Table Of Contentmedia|matter
thinking I media medialmatter
series editors: 
the materiality of media|matter as medium
bernd herzogenrath 
patricia pisters
edited by 
bernd herzogenrath
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Contents
Bloomsbury Academic
An innprint of Bloomsbury Publishing Inc
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New York  London  Acknowledgments  vii
NY 10018  WC1B 3DP  Contributors  viii
USA UK
www.bloomsbury.com Media|Matter: An Introduction Bernd Herzogenrath  1
BLOOMSBURY and the Diana logo are trademarks 
of Bloomsbury Publishing Pic Part 1  [TheorylMatter]
First published 2015 1  [Meta] physics of Media  Walter Seitter  19
© Bernd Flerzogenrath and Contributors, 2015
2  Media Matter: Materiality and Performativity in
All rights reserved. No part of this publication may be reproduced or transmitted  Media Theory Katerina Krtilova  28
in any form or by any means, electronic or mechanical, including photocopying, 
recording, or any information storage or retrieval system, without prior 
permission in writing from the publishers. Part 2  [Text] Matter]
No responsibility for loss caused to any individual or organization acting on  3  Between Print Matter and Page Matter: The Codex
or refraining from action as a result of the material in this publication 
Platform as Medial Support Garrett Stewart  47
can be accepted by Bloomsbury or the author.
4  “Local Color”: Light in Faulkner Hanjo Berressem  69
Library of Congress Cataloging-in-Publication Data
Media matter: the materiality of media, matter as medium/edited by 
Bernd Flerzogenrath. 
Part 3  [FilmjMatter]
pages cm—(Thinking media)
Summary: "A materialist attempt to redefine the concept of 'medium' 
5  FigurejGround: Stills from the Films of Bill Morrison
by expanding it to include the elemental"—Provided by publisher. 
Bill Morrison  99
Includes bibliographical references and index.
ISBN 978-1-62892-383-4 (hardback)
6  Matter that Images: Bill Morrison’s Decasia
1. Mass media-Philosophy. I. Flerzogenrath, Bernd, 1964- editor. 
P90.M3675 2015  Bernd Herzogenrath  111
302.2301-dc23 
2015004741 7  Moving Images as Ontographic Images
(According to Pier Paolo Pasolini)  Lorenz Engell  138
ISBN: HB: 978-1-6289-2383-4 
ePDF: 978-1-6289-2384-1 
8  Brain Matter and New Phrenologies: Challenging Brains
ePub: 978-1-6289-2385-8
with Melancholy and Vice Versa Benjamin Betka  156
Series: ThinkinglMedia
9  The Media Boundary Objects Concept: Theorizing Film
Typeset by Deanta Global Publishing Services, Chennai, India 
and Media PlorianHoof  180
Printed and bound in the United States of America
vi Contents
Acknowledgments
Part 4  [ArtlMatter]
10  Borderline: Nauman’s Balls and Acconci’s Shoot 
Eva Ehninger
I would like to express my gratitude to Bloomsbury (in particular 
11  The Romantic Readymade: Toward a Material the wonderfiol Katie Gallof and Mary Al-Sayed) for giving me and us 
Vitalism of Contemporary Art Stephen Zepke  226 tbr opportxmity to pubhsh this book, and to all those wonderful people 
fibat contributed to this voliune—it has been a pleasure!
Part 5  [SoundjMatter] Special thanks go out to Yasmin Afshar and Sebastian Scherer, for all 
the work you have put into this!
