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In a crucial shift within posthumanistic media studies, Bernhard Siegert dissolves the concept of media into a network of operations that reproduce, displace, process, and reflect the distinctions fundamental for a given culture. Cultural Techniques aims to forget our traditional understanding of media so as to redefine the concept through something more fundamental than the empiricist study of a medium’s individual or collective uses or of its cultural semantics or aesthetics. Rather, Siegert seeks to relocate media and culture on a level where the distinctions between object and performance, matter and form, human and nonhuman, sign and channel, the symbolic and the real are still in the process of becoming. The result is to turn ontology into a domain of all that is meant in German by the word Kultur. Cultural techniques comprise not only self-referential symbolic practices like reading, writing, counting, or image-making. The analysis of artifacts as cultural techniques emphasizes their ontological status as “in-betweens,” shifting from firstorder to second-order techniques, from the technical to the artistic, from object to sign, from the natural to the cultural, from the operational to the representational. Cultural Techniques ranges from seafaring, drafting, and eating to the production of the sign-signaldistinction in old and new media, to the reproduction of anthropological difference, to the study of trompe-l’oeils, grids, registers, and doors. Throughout, Siegert addresses fundamental questions of how ontological distinctions can be replaced by chains of operations that process those alleged ontological distinctions within the ontic. Grounding posthumanist theory both historically and technically, this book opens up a crucial dialogue between new German media theory and American postcybernetic discourses.
Who pays for science, and who profits? Historians of science and of France will discover that those were burning questions no less in the seventeenth century than they are today. Alice Stroup takes a new look at one of the earliest and most influential scientific societies, the Acad�mie Royale des Sciences. Blending externalist and internalist approaches, Stroup portrays the Academy in its political and intellectual contexts and also takes us behind the scenes, into the laboratory and into the meetings of a lively, contentious group of investigators. Founded in 1666 under Louis XIV, the Academy had a dual mission: to advance science and to glorify its patron. Creature of the ancien r�gime as well as of the scientific revolution, it depended for its professional prestige on the goodwill of monarch and ministers. One of the Academy's most ambitious projects was its illustrated encyclopedia of plants. While this work proceeded along old-fashioned descriptive lines, academicians were simultaneously adopting analogical reasoning to investigate the new anatomy and physiology of plants. Efforts to fund and forward competing lines of research were as strenuous then as now. We learn how academicians won or lost favor, and what happened when their research went wrong. Patrons and members shared in a new and different kind of enterprise that may not have resembled the Big Science of today but was nevertheless a genuine "company of scientists."