Friedrich Kittler

• Preliminary Remarks1. Theoretical Presuppositions2. Technologies of the Fine Arts2.1 Camera Obscura and Linear Perspective2.1.1 Prehistory2.1.1.1 Greeks and Arabs2.1.2 Implementation2.1.2.1 Brunelleschi2.1.2.2 Alberti2.1.3 Impact2.1.3.1 Perspective and Letterpress2.1.3.2 The Self-Printing of Nature2.1.3.3 Europe’s Colonial Power2.2 Laterna Magica and the Age of the World Picture2.2.1 Magic Lanterns in Action2.2.2 Implementation2.2.3 Impact2.2.3.1 Propaganda2.2.3.2 Heidegger’s Age of the World Picture2.2.3.3 Jesuits and Optical Media2.3.3.4 Travelling People2.2.3.5 Jesuit Churches2.2.3.6 Jesuit Theatre2.3 Enlightenment and Image War2.3.1 Brockes2.3.2 Phenomenology from Lambert to Hegel2.3.3 Ghost Seer2.3.3.1 Schiller2.3.3.2 Hoffmann2.3.4 Romantic Poetry3. Optical Media3.1 Photography3.1.1 Prehistory3.1.2 Implementation3.1.2.1 Niépce and Daguerre3.1.2.2 Talbot3.1.3 Painting and Photography: A Battle for the Eyeballs3.2 Film3.2.1 Preludes3.2.2 Implementation3.2.2.1 Marey and Muybridge3.2.2 Silent Film3.2.3 Sound Film3.2.4 Colour Film3.3 Television4. Computer

Friedrich Kittler

• Preliminary Remarks1. Theoretical Presuppositions2. Technologies of the Fine Arts2.1 Camera Obscura and Linear Perspective2.1.1 Prehistory2.1.1.1 Greeks and Arabs2.1.2 Implementation2.1.2.1 Brunelleschi2.1.2.2 Alberti2.1.3 Impact2.1.3.1 Perspective and Letterpress2.1.3.2 The Self-Printing of Nature2.1.3.3 Europe’s Colonial Power2.2 Laterna Magica and the Age of the World Picture2.2.1 Magic Lanterns in Action2.2.2 Implementation2.2.3 Impact2.2.3.1 Propaganda2.2.3.2 Heidegger’s Age of the World Picture2.2.3.3 Jesuits and Optical Media2.3.3.4 Travelling People2.2.3.5 Jesuit Churches2.2.3.6 Jesuit Theatre2.3 Enlightenment and Image War2.3.1 Brockes2.3.2 Phenomenology from Lambert to Hegel2.3.3 Ghost Seer2.3.3.1 Schiller2.3.3.2 Hoffmann2.3.4 Romantic Poetry3. Optical Media3.1 Photography3.1.1 Prehistory3.1.2 Implementation3.1.2.1 Niépce and Daguerre3.1.2.2 Talbot3.1.3 Painting and Photography: A Battle for the Eyeballs3.2 Film3.2.1 Preludes3.2.2 Implementation3.2.2.1 Marey and Muybridge3.2.2 Silent Film3.2.3 Sound Film3.2.4 Colour Film3.3 Television4. Computer

Friedrich Kittler

• Preliminary Remarks1. Theoretical Presuppositions2. Technologies of the Fine Arts2.1 Camera Obscura and Linear Perspective2.1.1 Prehistory2.1.1.1 Greeks and Arabs2.1.2 Implementation2.1.2.1 Brunelleschi2.1.2.2 Alberti2.1.3 Impact2.1.3.1 Perspective and Letterpress2.1.3.2 The Self-Printing of Nature2.1.3.3 Europe’s Colonial Power2.2 Laterna Magica and the Age of the World Picture2.2.1 Magic Lanterns in Action2.2.2 Implementation2.2.3 Impact2.2.3.1 Propaganda2.2.3.2 Heidegger’s Age of the World Picture2.2.3.3 Jesuits and Optical Media2.3.3.4 Travelling People2.2.3.5 Jesuit Churches2.2.3.6 Jesuit Theatre2.3 Enlightenment and Image War2.3.1 Brockes2.3.2 Phenomenology from Lambert to Hegel2.3.3 Ghost Seer2.3.3.1 Schiller2.3.3.2 Hoffmann2.3.4 Romantic Poetry3. Optical Media3.1 Photography3.1.1 Prehistory3.1.2 Implementation3.1.2.1 Niépce and Daguerre3.1.2.2 Talbot3.1.3 Painting and Photography: A Battle for the Eyeballs3.2 Film3.2.1 Preludes3.2.2 Implementation3.2.2.1 Marey and Muybridge3.2.2 Silent Film3.2.3 Sound Film3.2.4 Colour Film3.3 Television4. Computer