12  Revisiting the Voice in Media and as Medium:
I would also like to thank the DEG (the German Research Founda
New Materialist Propositions Milla Tiainen  251
tion) for their generous support of the media\matter conference, which 
13  Sonic Matter: The Material Cut-ups of Christian  was the original seed of this book.
Marclay Sebastian Scherer
I dedicate  this book to  Janna  and  Claudia,  and  to  the  memory 
14  Media Disenchantments  Thomas Koner  302 of Frank.
Two of the essays in this book had a previous life in online journals, 
Index in slightly different versions  and both are  repubhshed with kind 
Concepts/keywords permission:
Bernd Herzogenraths essay appeared in Cinema: Journal of Philosophy 
and the Moving Image 6 (2014)
Milla Tiainen’s essay appeared in Necsus: European Journal of Media 
Studies (Autumn 2013)
Contributors ix
action  (2002-10),  Fulbright  Commission  (2003-4),  Getty 
Contributors
rch Institute, Los Angeles (2009), Max Weber Stiftung (2013). She 
^Wished the book Vom Farbfeld zur Land Art. Ortsgebundenheit in 
.mnerikanischen Kunst 1950-70 (Silke Schreiber 2013) and coedited 
Hanio Berressem teaches  American Uterature  and culture  at  t e  yvlnmp Jheorie^ Potenzial und Potenzierung kiinstlerischer Theorie 
university of Cologne. He has pnbUshed books on Tbomas ^chon  to: Lang 2014). Recent essays include ‘“Man is Present.’ Barnett 
(FynclionS Poetics: Interfndnj Thecoj and Text. University of UltnoB  ifinan’s Search for the Experience of the Self”  (2012); “What’s 
Press  1992) and on Witold Gombrowta (Lines of Desire: Rendmg  ppening?  Allan  Kaprow and Claes Oldenburg Argue about Art 
L in tn o ai  Pietioo  —   Lnenn.  Notthwestern  Univetsity  Press  d Life” (2014); “Mobile Criticism. Mike Kelleys passiv-aggressive
1998).  He  has  coedited,  Crenziiberschreibungeti:  Femtoismus  m  ^^alitutionskritik,”  kritische  berichte  2  (2014),  46-57.  Her  current 
Culmol Studies (with D. Bnchwald nnd H. Volkening, Aisthests, 20m h -iesearch is focused on the norms of photographic representation.
Choos-CoutroUCompk»ty:ChoosTheoryaudtlieHimanSc,eueestyii
D. Bnchwald, Special Issue, American Studies. 1. 2000 , fljlBitoiz Engell is professor of media philosophy at the Bauhaus- 
from nnd.cn  to zwolfklnde,-pyncl,on\gemuiny  ^ l^ftiversitat  Weimar,  Germany,  where  he was  the  founding  dean 
Special Issue. Pynchon Notes, 2008), Dekuzian Events: Wntin^Hutoy  Faculty of Media from 1996 to 2000 and is now codirector 
(vrith L. Haferkamp LPT, 2009), and Between Science and Fiction.  ff,  the  Internationals  KoUeg  fiir  Kulturtechnikforschung  und 
Hollow Earth as Concept and Conceit (with Michael Bucher and Uwe  Msdlenphilosophie (IKKM), a research institute funded by the German 
Schwagmeler, Lit, n-l|work_sclence-medlun, 2012). His athcte a^  ;!|^dfiral Government. His research interests comprehend philosophy 
situated in the Selds of French theory, conteniporary American tomm  jf .film  and  of television,  media anthropology,  philosophy of the 
media studies, the interfaces of art and science, as well as  natro  ^itoiy and studies on seriality and causality. Recent pubhcations are 
writing- and ecology. He has just completed two  complementary  ^i^nsehtheorie zur Einfuhrun^’ (2012), “Playtime” (2010), and “Kdrper 
books, one on Gllles Deleuze and the other on Felix Guattan. ^l^nkens” (2013, co-ed.). Forthcoming is “Mediate Anthropologic” 
i^fed.)  and  “Film  Denken.  Essays  zur  Philosophic  des  Films” 
Beniamin Betka works on the relationship between films, brains, and  ste^dthor). He is also the coeditor of the “Kursbuch Medienkultur” 
existential desperation. After the first contact with commumcation and  “Zeitschrift fiir Medien- und Kulturforschung (ZMK),” and the 
information science he studied English, phUosophy, and pedagogics m  Dewfcen” book series.
Lower Saxony and Texas. His main field of research Is the intersection 
between media, ontologies, and concepts of suffering in a (post-.)  Herzogenrath  teaches  American  literature  and  culture  at 
-University, Frankfurt/Main, Germany. He is the author of An 
Deleuzean context.
