last dramatic peripeteia of its deeds and sufferings, this ligbt will thus cease to be continuous electromagnetic waves. On the contrary, to adapt Newton freely, it will again func- tion in its twin nature as particles in order to be equally as universal, equally as discrete, and equally as manipulable as today's computers. The optimum of such manipulability in the virtual vacuum of inter- stellar space is already mathematically certain. With this optimum,
every individual bit of information corresponds to an individual light pixel, yet these pixels no longer consist of countless phosphorescent molecules, as on television and computer screens, but rather of a single light quantum or photon. Whereupon the maximum trans- mission rate of the information of a simple equation, which can no longer be physically surpassed, is: C = (3. 7007)(ffi/h). To put it into words, the maximum transmission rate of light as information or information as light is eqnal to the square root of the quotient of photon energy divided by Plank's constant mnltiplied by an empirical coefficient.
Equations are there for the purpose of being inconceivable and thns simply circumventing optical media and lectures about them. For this reason, allow me a single illustration at the end. Imagine an individual photon in a vacuum like the first star in the evening sky, which is otherwise empty and infinite. Think of the emergence of this single star in a fraction of a second as the only information that counts. And listen to this passage from Pynthon's great world war novel, where the old rocket officer from Peenemiinde talks to the young man whom he sent on the first rocket trip into space, from which he will never return:
229
? OPTICAL MEDIA
The edge of evening . . . the long curve of people all wishing on the first
star . . . Always remember those men and women along the thousands of miles of land and sea. The true moment of shadow is the moment in which you see the point of light in the sky. The single point, and the shadow that has just gathered you in its sweep . . . Always remember. (Pynchon, 1973, pp. 7S9-60)
So much for the algorithms of random, namely digital data in the domain of images. What I have been able to tell you are only the algorithms that America's National Security Agency, the NSA, have released up to now. There are possibly algorithms from general staffs or secret services that have long been more efficient, but which are still top secret. It is impossible to persuade oneself that November 9, 1989 (the fall of the Berlin Wall) marked the end of every war. The east is surely defeated - through propaganda television at the consumer level and through computer export embargoes at the pro- duction level; but in the southern hemisphere there still remains the problem of information versus energy, algorithms versus resources, which is at least 200 years old.
In the world war between algorithms and resources, the 2,000-year- old war between algorithms and alphabets and between numbers and letters has practically faded into obscurity. For this reason, I would like to address my final words directly to you. For the past 14 lec- tures about optical media I have resisted the temptation to write my own computer graphics programs (whatever "own" means in the world of algorithms). Instead, simple boring lecture manuscripts emerged under the dictates of a text-processing program named WORD 5. 0. As long as Europe's universities have not installed high- performance data lines to all auditoriums and dormitories, no other choice remains. Under high-tech auspices, however, the entire lecture has been a waste of time. I am comforted by the hope that your generation will lay the high-frequency fiber-optic cables and crack the secret world war algorithms. All that remains is for me to thank your old-fashioned open ears and to conclude with an old-fashioned rock song, which penetrated the ears of my generation, which as you know, nothing and no one can close.
Leonard Cohen, A Bunch of Lonesome Heroes
I sing this for the army,
I sing this for your children
And for all who do not need me.
230
? ? BIBLIOGRAPHY
Alberti, Leon Battista. On Painting. Trans. John R. Spencer. New Haven: Yale University Press, 1966.
Arnheim, Rudolf. Kritiken und Aufsiitze zum Film. Ed. Helmut Diederichs. Munich: Carl Hansel; 1977.
Bachmann, Ingeborg. Songs in Flight: The Collected Poems of Ingeborg Bachmann. Trans. Peter Filkins. New York: Marsilio Publishers, 1994.
Barkhausen, Hans. Filmpropaganda fur Deutschland im Ersten und Zweiten Weltkrieg. Hildesheim: alms Press, 1982.
Barthes, Roland. On Racine. Trans. Richard Howard. New York: Hill and Wang, 1964.
Battisti, Eugenio. Filippo Brunelleschi: The Complete Work. Trans. Robert Erich Wolf. New York: Rizzoli, 1981.
Belting, Hans. Likeness and Presence: A History ofthe Image before the Era of Art. Trans. Edmund Jephcott. Chicago: University of Chicago Press, 1994.
Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction. " Illuminations. Trans. Harry Zohn. New York: Schocken Books, 1969, pp. 217-5l.
Bergk, Johann Adam. Die Kunst, Bucher zu lesen, nebst Bemerkun- gen uber Schriften und Schriftsteller. Jena: Hempel, 1799.
"Bertillonsches System. " Meyers Grofles Konversations-Lexikon. 20 vols. Leipzig: Bibliographisches Institut, 1902-08. Vol. 2, 1905, pp. 732-3.
Bidermann, Jakob. Cenodoxus. Stuttgart: Philipp Reclam, 1965. Blumenberg, Hans. The Legitimacy ofthe Modern Age. Trans. Robert
M. Wallace. Cambridge, MA: MIT Press, 1983.
Boltzmann, Ludwig. Populare Schriften. Ed. Engelbert Broda.
BraunschweiglWiesbaden: Friedrich Vieweg & Sohn, 1979. 231
? ? ? BIBLIOGRAPHY
Bolz, Norbert. Am Ende der Gutenberg-Galaxts: D,e neuen Kommunikationsverhdltnisse. MUlllCb: Wilhelm Fink Verlag, 1993.
Bosse, Heinrich. Autorschaft ist Werkherrschaft: Ober die Entste- hung des Urheberrechts aus dem Geist der Goethezeit. Paderborn; Ferdinand Schiiningh, 1981.
Braunmiihl, Anton von. Vorlesungen iiber Geschlchte der Trzgo- nometrie. 1. Teil: Von den dltesten Zeiten bis zur Erfindung der Logarithmen. Leipzig: B. G. Teubner, 1900.
Bruch, Walter. Kleine Geschichte des deutschen Fernsehens. Berlin: Hande & Spender, 1967.
Bruch, Walter and Riedel, Heide. PAL - das Farbfernsehen. Berlin: Deutsches Rundfunk-Museum, 1987.
Biichner, Georg. "Leonce and Lena. " Trans. Anthony Meech. The Complete Plays. Ed. Michael Patterson. London: Methuen, 1987, pp. 113-46.
Biichner, Georg. Leben, Werk, Zeit: Ausstellung zum 150. Jahrestag des "Hessischen Landboten". Marburg: Jonas Verlag, 1985.
Buddemeier, Heinz. Panorama, Diorama, Photographie: Entstehung und Wirkung neuer Medien im 19. Jahrhundert. Munich: Wilhelm Fink Verlag, 1970.
Busch, Bernd. Belichtete Welt: Eine Wahrnehmungsgeschichte der Fotografie. Munich: Carl Hanser, 1995.
Clark, Ronald William. Edison: The Man Who Made the Future. New York: Putnam, 1977.
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press, 1991.
Eder, Josef Maria. History o f Photography. Trans. Edward Epstean. New York: Dover, 1978.
Edgerton, Samuel, Jr. The Heritage of Giotto's Geometry: Art and Science on the Eve of the Scientific Revolution. Ithaca: Cornell University Press, 1991.
Edgerton, Samuel, Jr. The Renaissance Rediscovery of Linear Per- spective. New York: Basic Books, 1975.
Eisner, Lotte H. The Haunted Screen: Expressionism in the German Cinema and the Influence ofMax Reinhardt. Trans. Roger Greaves. London: Secker and Warburg, 1973.
Enzensberger, Hans Magnus. Mausoleum: Thirty-seven Ballads from the History of Progress. Trans. Joachim Neugroschel. New York: Urizen, 1976.
232
? ? BIBLIOGRAPHY
Faulstich, Werner, ed. Kritische Stichworte zur Medienwissenschaft. Munich: Wilhelm Fink Verlag, 1979.
Flaubert, Gustave. Sentimental Education. Trans. Robert Baldick. London: Penguin, 1964.
Freud, Sigmund.
The Standard Edition o f the Complete Psychological Works ofSigmund Freud. 24 vols. Trans. James Strachey. London: Hogarth Press, 1953-74.
Greard, M. O. Jean-Louis-Ernest Meissonier, ses souvenirs - ses entretiens precedes d'une etude sur sa vie et son oeuvre. Paris: Librmne Hachette, 1897.
Greve, Ludwig, Pehle, Margot and Westhoff, Heide, eds. Hatte ich das Kino! Die Schriftsteller und der Stumm{ilm. Marbach: Deutsche Schillergesellschaft, 1976.
