http://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&feed=atom&action=historyAnalog/Digital Transition - Revision history2024-03-29T07:57:26ZRevision history for this page on the wikiMediaWiki 1.25.2http://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=12641&oldid=prevFinnb: Undo revision 12590 by Egugecuge (Talk)2010-11-24T14:25:35Z<p>Undo revision 12590 by <a href="/deadmedia/index.php/Special:Contributions/Egugecuge" title="Special:Contributions/Egugecuge">Egugecuge</a> (<a href="/deadmedia/index.php?title=User_talk:Egugecuge&action=edit&redlink=1" class="new" title="User talk:Egugecuge (page does not exist)">Talk</a>)</p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=12641&oldid=12590">Show changes</a>Finnbhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=12590&oldid=prevEgugecuge at 08:27, 24 November 20102010-11-24T08:27:53Z<p></p>
<a href="http://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=12590&oldid=10283">Show changes</a>Egugecugehttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10283&oldid=prevJRLariv: /* Resistance May Not Be Futile */2010-09-27T19:44:01Z<p><span dir="auto"><span class="autocomment">Resistance May Not Be Futile</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 19:44, 27 September 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"><blockquote></ins>We can ask whether today the technical groups still belong to the ethnic group, or if they may not extend beyond it, to the point of calling its unity into question: the phenomena of deterritorialization and acculturation are the telling marks. It is as if the technical groups tended to become autonomous with respect to ethnic groups, owing to the very fact that techno-industrial units have become worldwide. Thus, “it is obvious that if the technical milieu is continuous, the technical group belongs to the exterior milieu,” which is not only geographical but a vector for foreign influences, displaying “a large part of discontinuity.” This discontinuity affects in the first instance the technical milieu itself, but by reaction, it also affects the interior milieu as a whole. One may conclude that the technical group then gains an advance with respect to the ethnic group to the extent that, as is the case today—with technical evolution accelerating and becoming too fast for the possibilities of appropriation by the “other systems”—one must wonder if we might not be in the presence of a separation and progressive opposition between, on the one hand, cultures, or an ensemble of interior milieus, and on the other hand technologies, which are no longer only a subgroup of the technical milieu but the external milieu become worldwide technology: the dilution of the interior milieu into the exterior milieu has become essentially technical, firstly as an environment totally mediated by telecommunications, by modes of transportation as well as by television and radio, computer networks, and so on, whereby distances and delays are annulled, but secondly as a system of planet-scale industrial production. (''Technics and Time'' 62)<ins class="diffchange diffchange-inline"></blockquote></ins></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>We can ask whether today the technical groups still belong to the ethnic group, or if they may not extend beyond it, to the point of calling its unity into question: the phenomena of deterritorialization and acculturation are the telling marks. It is as if the technical groups tended to become autonomous with respect to ethnic groups, owing to the very fact that techno-industrial units have become worldwide. Thus, “it is obvious that if the technical milieu is continuous, the technical group belongs to the exterior milieu,” which is not only geographical but a vector for foreign influences, displaying “a large part of discontinuity.” This discontinuity affects in the first instance the technical milieu itself, but by reaction, it also affects the interior milieu as a whole. One may conclude that the technical group then gains an advance with respect to the ethnic group to the extent that, as is the case today—with technical evolution accelerating and becoming too fast for the possibilities of appropriation by the “other systems”—one must wonder if we might not be in the presence of a separation and progressive opposition between, on the one hand, cultures, or an ensemble of interior milieus, and on the other hand technologies, which are no longer only a subgroup of the technical milieu but the external milieu become worldwide technology: the dilution of the interior milieu into the exterior milieu has become essentially technical, firstly as an environment totally mediated by telecommunications, by modes of transportation as well as by television and radio, computer networks, and so on, whereby distances and delays are annulled, but secondly as a system of planet-scale industrial production. (''Technics and Time'' 62)</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
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<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>A mutation has been produced in the world of networks since 1992, with the appearance of the Internet. This network of networks, unified by the TCP-IP protocol, has manifestly changed the organizational setup of the program industries. And there is no doubt that this transformation of industrial technology, via the digital, renders new perspectives conceivable. These must be systematically explored; they constitute  privileged terrain of combat and a field for social invention that could be extremely fertile. I believe more than anything in the necessity of acting in this domain. (''Acting Out'' 75)</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"><blockquote></ins>A mutation has been produced in the world of networks since 1992, with the appearance of the Internet. This network of networks, unified by the TCP-IP protocol, has manifestly changed the organizational setup of the program industries. And there is no doubt that this transformation of industrial technology, via the digital, renders new perspectives conceivable. These must be systematically explored; they constitute  privileged terrain of combat and a field for social invention that could be extremely fertile. I believe more than anything in the necessity of acting in this domain. (''Acting Out'' 75)<ins class="diffchange diffchange-inline"></blockquote></ins></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
