Only following V-day Europe did the BBC receive six
magnetophones
for- merly belonging to the German navy.
Kittler-Gramophone-Film-Typewriter
See Blodgett 1890, 43.
145?
Gutzmann 1908, 486-88.
146.
Ibid.
, 499.
Notes to Pages 78-88 279
? 137. Ibid. , 18.
139? Ibid. , 7.
141. Baade 1913, 81-82.
that
280 Notes to Pages 89-94
the extension of the scientific-or, as our opponents say, the mechanistic-mode of thought to mental phenomena which are so hard to lay hold of. The telepathic process is supposed to consist in a mental act in one person instigating the same mental act in another person. What lies between these two mental acts may eas- ily be a physical process into which the mental one is transformed at one end and which is transformed back once more into the same mental one at the other end. The analogy with other transformations, such as occur in hearing or speaking by telephone, would then be unmistakable. "
148. See Campe 1986, 88.
149. Rilke 1910ir955-66, 6: 767.
150. See Stoker 1897ir965, 70, 79.
1 5 1 . See Freud, Beyond the Pleasure Principle, 1920, in idem 19 62, 1 8 : 25. 152. Freud, "Fragment of an Analysis of a Case of Hysteria," 1905, in idem
1962, 7: 10. See also Freud, New Introductory Lectures on Psycho-Analysis, 1933, in idem 1962, 22: 5, on his writing technique: "My Introductory Lectures on Psychoanalysis were delivered during the two Winter Terms of 19 1 5-16 and 1916-17 in a lecture room of the Vienna Psychiatric Clinic before an audience gathered from all the Faculties of the University. The first half of the lectures were improvised, and written out immediately afterwards; drafts of the second half were made during the intervening summer vacation at Salzburg, and delivered word for word in the following winter. At that time I still possessed the gift of a phonographic memory. "
153. See Benjamin 1968, 235.
154. See Freud, Interpretation ofDreams, 1899, in idem 1962, 4: 277-78. 155? Guattari 1975?
156. Berliner quoted in Bruch 1979, 31.
1 5 7. See the endless descriptions of symptoms in Freud, Studies on Hysteria,
1895, in idem 1962, 2: 48-79.
158. Ibid. , 2: 49-50. Freud was "always vexed" by the "'sound relation-
ships' . . . because here I lack the most elementary knowledge, thanks to the atro- phy of my acoustic sensibilities" (Freud, August 31, 1898, in idem 1985, 325). 159. Freud, "An Outline ofPsycho-Analysis," 1938, in idem 1962, 23: 196. 160. See Freud, "On Beginning the Treatment," 1913, in idem 1962, 12:
134-3 5?
1 6 1 . Freud, "The Handling o f Dream-Interpretation i n Psycho-Analysis,"
1912, in idem 1962, 12: 96.
162. Freud, Interpretation ofDreams, 1899, in idem 1962, 4: 278.
? Abraham 1913, 194. 164. Ibid. , 194-95.
See Sartre 1969b, 43. 166. Ibid. , 46.
Sartre 1969a, 1 8 12. 168. Sartre 1969b, 49. Foucault 1976ir990, 150. 170. Faulstich 1979, 193. See Chapple and Garofalo 1977, 1 .
163.
165.
167.
169.
1 7 1 .
172. List, 1939, quoted in Pohle 1955, 339: "Due to newspapers, journals,
and radio, the population's leadership vacuum is relatively small. It is about 4 or 5 out of 100. . . . It must therefore be emphasized that with the exception of a rel- atively small part the population is subject to the will of the political leadership. " The logic o f world war mobilization.
Notes to Pages 94-I04 281
173. McLuhan 1964, 307. 174. Slaby 19II, VII.
175? Ibid. , 333-34? 176. Ibid. , 344?
177. See Bronnen 1935, 76. As everywhere in his key novel, Bronnen is ex-
tremely well informed.
