Horn, or The Counterside of Media

Description

We regularly touch and handle media devices. At the same time, media devices such as body scanners, car seat pressure sensors, and smart phones scan and touch us. In Horn, Henning Schmidgen reflects on the bidirectional nature of touch and the ways in which surfaces constitute sites of mediation between interior and exterior. Schmidgen uses the concept of "horn"—whether manifested as a rhinoceros horn or a musical instrument—to stand for both natural substances and artificial objects as spaces of tactility. He enters into creative dialogue with artists, scientists, and philosophers, ranging from Salvador Dalí, William Kentridge, and Rebecca Horn to Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the complex interplay between tactility and technological and biological surfaces. Whether analyzing how Dalí conceived of images as tactile entities during his “rhinoceros phase” or examining the problem of tactility in Thomas Pynchon’s The Crying of Lot 49, Schmidgen reconfigures understandings of the dynamic phenomena of touch in media. Henning Schmidgen reflects on the dynamic phenomena of touch in media, analyzing works by artists, scientists, and philosophers ranging from Salvador Dalí to Walter Benjamin, who each explore the interplay between tactility and technological and biological surfaces. Henning Schmidgen is Professor of Media Studies at Bauhaus-Universität Weimar and author of Bruno Latour in Pieces: An Intellectual Biography and The Helmholtz Curves: Tracing Lost Time. Preface  vii
Introduction  1
1. The Captured Unicorn  13
2. Impressions of Modernity  49
3. Rhinoceros Cybernetics  88
4. A Surface Medium Par Excellence  148
5. Horn and Time  192
Conclusion  240
Notes  251
Bibliography  273
Index  293