Difference between revisions of "Mediatic Etymology"

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When establishing a cohesive framework within which to understand media, Marshall McLuhan famously posited that the content of every medium is yet another medium, and the method of "Mediatic Etymology" builds upon his mechanism of remediation offering a speculative tool with which one might theorize the existence of dead media whose origins remain unknown.
 
When establishing a cohesive framework within which to understand media, Marshall McLuhan famously posited that the content of every medium is yet another medium, and the method of "Mediatic Etymology" builds upon his mechanism of remediation offering a speculative tool with which one might theorize the existence of dead media whose origins remain unknown.
  
In contrast to the media archaeology practices pioneered by Friedrich Kittler and others, mediatic etymology does not begin with an extinct material artifact whose origins might illuminate informatic paradigms excluded from the present moment. It rather begins with the content of a living medium, seeking to locate the medium from which content descends in an attempt to admit the informatic possiblity of the present. Just as linguistic etymology seeks to establish when and how words entered into language and how meaning has transformed over time, mediatic etymology seeks to establish the ways in which cultural practices entered into a mediated state, and how the mediums that have housed the remains of these practices have transformed them over time.
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In contrast to the media archaeology practices pioneered by Friedrich Kittler and others, mediatic etymology does not begin with an extinct material artifact whose origins might illuminate informatic paradigms excluded from the present moment. It rather begins with the content of a living medium, seeking to locate the medium from which content descends in an attempt to admit the informatic possiblity of the present. Just as linguistic etymology seeks to establish when and how words entered into language and how meaning has transformed over time, mediatic etymology seeks to establish the ways in which cultural practices entered into a mediated state, and how the mediums that have housed the remains of these practices have transformed them over time.
  
One need only to examine the graphic user interfaces of computer operating systems to indentify content which has origins in objects and processes which had previously lacked formal, expressive qualities. The desktop, the folder, the file, and copy and paste functions remediate living processes from contemporary office culture, yet in the process, their funcitonality in a computing environment forces us to re-examine the expressive potential of the objects to which they refer.  The desk, for example, offers a surface upon which reading and paperwork can occur, and like the shelf and the library is a logical extension of a print culture that is coexistensive with the remediation of print in graphic digital form.  In this way, the etymological origins of content enable us to reconsider the desk as a medium by enabling multiple sights of reading and paperwork to be viewed/written upon at the same time functions to house a dialogue between multiple voices which reach us through the medium of writing.  In this way, one might speculatively consider those spaces wherein multiple voices might have shared a communal dialogue in oral cultures and see the desk as the remediation of a commons or a public gathering.
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One need only to examine the graphic user interfaces of computer operating systems to indentify content which has origins in objects and processes which had previously lacked formal, expressive qualities. The desktop, the folder, the file, and copy & paste functions remediate processes from contemporary office culture, yet in the process, their functionality in a computing environment forces us to re-examine the expressive potential of the objects to which they refer.  
  
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The desk, for example, offers a surface upon which reading and paperwork can occur, and like the shelf and the library is a logical extension of a print culture that is coexistensive with the remediation of print in graphic digital form.  Yet if we examine the expressive potential of the desk knowing the written word’s origin in speech, we are forced to acknowledge how the desk enables multiple sights of reading and paperwork to be viewed/written upon at the same time, effectively housing a dialogue between multiple voices and modes of communication which reach us by way of paper.  In this way, one might speculatively consider the GUI desktop’s origins to lie in the shared communal dialogues of oral cultures, and posit an etymological origin in common spaces that housed discourse well before the voice could be extended across space and time through writing.
  
Although entirely speculative, mediatic etymoblolgy
 
, and to postulate what cultural phenomena which no longer exist that it houses.
 
 
, but rather with the content of a living medium.  One might
 
  
 
   Whereas material artifacts ask us to construct a modality that no longer exists  with content in a living medium which offers no mediatic precedent for its appearance in mediated form.  Content which exhibits this phenomenon can easily be found throughout the graphic user interfaces of computer operating systems which seek to mimic funcitonal objects and activities which  
 
   Whereas material artifacts ask us to construct a modality that no longer exists  with content in a living medium which offers no mediatic precedent for its appearance in mediated form.  Content which exhibits this phenomenon can easily be found throughout the graphic user interfaces of computer operating systems which seek to mimic funcitonal objects and activities which  
  
 
   He explained that the content of film was the screenplay or novel, that the content of printed matter was the alphabet, and that the content of the alphabet was phonetic speech.  The process of remediation is invaluable to the media archaeological project because it allows older forms of
 
   He explained that the content of film was the screenplay or novel, that the content of printed matter was the alphabet, and that the content of the alphabet was phonetic speech.  The process of remediation is invaluable to the media archaeological project because it allows older forms of

Revision as of 21:32, 22 April 2008

When establishing a cohesive framework within which to understand media, Marshall McLuhan famously posited that the content of every medium is yet another medium, and the method of "Mediatic Etymology" builds upon his mechanism of remediation offering a speculative tool with which one might theorize the existence of dead media whose origins remain unknown.

In contrast to the media archaeology practices pioneered by Friedrich Kittler and others, mediatic etymology does not begin with an extinct material artifact whose origins might illuminate informatic paradigms excluded from the present moment. It rather begins with the content of a living medium, seeking to locate the medium from which content descends in an attempt to admit the informatic possiblity of the present. Just as linguistic etymology seeks to establish when and how words entered into language and how meaning has transformed over time, mediatic etymology seeks to establish the ways in which cultural practices entered into a mediated state, and how the mediums that have housed the remains of these practices have transformed them over time.

One need only to examine the graphic user interfaces of computer operating systems to indentify content which has origins in objects and processes which had previously lacked formal, expressive qualities. The desktop, the folder, the file, and copy & paste functions remediate processes from contemporary office culture, yet in the process, their functionality in a computing environment forces us to re-examine the expressive potential of the objects to which they refer.

The desk, for example, offers a surface upon which reading and paperwork can occur, and like the shelf and the library is a logical extension of a print culture that is coexistensive with the remediation of print in graphic digital form. Yet if we examine the expressive potential of the desk knowing the written word’s origin in speech, we are forced to acknowledge how the desk enables multiple sights of reading and paperwork to be viewed/written upon at the same time, effectively housing a dialogue between multiple voices and modes of communication which reach us by way of paper. In this way, one might speculatively consider the GUI desktop’s origins to lie in the shared communal dialogues of oral cultures, and posit an etymological origin in common spaces that housed discourse well before the voice could be extended across space and time through writing.


 Whereas material artifacts ask us to construct a modality that no longer exists  with content in a living medium which offers no mediatic precedent for its appearance in mediated form.  Content which exhibits this phenomenon can easily be found throughout the graphic user interfaces of computer operating systems which seek to mimic funcitonal objects and activities which 
 He explained that the content of film was the screenplay or novel, that the content of printed matter was the alphabet, and that the content of the alphabet was phonetic speech.  The process of remediation is invaluable to the media archaeological project because it allows older forms of