178. See Chapple and Garofalo 1977, 54.
179. See Briggs 1961, 27.
180. See Lerg 197? , 43.
181. See Blair 1929, 87: "From the earliest time the Army has been a pio-
neer in the development of radio as a means of communication, and more espe- cially in the development of radio equipment for use by military forces in the field. . . . During the World War there was intensive development along all lines that appeared to make for the success of armies in the field. The armies of all powers involved . . . were quick to recognize its value and to expend funds and energy lavishly in scientific radio research. One of the biggest improvements which resulted was the design of more sensitive amplifiers by using vacuum tube detectors and amplifiers. "
182. See Volckheim 1923, 14. 184. See Briggs 1961, 38. 186. See Lerg 1970, 51.
188. H6fle, December, 20, 1923, quoted in Lerg 1970, 188.
189. Bronnen 1935, 21.
190. Ibid. , 16.
191. SundayTimes,quotedinGelatt1977,234.
192. Villiers 1886iI982, 97.
194. Kafka 1924ir948, 257. For sources, see Bauer-Wabnegg 1986, 179-80. 195? Cocteau 1992, 63-64.
196. Gelatt 1977, 282.
197. von Schramm 1979, 324. For similar, though fictionalized and post
(acto, gramophone simulations of the First World War, see Fussell 1975, 227-30. 198. See Pink Floyd 1975, 77, and Kittler I984b, 145-46.
199. R. Jones 1978, 76.
200. See Chapple and Garofalo 1977, 5 3 .
201. See Stoker 1897iI965, 318. For details, see Kittler 1982iI989-90, 167-69.
202. The Beatles n. d. , 194.
203. See Villiers I886iI982, 55. Onlyone experiment, undertaken in 1881, can b e considered the source o f this scene: "A major development . . . has been the introduction of stereophonic broadcasting. Like many other scientific devel- opments it suddenly became popular after spasmodic attempts dating back to the nineteenth century. As long ago as 188I arrangements were made at the Paris opera, using ten microphones, to convey the program in stereo by line to an exhi- bition at the Palace of Industry. This demonstration showed that 'audience per- spective' can lend a touch of magic to systems of quite modest performance" (Pawley 1972, 43 2).
204. Cuishaw, 1959, quoted in Gelatt 1977, 318. 205? Wagner I854iI993, 90.
183. See Virilio 1984iI989, 69-71. 185. Wedel 1962, 12.
187. Bredow 1954, 91.
193? See Gelatt 1977, 234-35?
282 Notes to Pages I04-9
206. Nietzsche 1873-761I990, 276.
207. Chapple and Garofalo 1977, I IO. VHF's superiority comes at the price of limited transmission range.
208. Wildhagen 1970, 27.
209. Ibid. ,31.
210. Nehring quoted in Bradley 1978, 1 83 . See also van Creveld 198 5,
192-94: "Thus the credit for recognizing the importance o f the question, for the first successful attempts and its solution, and for the first brilliant demonstration of how armoured command ought to operate belongs essentially to two men: Heinz Guderian-himself, not accidentally, an ex-signals officer who entered World War I as a lieutenant in charge of a wireless station-and General Fritz [sic] Fellgiebel, commanding officer, Signals Service, German Wehrmacht during most of the Nazi era. Between them these men developed the principles of radio- command that, in somewhat modified and technically infinitely more complex form, are still very much in use today. . . . The critical importance of command in armoured warfare cannot be exaggerated and is equalled only by the lack of sys- tematic attention paid to it by military historians. "
211. Briggs 1965, 362-63. According to Pawley (1972, 387), the Allied cap- ture of the army radio station in Luxembourg yielded only tapes but no equip- ment.
Only following V-day Europe did the BBC receive six magnetophones for- merly belonging to the German navy.
212. Gelatt 1977, 286-87.
213. For Germany, see Faulstich 1979, 208, 218, and for Britain, see the technical details in Pawley 1972, 178-93.
214? Pohle 1955, 87?
215. Kolb, 1933, quoted in ibid. , 18.
216. Wedel 1962, II6-17. The next sentence states that the propaganda di-
vision of the Army High Command also had special "film tanks" at its disposal. 217. Ludendorff 1935, II9? 218. Pynchon 1973, 854?
219. Buchheit 1966, 121. 220. Dallin 1955, 172.
221. See Hodges 1983, 3 I4. Zuse's coworkers also planned to use magnetic
tapes for the storage of computer data. See Zuse I984, 99.
222. See Chapple and Garofalo 1977, 20.
223? Ibid. , 94.