^mmrjcan Body\Politic: A Deleuzian Approach and editor of two books 
Eva Ehninger is assistant professor at the Institute  Browning, two books on Edgar G. Ulmer, The Farthest Place: 
Universitkt Bern, Switzerland. She has taught at the ^“^he-U m i.^  ■ of John Luther Adams and Time and History in Deleuze and 
Frankfint)Main,HochschulefteKilnste,Btemen,andIawahrfalNehrn 
At the moment, he is planning a project, cinapses: thinkingfilm
University, New Delhi. Fellowships by the German Nanonal Academic
X Contributors Contributors XI
that brings together scholars from film studies, philosophy, and the  Koner  is  continuing  his  close  relationship  with  sound  art by 
neurosciences (members include Alva Noe and Antonio Damasio). creating  radiophonic  works  for  the  National  Radio  in  Germany 
(Deutschlandradio Kultur, WDR Studio Akustische Kunst,), while also 
Florian Hoof is an assistant professor at the department of Theatre,  working as a hve performer and composer and producer. His music 
Film and Media Studies at the Goethe-University, Frankfurt/Main. He  compositions  from the early  1990s,  including albums Permafrost, 
holds a PhD in media studies from the Department of Media Studies  Nunatak,  and Teimo,  were  considered  pioneering  in the  field  of 
at the Ruhr-University Bochum. His PhD thesis “Angels of Efficiency.  minimal electronic and are still in print. Koner’s acclaimed production 
A Media History of Consulting, 1880-1930” was funded by a grant from  ckills with his more beat-oriented duo Porter Ricks, whose album 
the German National Academic Foundation. He was guest professor  Biokinetics is considered “a classic of techno sound,” resulted in remix 
at Universita Cattolica del Sacro Cuore, Milano; scientist in residence  commissions for a.o. Trent Reznor’s Nine Inch NaUs.
at the Department of History of Technology at the Swiss Institute of 
Technology (ETH),  Zurich,  and at AustraUan School of Business,  Katerina Krtilova is a research assistant at the Internationales KoUeg 
University of New South Wales, Sydney; visiting scholar at the Archives  fiir  Kulturtechnikforschung  und  Medienphilosophie  (International 
and Special Collection Purdue University, West Lafayette, Indiana, and  Research Institute for Gultural Technologies and Media Philosophy, 
research assistant at the Department of Media Studies, Ruhr-University  IKKM).  Katerina  Krtilova  is  a  researcher  and  coordinator • 
Bochum. His research interests include Historical Epistemology, Science  of the KompetenzzentrumMedienanthropologie  (Genter for Media 
and Technology Studies, Sociomateriality Studies, History of Media  Anthropology)  at  Bauhaus-Universitat  Weimar.  In  2013-14  she 
Technology, Science-, Industrial- and Sport-Films, Production Studies. initiated and coordinated the DFG-funded research project  Positions 
and Perspectives of German and Gzech Media Philosophy.” Since 2014 
Thomas Koner studied at Musikhochschule Dortmund and GEM  she is a member of the editorial board of the Internationales Jahrbuch 
Studio Arnhem. He is a distinctive figure in the fields of contemporary  fiir Medienphilosophie (International Journal of Media Philosophy). 
music and multimedia art. For more than three decades his work has  She studied media studies, philosophy, and humanities in Prague and 
been internationally recognized and he has excelled in all the areas  Regensburg and worked as a research assistant at Gharles University 
of his  artistic activity,  receiving awards such as Golden Nica Ars  in Prague. Recent pubhcations: “Gesten des Denkens. Vilem Flussers 
Electronica (Linz), Transmediale Award (Berlin), Best Young Artist at  Theorie des Gesten  als Medienphilosophie,” in; T. Hildebrandt, F. 
ARGO (Madrid), and many more. His familiarify with both the visual  Goppelsroder, U. Richtmeyer (eds), Bild und Geste. Figurationen des 
and sonic arts resulted in numerous commissions to create music for  Denkens in Philosophie und Kunst, Bielefeld 2014; “Intermediality in 
sfient films for the Auditorium du Musee du Louvre, Musee d’Orsay,  Media Philosophy,” in: B. Herzogenrath (ed.). Travels in Intermedia(lity). 
