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art design poster museum collection epistemology order typology class classification artefact technology adapter interface translation

✖ Via Frank Grießhammer: “Adapters” (portofolio) [click for hi-res]

This is Frank Grießhammer’s personal collection of adapters. See more at his Adapter Museum online.

Frank Grießhammer was born in 1983, and has studied in Saarbrücken, Florence and The Hague. He graduated in 2008 in communications design from HBKsaar, with the thesis project Kiosk Fonts, a platform for student writing projects. (Linotype.com)

First spotted via Stüff Stuff.

• Oct 03, 2010 link notes [via] tagged: art design poster museum collection epistemology order typology class classification artefact technology adapter interface translation

The things that made him who he was could hardly be identified much less converted to data, the things that lived and milled in his body, everywhere, random, riotous, billions of trillions, in the neurons and peptides, the throbbing temple vein, in the veer of his libidinous intellect. So much come and gone, this is who he was, the lost taste of milk licked from his mother’s breast, the stuff he sneezes when he sneezes, this is him, and how a person becomes the reflections he sees in a dusty window when he walks by. He’d come to know himself, untranslatably, through his pain. He felt so tired now. His hard-gotten grip on the world, material things, great things, his memories true and false, the vague malaise of winter twilights, untransferable, the pale nights when his identity flattens for lack of sleep, the small wart he feels on his thigh every time he showers, all him, and how the soap he uses, the smell and feel of the concave bar make him who he is because he names the fragrance, amandine, and the hang of his cock, untransferable, and his strangely achy knee, the click in his knee when he bends it, all him, and so much else that’s not convertible to some high sublime, the technology of mind-without-end.

✖ Via Cosmopolis by Don DeLillo, New York: Scribner, 2003, p. 207-208

Let’s say for the moment that this quote relate to the general problem of the representation of the self: of the innumerable and diverse experiences I had, in my lifetime, how and under which conditions am I able to elaborate a stable representation of myself. Or, to put it in other words : How did I came up with a sense of my own identity?

Compare it with David Hume’s thoughts on mankind, Derrida’s view on the grammar of dreams (after Freud), who Pablo Neruda think he is (along with an excerpt from Paul Valery’s Mr. Teste), Quadrophenia, and finally the problem of translation from the perspective of media theorist Friedrich A. Kittler.

Previously on Skandalon: Don DeLillo

• Jun 18, 2010 link notes tagged: author book novel art technology communication translation computer machine DeLillo Cosmopolis identity self network event effect reality life subject subjectivity apparatus node

A medium is a medium is a medium. Therefore it cannot be translated. To transfer message from one medium to another always involves reshaping them to conform to new standards and materials. In a discourse network that requires an “awarness of the abysses which divide the one order of sense experience from the other,” transposition necessarily takes the place of translation.

✖ Via Discourse Networks, 1800/1900 by Friedrich A. Kittler, Stanford University Press, [1985]1992, p. 265 [Amazon]

“Friedrich A. Kittler (born 1943 in Rochlitz, Saxony) is a literary scholar and a media theorist. His works relate to media, technology, and the military.” (wikipedia)

Derrida offers a similar analysis in his essay “Freud and the scene of writing” (1966)

• Mar 28, 2010 link notes tagged: communication technology theory medium media translation book author

derrida brain code communication difference dreams grammar movie philosophy poster psychoanalysis translation identity representation

✖ Via Internet Movie Poster Awards: Paprika by Satoshi Kon, 2006

“The dreamer invents his own grammar. No meaningful material or prior text exists which he might simply use, even if he never deprives himself of them. Such is, despite their interest, the limitation of the Chiffriermethode and the Traumbuch. As much as of the generality and the rigidity of the code, that limitation is a function of an excessive preoccupation with contents, an insufficient concern for relations, locations, processes, and differences (…)”

Quoted from “Freud and the scene of writing” by Jacques Derrida ([1966]1972), tr. by Jeffrey Mehlman, Yale French Studies, no 48, p. 89 (PDF available upon subscription to JSTOR).

Previously on Skandalon : Freud

• Feb 02, 2010 link notes [via] tagged: Derrida brain code communication difference dreams grammar movie philosophy poster psychoanalysis translation identity representation