224. See Garlitz 1967, 441. "After the German General Staff had been tried
as a criminal organization at Nuremberg and acquitted, the Americans began to study the Scharnhorst staff as a model for staff management in business. " See also Overbeck 1971, 90-91.
225. See the relay in Factor 1978. Rumor has it that Australian radio sta- tions broadcast without a second's delay.
226. See Scherer I983, 91. On the origin of the Abbey Road magnetic tapes, see Southall I982, I37: "There was also one interesting development which proved that out of adversity there sometimes comes the odd bit of good. In 1946, a team of audio engineers from America and England, including Abbey Road's Berth Jones, visited Berlin to study the developments in magnetic recording which had taken place in Germany during the war. They found amongst the military equipment that had been captured, a system of monitoring using magnetic tapes
? ? ? Notes to Pages I09-20 283
which the German command had used in an effort to break codes. The informa- tion gathered from this equipment enabled EMI to manufacture tape and tape recorders, resulting in the production of the famous BTR series which remained in use at Abbey Road for over 25 years. " Ironically, the acronym BTR stood for British Tape Recorders. And the Beatles encoded secret messages using machines the Army High Command had developed for decoding secret transmissions.
227. 228. 230. 232. 234.
death . " 235.
236. 237. 238. 240. 242. 243.
by senior 244. 24 5 . 246. 247?
FILM
Gilmour, in Pink Floyd 1975, I I 5 .
229. See Burroughs 1974, 200-202. 231. Ibid. , 12.
233? Ibid. , 14.
See Gilmour, in ibid. , II9.
Ibid. , II.
Ibid. , I3?
Ibid. , 202. See also Morrison 1976, 16: "All games contain the idea of
? Onreceptionandinterception,seep. 251.
Burroughs 1974, 15?
On scramblers as army equipment, see ibid. , 176-80.
Pynchon 1973, 267-68. 239? Burroughs 1974, 202.
See Leduc 1973, 33. 241. See Burroughs 1974, 180.
See Benjamin 1968, 239-41.
Pohle 1955, 297? Virilio (1984/ 1989, 66-67) emphasizes the role played
military personnel in rock management.
Pink Floyd 1983 , side A.
Hardenberg (Novalis) I 7981I960-75, 2: 662. Rolling Stones 1969, 4.
Hendrix 1968, 52.
I. See Toeplitz 1973, 22-23. 2. See Zglinicki 1956, 472.
3? See MacDonnell 1973, II. 4. See ibid. , 21-26.
5. H. Munsterberg I9I61I970, I. Bloem's chapter on "tricks" begins with
similar questions: "On what star was cinematic man born? On a magic constella- tion where the laws of nature are suspended? Where time is at rest or goes back- ward, where set tables grow out of the ground? Where the desire to glide through the air or to sink into the ground is enough to do it? " (Bloem 1922, 5 3 ) .
6. Foucault I9691I972, 166. See Lorenz 1985, 12 (including the Sartre- Foucault polemic).
7. See Lorenz 1985, 252-92. 8. See Rabiner and Gold 1975, 438.
9. Bischoff I9281I950, 263. 10. Klippert 1977, 40.
II. KittlerisreferringplayfullytotheverbalsimilaritybetweentheGerman
Herz (heart) and hertz, the international unit of frequency equal to one cycle per second (named after Heinrich Rudolf Hertz, the German physicist who first pro- duced radio waves artificially). -Trans.
12. Zglinicki 1956, 108.
13? Goethe I 829iI979, 125.
14. See Benn I9491I959-6I: 2: 176.
? 284 Notes to Pages I20-25
IS. Seeabove,p. 000.
16. Nietzsche I 872ir956, 59. On the difference between negative (comple- mentary) and positive afterimages, see H. Munsterberg I9I6ir970, 25.
17. For an early reference to sensory deprivation in the acoustic realm, see Groos 1 899, 25, which ostensibly goes back to Wilhelm Preyer's theories of 1 877: "The province of radio play far exceeds that which is acceptable to our senses- a fact to which we've been referring in our discussion of other sensory domains. We are missing something when we don't hear anything; the awkward feeling upon exposure to continuous silence has even led to the thought of assuming a quality of sensation particular to silence, corresponding to the positive perception of blackness in the realm of vision. "
18. Nietzsche I872ir956, 42.
19? Ibid. , 59.