Gentre Pompidou, and others. Likewise, he created installations for  ReBlurring the Boundaries, Dartmouth 2012.
diverse situations, for example. International Symposium on Electronic 
Art (ISEA), the Museo Nacional de Bellas Artes Santiago de Ghile, to  Sebastian Scherer completed his MA in art history and American 
name a few. His works are part of the collections of significant museums  studies  at  the  Goethe-University,  Frankfurt/Main  in  2010.  He 
such as Musee national d’art moderne, Gentre Pompidou Paris, Musee  subsequently taught International Journalism at the University for 
d’art contemporain, Montreal. Applied Sciences in Darmstadt. Since 2011 he works as a scientific
Contributors xiii
xii Contributors
ethics of sound, cultural studies of music, feminist new materialisms, 
assistant for the American Studies department at Goethe-University, 
andposthumanistandenvironmentalhumanities.Herworkhas recently 
Frankfurt/Main, where he teaches classes on American Avant-garde 
geared in Body & Society and NECSUS—European Journal of Media 
Music, the Electronic Frontier, and American Landscape Painting and 
Studies. She is writing a book about a new Deleuze-inspired approach 
Photography. His research interests include sound studies, modern and 
to vocal and operatic performance (under contract with University of 
contemporary art, music, and film, as well as audio engineering, and 
Minnesota Press). Milla is a founding member of the COST-funded 
American countercultures.
action New Materialism: Networking European Scholarship on “How 
Currently, he is working on his PhD project on the artistic strategies 
Matter Comes to Matter.” She coleads the network’s working group 
of Christian Marclay.
titled New Materialisms Embracing the Creative Arts.
Walter Seitter was born in Austria and studied philosophy, political 
Stephen Zepke is an independent researcher living in Vienna. He is the 
sciences, history of art in Salzburg, Munich, and Paris (with Helmut 
author of Sublime Art, Towards an Aesthetics of the Future (EUP 2016 
Kuhn, Eric Voegelin, Hans Sedlmayr, Jacques Lacan, Michel Foucault). 
forthcoming) and Art as Abstract Machine, Ontology and Aesthetics in 
He translated many philosophical books from French to German. In 
Ddeuze and Guattari (Routledge 2005). He is the coeditor (with Sjoerd 
Aix-la-Chapelle he wrote his habihtation thesis Menschenfassungen, 
van Tuinen) of Art History After Deleuze (Leuven 2016 forthcoming), 
and since 1985 he has been teaching media theory in Vienna. He is 
and  (with  Simon  O’Sullivan)  of Deleuze  and  Contemporary Art 
an active founding member of Vieima’s First Philosophical Coffeeshop, 
(EUP 2010) and Deleuze, Guattari and the Production of the New 
the New Vienna Group/Lacan School and the Hermes group. His main 
(Continuum 2008).
fields of interest are Political Theory, Philosophical Aesthetics, and 
Physics.
Garrett  Stewart,  James  O.  Freedman  Professor  of Letters  at  the 
University of Iowa, has authored, among many books on literature and 
film, including the Closed Circuits: Screening Narrative Surveillance 
(2015), three studies of reading and its figuration; Dear Reader: The 
Conscripted Audience in Nineteenth-Century British Literature (1996), 
The Look of Reading: Book, Painting Text (2006), and Bookwork: Medium 
to Object to Concept to Art (2011), all published by the University of 
Chicago Press. He was elected in 2010 to the American Academy of 
Arts and Sciences.
Milla  Tiainen  lectures  in  the  Department  of Musicology  at the 
University of Helsinki. She is also a postdoctoral researcher in the 
Academy of Finland-funded project “Deleuzian Music Research.” Her 
research interests include the voice in contemporary performing arts 
and media, affect, rhythm and bodies-as-movement, the aesthetics and
Medial Matter: An Introduction
Bernd Herzogenrath
The philologies and the humanities are part of the modern media 
society,  and thus  participate  in  a field  of forces  determined by 
constantly changing parameters, be it cultural, material, theoretical, 
scientific, or technical ones. Since the growing proliferation of media 
and new technologies does not leave the field of the humanities 
unchanged,  they  have  answered  that  challenge  by  reorganizing 
themselves  as  cultural  studies  and  media  studies.  This  basically 
calls for a thorough investigation into and analysis of the concept of 
“media,” which is even more desirable and necessary, since the largely 
mono-causal attempts at defining the term “medium” have left such 
an analysis still waiting in limbo.