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</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10282&oldid=prevJRLariv: /* Digital World */2010-09-27T19:43:04Z<p><span dir="auto"><span class="autocomment">Digital World</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 19:43, 27 September 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L56" >Line 56:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"><blockquote></ins>In theory, digital communications substitute for energy-hungry transportation, encourage people to stay home in villages rather than risk the desperate conditions of the slums, and prepare economies for transition to the supposedly weightless condition of the advanced information economies. The sad truth is that digital technologies are more, not less, polluting and energy-hungry than predecessor media like film and print. The environmental footprint of digital media comes in several phases: (1) The extraction of raw materials, including rare earths and gemstones often mined under appalling conditions, and subject to strategic struggles to secure supplies among the major powers (for the case of sapphires, important for LED fabrication . . . (2) the manufacturing of computers and computer parts on offshore, unregulated and immiserated areas such as the maquiladoras of the Mexican-US border region . . . (3) the built-in obsolescence of the computer industry, based on constant cycles of updates and system changes (4) the energy requirements of manufacture and of use . . . (5) the recycling and dumping of unwanted computers, many of which pass through donation programs to the developing world before finding their inevitable way to the nightmare of recycling villages, notably in West Africa and Southern China. (“Dirty Media” n.p.)<ins class="diffchange diffchange-inline"></blockquote></ins></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In theory, digital communications substitute for energy-hungry transportation, encourage people to stay home in villages rather than risk the desperate conditions of the slums, and prepare economies for transition to the supposedly weightless condition of the advanced information economies. The sad truth is that digital technologies are more, not less, polluting and energy-hungry than predecessor media like film and print. The environmental footprint of digital media comes in several phases: (1) The extraction of raw materials, including rare earths and gemstones often mined under appalling conditions, and subject to strategic struggles to secure supplies among the major powers (for the case of sapphires, important for LED fabrication . . . (2) the manufacturing of computers and computer parts on offshore, unregulated and immiserated areas such as the maquiladoras of the Mexican-US border region . . . (3) the built-in obsolescence of the computer industry, based on constant cycles of updates and system changes (4) the energy requirements of manufacture and of use . . . (5) the recycling and dumping of unwanted computers, many of which pass through donation programs to the developing world before finding their inevitable way to the nightmare of recycling villages, notably in West Africa and Southern China. (“Dirty Media” n.p.)</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"><blockquote></ins>People will be hooked to an information channel that can be used for any medium—for the first time in history, or for its end. Once movies and music, phone calls and texts reach households via optical fiber cables, the formerly distinct media of television, radio, telephone, and mail converge, standardized by transmission frequencies and bit format. . . . The general digitization of channels and information erases the differences among individual media. Sound and image, voice and text are reduced to surface effects, known to consumers as interface. Sense and the senses turn into eyewash. Their media-produced glamour will survive for an interim as a by-product of strategic programs. Inside the computers themselves everything becomes a number: quantity without image, sound, or voice. And once optical fiber networks turn formerly distinct data flows into a standardized series of digital numbers, any medium can be translated into another. With numbers, everything goes. Modulation, transformation, synchronization; delay, storage, transposition; scrambling, scanning, mapping—a total media link on a digital base will erase the very concept of medium. Instead of wiring people and technologies, absolute knowledge will run as an endless loop. (Kittler 1-2)<ins class="diffchange diffchange-inline"></blockquote></ins></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>People will be hooked to an information channel that can be used for any medium—for the first time in history, or for its end. Once movies and music, phone calls and texts reach households via optical fiber cables, the formerly distinct media of television, radio, telephone, and mail converge, standardized by transmission frequencies and bit format. . . . The general digitization of channels and information erases the differences among individual media. Sound and image, voice and text are reduced to surface effects, known to consumers as interface. Sense and the senses turn into eyewash. Their media-produced glamour will survive for an interim as a by-product of strategic programs. Inside the computers themselves everything becomes a number: quantity without image, sound, or voice. And once optical fiber networks turn formerly distinct data flows into a standardized series of digital numbers, any medium can be translated into another. With numbers, everything goes. Modulation, transformation, synchronization; delay, storage, transposition; scrambling, scanning, mapping—a total media link on a digital base will erase the very concept of medium. Instead of wiring people and technologies, absolute knowledge will run as an endless loop. (Kittler 1-2)</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10281&oldid=prevJRLariv: /* Digital World */2010-09-27T19:40:31Z<p><span dir="auto"><span class="autocomment">Digital World</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 19:40, 27 September 2010</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"><blockquote></ins>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original)<ins class="diffchange diffchange-inline"></blockquote></ins></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original)</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">----</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10280&oldid=prevJRLariv: /* Digital World */2010-09-27T19:36:58Z<p><span dir="auto"><span class="autocomment">Digital World</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 19:36, 27 September 2010</td>