20. See Wieszner 195 1 , l I S : " Bayreuth aspired to the darkened room. That,
too, was at that time a surprising element of production. 'The whole theater was made into a dark night, so that one could not recognize one's neighbor,' writes Richard Wagner's nephew, Clemens Brockhaus, on the occasion of the Kaiser's visit to Bayreuth in 1 876, 'and the wonderful orchestra began to play in the pit. '"
21. Following Altenloh, 1914, as quoted in Vietta 1975, 294.
? 22. 23? 24? 25 . 26. 28. 30. 31. 3 2 .
37-40. 33.
See Kittler 1993, 232.
Pretzsch 1934, 146.
Morin 1956, 139. See also Morrison 1977, 94.
See H. Munsterberg I9 I6ir970, 2.
See Nadar 1 899, 246-63 . 27. See Mitry 1976, 59-60.
See Nadar 1899, 37-42. 29. Virilio I984ir989, II.
See Mitry 1976, 64, and Nadar 1 899, 260.
Pynchon 1973, 405.
Virilio I984ir989, I I ; see also 6 8 . On Janssen, see Arnheim I933ir977,
See Ellis 1975. For example, II,OOO Dervish, 28 British, and 20 other soldiers were killed during the 1898 battle of Omdurman, in which Lord Kitch- ener had used six Maxim guns (ibid. , 87. ) In the imperial poetry of Hilaire Bel- loc: '''Whatever happens, we have got / The Maxim Gun, and they have not''' (quoted in ibid. , 94). From all this Junger has the following to say about the films of Chaplin ( 193 2, 129): "In essence, they contain a rediscovery of laughter as a mark of terrible and primitive hostility [against obsolete individuality], and the screenings, which take place in centers of civilization, inside safe, warm, and well- lighted rooms, may well be compared to skirmishes in which tribes equipped with bows and arrows are fired upon with machine guns. "
34. See Junger 1932, 104-5.
35. See Virilio 1984/1989, 18. See also Morrison 1977, 22: "The sniper's ri- fle is an extension of his eye. He kills with injurious vision. "
3 6. Wedel 19 62, I I6.
Notes to Pages 78-88 279
? 137. Ibid. , 18.
139? Ibid. , 7.
141. Baade 1913, 81-82.
that
280 Notes to Pages 89-94
the extension of the scientific-or, as our opponents say, the mechanistic-mode of thought to mental phenomena which are so hard to lay hold of. The telepathic process is supposed to consist in a mental act in one person instigating the same mental act in another person. What lies between these two mental acts may eas- ily be a physical process into which the mental one is transformed at one end and which is transformed back once more into the same mental one at the other end. The analogy with other transformations, such as occur in hearing or speaking by telephone, would then be unmistakable. "
148. See Campe 1986, 88.
149. Rilke 1910ir955-66, 6: 767.
150. See Stoker 1897ir965, 70, 79.
1 5 1 . See Freud, Beyond the Pleasure Principle, 1920, in idem 19 62, 1 8 : 25. 152. Freud, "Fragment of an Analysis of a Case of Hysteria," 1905, in idem
1962, 7: 10. See also Freud, New Introductory Lectures on Psycho-Analysis, 1933, in idem 1962, 22: 5, on his writing technique: "My Introductory Lectures on Psychoanalysis were delivered during the two Winter Terms of 19 1 5-16 and 1916-17 in a lecture room of the Vienna Psychiatric Clinic before an audience gathered from all the Faculties of the University. The first half of the lectures were improvised, and written out immediately afterwards; drafts of the second half were made during the intervening summer vacation at Salzburg, and delivered word for word in the following winter. At that time I still possessed the gift of a phonographic memory. "
153. See Benjamin 1968, 235.
154. See Freud, Interpretation ofDreams, 1899, in idem 1962, 4: 277-78. 155? Guattari 1975?
156. Berliner quoted in Bruch 1979, 31.
1 5 7. See the endless descriptions of symptoms in Freud, Studies on Hysteria,
1895, in idem 1962, 2: 48-79.