Media transmit, save, and symbolize. They communicate an “Other” 
that evades direct access, something that is neither only sign, nor 
. only perception, nor only representation: media are the in-between, 
that which facilitates transmission and thus belongs to neither of 
the (at least) two sides between which it transmits and negotiates—a 
status of difference, that makes a general definition of “medium” and 
“media” next to impossible and thus has so far resulted in a myriad 
of converging attempts to do exactly this. In a formula reminiscent of 
a notorious Lacanian aphorism, Claus Pias, Joseph Vogl, and Lorenz 
Engell state in their Kursbuch Medienkultur that “media do not exist, 
at least not media in a substantial and historically stable sense” (Pias 
et al. 2004: 10). The term “medium” is used to refer a.o. to biological, 
physical,  technological,  institutional,  and  aesthetic  media—a 
theoretical positioning that oscillates  between  physical properties, 
), qualities, technologies, materialities, and artistic means of expression, 
term medium thus encompasses the realms of both culture and
2 . Media\Matter Media\Matter: An Introduction 3
nature—and still, current definitions mostly highlight medial aspects of  the biological|physical notion of the term “medium”). On the other 
symbolization and information transfer on a cultural level, instrumental  hand, it would mean to understand media not only in the context 
and organizational functions, that is. of cultural or discursive systems or apparatuses, relays, transistors, 
Hence, the history of media (and of media studies) presents itself as  hardware, or “Aufschreibesysteme”  (discourse networks), but more 
a history of man-made apparatuses and technologies. However—just  inclusive in terms of a “media ecology” (McLuhan), so as to proceed, 
as the field of cultural studies is currently experiencing a “turn,” so also  as Regis Debray puts it, “as if mediology could become in relation to 
media studies are about to re-adjust, re-structure, re-orientate (and  semiology what ecology is to the biosphere. Cannot a ‘mediasphere’ be 
in some circles, e.g., the IKKM Weimar, this new turn has had very  treated like an ecosystem, formed on the one hand by populations of 
promising and fruitful effects already—this volume thus also serves as  signs and on the other by a network of vectors and material bases for 
a part-time introduction to the field of “New German Media Theory,”  the signs?” (108) an ecology that acknowledges the interdependency 
or “German  Media Philosophy,”  of which people such  as  Lorenz  of cultural and natural media. Rather than exclusively concentrating 
EngeU, contributor to this volume, are among its prime agents and  on a “technology a priori" of a “total media link on a digital base” 
innovators). I am not so much referring to a widening of a historical  (Kittler 1999: 2), as proposed by Friedrich Kittler, one should focus 
perspective that extends the “medial perspective” from modernity  on those excluded fields that a Media Theory conceived as a Theory 
and the digital age also to antiquity and the early middle ages.' Such  of technology cannot grasp: again, I am quoting Pias, Vogl, and EngeU 
a perspective allows for a clearer distance vision, but such a version of  from their logbook on Media Culture: “Media cannot be reduced to 
media studies would still be monocular, would still have a blind spot.  forms of representation such as theater and film, nor to technologies 
In contrast to a media studies indebted to the “Holy Writ” of cultural  such as printing or telecommunications, nor to symbolic systems such 
studies  (cultural, social, linguistic constructivism, that is), a more  as writing, image, or number” (Pias et al. 2004:10).
inclusive version of media studies would also have to focus on what  Niklas Luhmanhs differentiation between “medium” and “form” 
cultural studies bracket off or only see as a retro-effect of the culturally  points the way. By making this differential bear on the conceptual 
constituted construction of the world: matter, materiality, or, to call  tandem “loose  coupling”  and “tight coupling,”  the loose  coupling 
it by its name usually safeguarded by quotation marks—nature. With  of the medium becomes the “condition of possibihty” for the more 
such terms—matter, materiality, nature—I by no means want to humor  concrete consteUations and actuaUzations of the “tight coupling” of 
any notion of substance. This is not about a return to some form of  form—via this “detour” in defining media, Luhmann is able to grasp 
essentialism, nor about the substitution of discursive “cultural laws” by  something of a more “materialist” meaning of the term medimn which 
“natural laws” (be it physical, biological, etc.), but about the modehng  the exclusively technological and cultural versions of Media Theory 
of systemic processes and dynamics that underlie both culture and  have rather neglected. As a sociologist, Luhmann is mainly interested 
nature: the materiality of biological and social systems seen as self in social systems. In Fritz Heider’s book Ding und Medium (Thing and 
organizing aggregates that allow for the emergence of newness. For a  Medium), however, from which Luhmann takes over the medium|form 
re-adjustment of media studies, this would have a twofold consequence:  distinction, Heider uses the example of sand: sand as infinitely divisible, 
on the one hand, to extend the understanding of “medium” in such a way  as a medium that functions “for” a form. The sand’s loose coupUng, its 
as to include a concept of materiality that also includes “non-human”  grain, can serve as a “carrier” for different traces, but can also generate 
transmitters (e.g., the elements such as water, earth, fire, air ... thus different “forms”: sand castles, sand jets, etc. The sand consists of loosely
4 Media\Matter Media\Matter: An Introduction 5
coupled elements  (small stones)  that are structured by something  the world (and thus stand in opposition to the world), or are they a 
more solid that has been imprinted on it, the foot. The sand becomes  poextensive part of that world? Related to this issue is the question if 
a medium because of the form imprinted on it, and the footprint as  jtnedia are more or less neutral and innocent transmitters of a merely 
a form exists only because of the sand as medium. Through one  external information, or if media as matter is not itself “informed”; the 
imprinting foot, the sand elements are momentarily tightly coupled in  material qualities of a medium, one might argue, are its information, 
one way. Through another they become fixed differently. Only because  to information that is transferred by coming into touch with another 
the sand elements are so loosely coupled relative to the imprinting foot  (itself informed) material, and thus both information are changed. 
