Jeffrey West Kirkwood – författare

The first philosophy of technology, constructing humans as technological and technology as an underpinning of all cultureErnst Kapp was a foundational scholar in the fields of media theory and philosophy of technology. His 1877 Elements of a Philosophy of Technology is a visionary study of the human body and its relationship with the world that surrounds it. At the book’s core is the concept of “organ projection”: the notion that humans use technology in an effort to project their organs to the outside, to be understood as “the soul apparently stepping out of the body in the form of a sending-out of mental qualities” into the world of artifacts.Kapp applies this theory of organ projection to various areas of the material world-the axe externalizes the arm, the lens the eye, the telegraphic system the neural network. From the first tools to acoustic instruments, from architecture to the steam engine and the mechanic routes of the railway, Kapp’s analysis shifts from “simple” tools to more complex network technologies to examine the projection of relations. What emerges from Kapp’s prophetic work is nothing less than the emergence of early elements of a cybernetic paradigm.

The first philosophy of technology, constructing humans as technological and technology as an underpinning of all cultureErnst Kapp was a foundational scholar in the fields of media theory and philosophy of technology. His 1877 Elements of a Philosophy of Technology is a visionary study of the human body and its relationship with the world that surrounds it. At the book’s core is the concept of “organ projection”: the notion that humans use technology in an effort to project their organs to the outside, to be understood as “the soul apparently stepping out of the body in the form of a sending-out of mental qualities” into the world of artifacts.Kapp applies this theory of organ projection to various areas of the material world-the axe externalizes the arm, the lens the eye, the telegraphic system the neural network. From the first tools to acoustic instruments, from architecture to the steam engine and the mechanic routes of the railway, Kapp’s analysis shifts from “simple” tools to more complex network technologies to examine the projection of relations. What emerges from Kapp’s prophetic work is nothing less than the emergence of early elements of a cybernetic paradigm.

Revealing cinema’s place in the coevolution of media technology and the humanCinema did not die with the digital, it gave rise to it. According to Jeffrey West Kirkwood, the notion that digital technologies replaced analog obscures how the earliest cinema laid the technological and philosophical groundwork for the digital world. In Endless Intervals, he introduces a theory of semiotechnics that explains how discrete intervals of machines came to represent something like a mind-and why they were feared for their challenge to the uniqueness of human intelligence.Examining histories of early cinematic machines, Kirkwood locates the foundations for a scientific vision of the psyche as well as the information age. He theorizes an epochal shift in the understanding of mechanical stops, breaks, and pauses that demonstrates how cinema engineered an entirely new model of the psyche-a model that was at once mechanical and semiotic, discrete and continuous, physiological and psychological, analog and digital.Recovering largely forgotten and untranslated texts, Endless Intervals makes the case that cinema, rather than being a technology assaulting the psyche, is in fact the technology that produced the modern psyche. Kirkwood considers the ways machines can create meaning, offering a fascinating theory of how the discontinuous intervals of soulless mechanisms ultimately produced a rich continuous experience of inner life.