Halbach, Wulf R. "Reality Engines. " Computer als Medium. Ed. Norbert Bolz, Friedrich Kittler, and Christoph Tholen. Munich: Wilhelm Fink Verlag, 1993, pp. 231-44.
Heidegger, Martin. "The Age of the World Picture. " The Question Concerning Technology and Other Essays. Trans. William Lovitt. London: Garland, 1977, pp. 115-54.
Herr, Michael. Dispatches. London: Picador, 1978.
Hoffmann, E. T. A. The Devil's Elixirs. Trans. Ronald Taylor. London:
John Calder, 1963.
Hoffmann, E. T. A. Eight Tales of Hoffmann. Trans. J. M. Cohen.
London: Pan Books, 1952.
Hoffmann, E. T. A. Fantasie- und Nachtstiicke. Ed. Walter Miiller-
Seidel. Munich: Winkler Verlag, 1967.
Holmes, Oliver Wendell. "The Stereoscope and the Stereograph. "
The Atlantic Monthly 3 (1859): 738-48.
Innis, Harold. Empire and Communications. London: Oxford Uni-
versity Press, 1950.
Jauss, Hans Robert. "Nachahmungsprinzip und Wirklichkeitsbegriff
in der Theorie des Romans von Diderot bis Stendhal. " Nachah- mung und Illusion. Ed. Janss. 2nd edn. Munich: Eidos Verlag, 1969, pp. 157-78.
Jay, Paul. Lumieres et images, la photographie: Histoire sommaire des techniques photographiques au XIXe siecle. Chalon-sur-Saone: Musee Nicephore Niepce, 1981.
Kaes, Anton, ed. Die Kino-Dehatte: Texte zum Verhaltnis von Literatur und Film 1909-1929. Tiibingen: Niemeyer, 1978.
Kant, Immanuel. Critique ofJudgment. Trans. J. H. Bernard. New York: Hafner, 1951.
233
? ? ? BIBLIOGRAPHY
Kraker, Arthur. Technology and the Canadian Mind: InnislMcLuhanl Grant. New York: St. Martin's Press, 1984.
Kurze1-Runtscheiner, Erich. Franz Freiherr von Uchatius. Vienna: Osterreichischer Forschungsinstitut fur Geschichte der Technik, 1937.
Lacan, Jacques. Bcrits: A Selectzan. Trans. Bruce Fink. New York: Norton, 2002.
Lacan, Jacques. The Four Fundamental Concepts of Psycho- Analysis. Ed. Jacques-Alain Miller. Trans. Alan Sheridan. New York: Norton, 1981.
Lambert, Johann Heinrich. Neues Organon oder Gedanken iiber die Erforschung und Bezeichnung des Wahren und dessen Untersche- idung vom Irrtum und Schein. 3 vols. Ed. Gunter Schenk. Berlin: Akademie Verlag, 1990, vol. 2.
Lasswitz, Kurd. Gustav Theodor Fechner. 3rd edn. Stuttgart: Frammann, 1910.
Lessing, Gotthold Ephraim. Laocoon: An Essay on the Limits of Painting and Poetry. Trans. Edward Allen McCormick. Baltimore:
Johns Hopkins University Press, 1984.
Loyola, Ignacio de. The Spiritual Exercises of Saint Ignatius. Trans.
Thomas Corbishley. London: Burns and Oates, 1963.
Mallarme, Stephane. CEuvres completes. Ed. Henri Mondor and
G. Jean-Aubry. Paris: Gallimard, 1945.
McLuhan, Marshall. Understanding Media: The Extensions of Man.
New York: McGraw-Hill, 1964.
Monaco, James. How to Read a Film: The Art, Technology, Lan-
guage, History and Theory of Film and Media. New York: Oxford
University Press, 1977.
Morin, Edgar. The Cinema, or The Imaginary Man. Trans. Lorraine
Mortimer. Minneapolis: University of Minnesota Press, 2005. Munsterberg, Hugo. The Film: A Psychological Study; The Silent
Photoplay in 1916. New York: Dover, 1970.
Nabokov, Vladimir. Lolita. New York: G. P. Putnam's Sons, 1958. Nadar (Felix Tournachon). Quand j'hais photographe. Paris: E.
Flammarion, 1899.
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