158. Ibid. , 2: 49-50. Freud was "always vexed" by the "'sound relation-
ships' . . . because here I lack the most elementary knowledge, thanks to the atro- phy of my acoustic sensibilities" (Freud, August 31, 1898, in idem 1985, 325). 159. Freud, "An Outline ofPsycho-Analysis," 1938, in idem 1962, 23: 196. 160. See Freud, "On Beginning the Treatment," 1913, in idem 1962, 12:
134-3 5?
1 6 1 . Freud, "The Handling o f Dream-Interpretation i n Psycho-Analysis,"
1912, in idem 1962, 12: 96.
162. Freud, Interpretation ofDreams, 1899, in idem 1962, 4: 278.
? Abraham 1913, 194. 164. Ibid. , 194-95.
See Sartre 1969b, 43. 166. Ibid. , 46.
Sartre 1969a, 1 8 12. 168. Sartre 1969b, 49. Foucault 1976ir990, 150. 170. Faulstich 1979, 193. See Chapple and Garofalo 1977, 1 .
163.
165.
167.
169.
1 7 1 .
172. List, 1939, quoted in Pohle 1955, 339: "Due to newspapers, journals,
and radio, the population's leadership vacuum is relatively small. It is about 4 or 5 out of 100. . . . It must therefore be emphasized that with the exception of a rel- atively small part the population is subject to the will of the political leadership. " The logic o f world war mobilization.
Notes to Pages 94-I04 281
173. McLuhan 1964, 307. 174. Slaby 19II, VII.
175? Ibid. , 333-34? 176. Ibid. , 344?
177. See Bronnen 1935, 76. As everywhere in his key novel, Bronnen is ex-
tremely well informed.
178. See Chapple and Garofalo 1977, 54.
179. See Briggs 1961, 27.
180. See Lerg 197? , 43.
181. See Blair 1929, 87: "From the earliest time the Army has been a pio-
neer in the development of radio as a means of communication, and more espe- cially in the development of radio equipment for use by military forces in the field. . . . During the World War there was intensive development along all lines that appeared to make for the success of armies in the field. The armies of all powers involved . . . were quick to recognize its value and to expend funds and energy lavishly in scientific radio research. One of the biggest improvements which resulted was the design of more sensitive amplifiers by using vacuum tube detectors and amplifiers. "
182. See Volckheim 1923, 14. 184. See Briggs 1961, 38. 186. See Lerg 1970, 51.
188. H6fle, December, 20, 1923, quoted in Lerg 1970, 188.
189. Bronnen 1935, 21.
190. Ibid. , 16.
191. SundayTimes,quotedinGelatt1977,234.
192. Villiers 1886iI982, 97.
194. Kafka 1924ir948, 257. For sources, see Bauer-Wabnegg 1986, 179-80. 195? Cocteau 1992, 63-64.
196. Gelatt 1977, 282.
197. von Schramm 1979, 324. For similar, though fictionalized and post
(acto, gramophone simulations of the First World War, see Fussell 1975, 227-30. 198. See Pink Floyd 1975, 77, and Kittler I984b, 145-46.
199. R. Jones 1978, 76.
200. See Chapple and Garofalo 1977, 5 3 .
201. See Stoker 1897iI965, 318. For details, see Kittler 1982iI989-90, 167-69.
202. The Beatles n. d. , 194.
203. See Villiers I886iI982, 55. Onlyone experiment, undertaken in 1881, can b e considered the source o f this scene: "A major development . . . has been the introduction of stereophonic broadcasting. Like many other scientific devel- opments it suddenly became popular after spasmodic attempts dating back to the nineteenth century. As long ago as 188I arrangements were made at the Paris opera, using ten microphones, to convey the program in stereo by line to an exhi- bition at the Palace of Industry. This demonstration showed that 'audience per- spective' can lend a touch of magic to systems of quite modest performance" (Pawley 1972, 43 2).
204. Cuishaw, 1959, quoted in Gelatt 1977, 318. 205? Wagner I854iI993, 90.
183. See Virilio 1984iI989, 69-71. 185. Wedel 1962, 12.
187. Bredow 1954, 91.
193? See Gelatt 1977, 234-35?