(the small stones do not fuse together into a solid mass for instance,  They “inform” each other—as Deleuze and Guattari put it: “Matter ... 
making it possible for human feet to alter the coupling of the small  is  not  dead, brute, homogeneous matter, but a matter-movement 
stones), they are able to function as an effective medium of indefinitely  bearing singularities  or haecceities, quaUties and even operations” 
many discrete footprints. (1987: 512). Such processes are in operation continuously—they are 
A “double interface” of this medium|form assemblage makes it quite  never imidirectional and monocausal, but reciprocal and feedback 
fruitful for a more inclusive concept of media, I would argue: on the  looped, and they traverse both nature and culture. Media thus are 
one hand, there is the connection to the radical constructivist theory  always information and matter, that is Rigeuinformation (what Georg 
of autopoietic systems (the theories of Humberto R. Maturana und  Simmel has beautifully called the “Eigengesetzlichkeit des Materials”— 
Francisco J. Varela, to which Luhmann’s Systems Theory refers), on  the “laws governing the material” (1959: 259), its “material qualities”), 
the other hand, there is the recursive structure of the medium|form  plus “external information” (the information stored and transmitted by 
assemblage—in the medium of language (loosely coupled phonemes)—  these media)—media as an oscillation and communication between 
words are the tightly coupled form; in the medium words, sentences are  informed matter and materialized information.
the form; in the medium sentences, thoughts and texts are forms ...  Hence,  all  modes  of matter  (with  all  the  implications  of the 
media thus always are forms of more “loosely coupled” media. medium|fo'rm  assemblage)  can  count  as  media:  sound,  air,  light, 
This  structure  can  serve  as  a  system-theoretical  variant  (and  animals,  human  beings,  communities,  and  complex  technical 
confirmation) of McLuhans dictum that “the ‘content’ of any medium  machines—Luhmann’s  structural  intermediality  might  thus  be  a 
is  always  another  medium”  (McLuhan  1964;  23).  With  regard  to  special case of a more fundamental material intermediality embedded 
a  wider  conception  of the  term  “medium,”  this  means  that  the  in  the  interdependency  of  nature  and  culture,  bio-media,  and 
medium|form differential spans nature and culture—sand|sandstone—  scriptural|technological media—intermediality as an inclusive media 
sandstone|sculptiu"e—sculpture|exhibition—exhibition|art scene, etc. ...  ecology. Such an understanding of media cannot be covered by the 
a recursive structure, which is open to both sides and which constitutes  hxunanities single-handedly—a concept of media as matter, as “quahties 
mediality always already as (structural) iwfermediality. Knut Hickethier’s  and agencies” of matter, exphcitly calls for a transdisciplinary approach. 
(rather dismissive)  question in his introduction to media studies—  ^Media History in its version as the History of Apparatuses has defined 
“Should Media Studies deal with the medium ‘heat’ or ‘sand’?” (19)  transdisciplinarity simply within  the borders  and  confines  of the 
should be answered (with Luhmann and beyond) with a dear “Yes!” ■ humanities and cultural studies (with Kittler breaking through into the 
Such an extended concept of media also questions the relation of  ^Id of cybernetics and the history and science of technology), leaving 
media and world, or environment—do media “mediate” an access to as biology, physics, chemistry aside, an expanded concept of