</tr><tr><td colspan="2" class="diff-lineno" id="L44" >Line 44:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Bernard Stiegler addresses this radical change in his essay “The Discrete Image.” Stiegler, drawing on Roland Barthes’ Camera Lucida, argues that with analog (i.e. photochemical) photography, the viewer had a certain faith in the fidelity of the image to some actual past event; this belief is completely elided in the realm of the digital, what Stiegler calls “the discrete image” and the “analogico-digital image.” As Stiegler explains:</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Bernard Stiegler addresses this radical change in his essay “The Discrete Image.” Stiegler, drawing on Roland Barthes’ Camera Lucida, argues that with analog (i.e. photochemical) photography, the viewer had a certain faith in the fidelity of the image to some actual past event; this belief is completely elided in the realm of the digital, what Stiegler calls “the discrete image” and the “analogico-digital image.” As Stiegler explains:</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within <del class="diffchange diffchange-inline">    </del>itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original)<del class="diffchange diffchange-inline">.</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original)</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10277&oldid=prevJRLariv: /* Digital World */2010-09-27T19:35:17Z<p><span dir="auto"><span class="autocomment">Digital World</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline"><blockquote> </del>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within      itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original).</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within      itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original).</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10276&oldid=prevJRLariv: /* Digital World */2010-09-27T19:34:59Z<p><span dir="auto"><span class="autocomment">Digital World</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><blockquote> The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within      itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original).<del class="diffchange diffchange-inline"><blockquote> </del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><blockquote> The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within      itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original).</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10275&oldid=prevJRLariv: /* Digital World */2010-09-27T19:34:31Z<p><span dir="auto"><span class="autocomment">Digital World</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within      itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original).</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"><blockquote> </ins>The ''digital'' photograph suspends a certain spontaneous belief which the analog photograph bore within      itself. When I look at the digital photo, I can never be absolutely sure that what I see truly exists—nor, since it is still a question of a photo, that it does not exist at all. The analogico-digital image calls into question what Andre Bazin calls the ''objectivity of the lens'' [l’objectivité de l’objectif] in analog photography, what Barthes also calls ''this was'' [le ça a été], the noeme of the photo. The noeme of the photo is what in phenomenology would be called its intentionality. It is what I see ''always already, in advance,'' in every (analog) photo: that ''what is captured on the paper really was''. This is the ''essential'' attribute of the analog photo. That it would then be possible to manipulate this photo, to alter what was, this is another attribute, but it can only be accidental; it is not necessarily co-implied by the photo. This may happen, but it is not the rule. The rule is that every analog photo presupposes that what was photographed was (real).    (“Discrete Image” 150, emphasis in original).<ins class="diffchange diffchange-inline"><blockquote> </ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>----</div></td></tr>
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</table>JRLarivhttp://www.cultureandcommunication.org/deadmedia/index.php?title=Analog/Digital_Transition&diff=10152&oldid=prevJRLariv: /* Resistance May Not Be Futile */2010-09-26T18:59:50Z<p><span dir="auto"><span class="autocomment">Resistance May Not Be Futile</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Mark Hansen sees in Stiegler's project an opportunity for the project <del class="diffchange diffchange-inline">that </del>many in the humanities are engaged <del class="diffchange diffchange-inline">in</del>: rethinking the common in the age of global war and neo-liberal Empire: "This perspective opens up a fundamentally new task for the analyst of the ‘transnational media systems’: for once media technology has usurped the role formerly held by culture of providing the common, the global media system can no longer be localized and specified through its cultural configuration or use. Rather, it can form the very ground for new, ''to-be-invented forms of collective life'' precisely because of its resistance to the kinds of empirical specification championed by today’s cultural studies practitioners" (Hansen, “Realtime Synthesis” n.p., emphasis added). Indeed, even Stiegler, for all of his Heideggerian anxiety over the de-naturing effects of new media technology (seen especially in his recent ''Taking Care of Youth and the Generations''), still recognizes that the future of resistance and critique will be found through digital networks:</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Mark Hansen sees in Stiegler's project an opportunity for the project <ins class="diffchange diffchange-inline">with which </ins>many in the humanities are engaged: rethinking the common in the age of global war and neo-liberal Empire: "This perspective opens up a fundamentally new task for the analyst of the ‘transnational media systems’: for once media technology has usurped the role formerly held by culture of providing the common, the global media system can no longer be localized and specified through its cultural configuration or use. Rather, it can form the very ground for new, ''to-be-invented forms of collective life'' precisely because of its resistance to the kinds of empirical specification championed by today’s cultural studies practitioners" (Hansen, “Realtime Synthesis” n.p., emphasis added). Indeed, even Stiegler, for all of his Heideggerian anxiety over the de-naturing effects of new media technology (seen especially in his recent ''Taking Care of Youth and the Generations''), still recognizes that the future of resistance and critique will be found through digital networks:</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
</table>JRLariv