282 Notes to Pages I04-9
206. Nietzsche 1873-761I990, 276.
207. Chapple and Garofalo 1977, I IO. VHF's superiority comes at the price of limited transmission range.
208. Wildhagen 1970, 27.
209. Ibid. ,31.
210. Nehring quoted in Bradley 1978, 1 83 . See also van Creveld 198 5,
192-94: "Thus the credit for recognizing the importance o f the question, for the first successful attempts and its solution, and for the first brilliant demonstration of how armoured command ought to operate belongs essentially to two men: Heinz Guderian-himself, not accidentally, an ex-signals officer who entered World War I as a lieutenant in charge of a wireless station-and General Fritz [sic] Fellgiebel, commanding officer, Signals Service, German Wehrmacht during most of the Nazi era. Between them these men developed the principles of radio- command that, in somewhat modified and technically infinitely more complex form, are still very much in use today. . . . The critical importance of command in armoured warfare cannot be exaggerated and is equalled only by the lack of sys- tematic attention paid to it by military historians. "
211. Briggs 1965, 362-63. According to Pawley (1972, 387), the Allied cap- ture of the army radio station in Luxembourg yielded only tapes but no equip- ment.
Only following V-day Europe did the BBC receive six magnetophones for- merly belonging to the German navy.
212. Gelatt 1977, 286-87.
213. For Germany, see Faulstich 1979, 208, 218, and for Britain, see the technical details in Pawley 1972, 178-93.
214? Pohle 1955, 87?
215. Kolb, 1933, quoted in ibid. , 18.
216. Wedel 1962, II6-17. The next sentence states that the propaganda di-
vision of the Army High Command also had special "film tanks" at its disposal. 217. Ludendorff 1935, II9? 218. Pynchon 1973, 854?
219. Buchheit 1966, 121. 220. Dallin 1955, 172.
221. See Hodges 1983, 3 I4. Zuse's coworkers also planned to use magnetic
tapes for the storage of computer data. See Zuse I984, 99.
222. See Chapple and Garofalo 1977, 20.
223? Ibid. , 94.
224. See Garlitz 1967, 441. "After the German General Staff had been tried
as a criminal organization at Nuremberg and acquitted, the Americans began to study the Scharnhorst staff as a model for staff management in business. " See also Overbeck 1971, 90-91.
225. See the relay in Factor 1978. Rumor has it that Australian radio sta- tions broadcast without a second's delay.
226. See Scherer I983, 91. On the origin of the Abbey Road magnetic tapes, see Southall I982, I37: "There was also one interesting development which proved that out of adversity there sometimes comes the odd bit of good. In 1946, a team of audio engineers from America and England, including Abbey Road's Berth Jones, visited Berlin to study the developments in magnetic recording which had taken place in Germany during the war. They found amongst the military equipment that had been captured, a system of monitoring using magnetic tapes
? ? ? Notes to Pages I09-20 283
which the German command had used in an effort to break codes. The informa- tion gathered from this equipment enabled EMI to manufacture tape and tape recorders, resulting in the production of the famous BTR series which remained in use at Abbey Road for over 25 years. " Ironically, the acronym BTR stood for British Tape Recorders. And the Beatles encoded secret messages using machines the Army High Command had developed for decoding secret transmissions.
227. 228. 230. 232. 234.
death . " 235.
236. 237. 238. 240. 242. 243.
by senior 244. 24 5 . 246. 247?
FILM
Gilmour, in Pink Floyd 1975, I I 5 .
229. See Burroughs 1974, 200-202. 231. Ibid. , 12.
233? Ibid. , 14.
See Gilmour, in ibid. , II9.
Ibid. , II.
Ibid. , I3?
Ibid. , 202. See also Morrison 1976, 16: "All games contain the idea of
? Onreceptionandinterception,seep. 251.
Burroughs 1974, 15?
On scramblers as army equipment, see ibid. , 176-80.
Pynchon 1973, 267-68. 239? Burroughs 1974, 202.
See Leduc 1973, 33. 241. See Burroughs 1974, 180.
See Benjamin 1968, 239-41.
Pohle 1955, 297? Virilio (1984/ 1989, 66-67) emphasizes the role played
military personnel in rock management.
Pink Floyd 1983 , side A.
Hardenberg (Novalis) I 7981I960-75, 2: 662. Rolling Stones 1969, 4.
Hendrix 1968, 52.
I. See Toeplitz 1973, 22-23. 2. See Zglinicki 1956, 472.
3? See MacDonnell 1973, II. 4. See ibid. , 21-26.
5. H. Munsterberg I9I61I970, I. Bloem's chapter on "tricks" begins with
similar questions: "On what star was cinematic man born? On a magic constella- tion where the laws of nature are suspended? Where time is at rest or goes back- ward, where set tables grow out of the ground? Where the desire to glide through the air or to sink into the ground is enough to do it? " (Bloem 1922, 5 3 ) .
6. Foucault I9691I972, 166. See Lorenz 1985, 12 (including the Sartre- Foucault polemic).
7. See Lorenz 1985, 252-92. 8. See Rabiner and Gold 1975, 438.
9. Bischoff I9281I950, 263. 10. Klippert 1977, 40.
II. KittlerisreferringplayfullytotheverbalsimilaritybetweentheGerman
Herz (heart) and hertz, the international unit of frequency equal to one cycle per second (named after Heinrich Rudolf Hertz, the German physicist who first pro- duced radio waves artificially). -Trans.
12. Zglinicki 1956, 108.
13? Goethe I 829iI979, 125.
14. See Benn I9491I959-6I: 2: 176.
? 284 Notes to Pages I20-25
IS. Seeabove,p. 000.
16. Nietzsche I 872ir956, 59. On the difference between negative (comple- mentary) and positive afterimages, see H. Munsterberg I9I6ir970, 25.
17. For an early reference to sensory deprivation in the acoustic realm, see Groos 1 899, 25, which ostensibly goes back to Wilhelm Preyer's theories of 1 877: "The province of radio play far exceeds that which is acceptable to our senses- a fact to which we've been referring in our discussion of other sensory domains. We are missing something when we don't hear anything; the awkward feeling upon exposure to continuous silence has even led to the thought of assuming a quality of sensation particular to silence, corresponding to the positive perception of blackness in the realm of vision. "
18. Nietzsche I872ir956, 42.
19? Ibid. , 59.
20. See Wieszner 195 1 , l I S : " Bayreuth aspired to the darkened room. That,
too, was at that time a surprising element of production. 'The whole theater was made into a dark night, so that one could not recognize one's neighbor,' writes Richard Wagner's nephew, Clemens Brockhaus, on the occasion of the Kaiser's visit to Bayreuth in 1 876, 'and the wonderful orchestra began to play in the pit. '"
21. Following Altenloh, 1914, as quoted in Vietta 1975, 294.
? 22. 23? 24? 25 . 26. 28. 30. 31. 3 2 .
37-40. 33.
See Kittler 1993, 232.
Pretzsch 1934, 146.
Morin 1956, 139. See also Morrison 1977, 94.
See H. Munsterberg I9 I6ir970, 2.
See Nadar 1 899, 246-63 . 27. See Mitry 1976, 59-60.
See Nadar 1899, 37-42. 29. Virilio I984ir989, II.
See Mitry 1976, 64, and Nadar 1 899, 260.
Pynchon 1973, 405.
Virilio I984ir989, I I ; see also 6 8 . On Janssen, see Arnheim I933ir977,
See Ellis 1975. For example, II,OOO Dervish, 28 British, and 20 other soldiers were killed during the 1898 battle of Omdurman, in which Lord Kitch- ener had used six Maxim guns (ibid. , 87. ) In the imperial poetry of Hilaire Bel- loc: '''Whatever happens, we have got / The Maxim Gun, and they have not''' (quoted in ibid. , 94). From all this Junger has the following to say about the films of Chaplin ( 193 2, 129): "In essence, they contain a rediscovery of laughter as a mark of terrible and primitive hostility [against obsolete individuality], and the screenings, which take place in centers of civilization, inside safe, warm, and well- lighted rooms, may well be compared to skirmishes in which tribes equipped with bows and arrows are fired upon with machine guns. "
34. See Junger 1932, 104-5.
35. See Virilio 1984/1989, 18. See also Morrison 1977, 22: "The sniper's ri- fle is an extension of his eye. He kills with injurious vision. "
3 6. Wedel 19 62, I I6.
