These introductory remarks outline the German concept of Kulturtechniken (cultural techniques) by tracing its various overlapping meanings from the late 19th century to today and linking it to developments in recent German theory. Originally related to the agricultural domain, the notion of cultural techniques was later employed to describe the interactions between humans and media, and, most recently, to account for basic operations and differentiations that give rise to an array of conceptual and ontological entities which (...) are said to constitute culture. In the second part of the essay, cultural techniques are analyzed as a concept that allows theorists to overcome certain biases and impasses characteristic of that domain of German media theory associated with the work of the late Friedrich Kittler. (shrink)

This text reflects cultural techniques in relation to other concepts in cultural and media studies by addressing their relation to selected Anglo-American and French discussions. It also investigates the relation of cultural techniques to more recent material and speculative turns. Suggesting that the cultural techniques approaches introduce their own important material dimension to media-specific analysis of culture, the article argues that cultural techniques should be read in relation to recent post-Fordist political (...) theory and explorations of the post-human in order to develop conceptual hybrids that are able to inject politics into media theoretical accounts, as well as excavate histories of cultural techniques of cognitive capitalism. (shrink)

First published in 2010, Cornelia Vismann’s article has already attained the status of a classic. In a formulation inspired by linguistic theory, the author argues that the relation between cultural techniques and media can be understood in analogy to grammatical operations. Thus, cultural techniques define the agency of media and execute the procedural rules which the latter set in place. Together, they articulate a critique of subjectivity and sovereignty that proceeds by re-examining the notion of ‘culture’ (...) via its agricultural origins to the current moment when the ‘preservation of cultural techniques’ has entered legal and academic discourse. Ultimately, despite their apparent separation from praxis, cultural techniques continue to proliferate through axes of substitution and displacement. (shrink)

Continuous culture techniques were developed in the early twentieth century to replace cumbersome studies of cell growth in batch cultures. In contrast to batch cultures, they constituted an open concept, as cells are forced to proliferate by adding new medium while cell suspension is constantly removed. During the 1940s and 1950s new devices have been designed—called “automatic syringe mechanism,” “turbidostat,” “chemostat,” “bactogen,” and “microbial auxanometer”—which allowed increasingly accurate quantitative measurements of bacterial growth. With these devices cell growth came under (...) the external control of the experimenters and thus accessible for developing a mathematical theory of growth kinetics—developed mainly by Jacques Monod, Aron Novick and Leo Szilard in the early 1950s and still in use today. The paper explores the development of continuous culture devices and claims that these devices are simulators for standard cells following specific requirements, in particular involving mathematical constraints in the design and setting of the devices as well as experiments. These requirements have led to contemporary designs of continuous culture techniques realizing a specific event-based flow algorithm able to simulate directed evolution and produce artificial cells and microorganisms. This current development is seen as an alternative approach to today’s synthetic biology. (shrink)

This paper seeks to introduce cultural techniques to an Anglophone readership. Specifically geared towards an Anglophone readership, the paper relates the re-emergence of cultural techniques (a concept first employed in the 19th century in an agricultural context) to the changing intellectual constellation of postwar Germany. More specifically, it traces how the concept evolved from – and reacted against – so-called German media theory, a decidedly anti-hermeneutic and anti-humanist current of thought frequently associated with the work of (...) Friedrich Kittler. Post-hermeneutic rather than anti-hermeneutic in its outlook, the reconceptualization of cultural techniques aims at presenting them as chains of operations that link humans, things, media and even animals. To investigate cultural techniques is to shift the analytic gaze from ontological distinctions to the ontic operations that gave rise to the former in the first place. As Siegert points out, this shift recalls certain concurrent developments within the North American posthumanities; the paper therefore also includes a discussion of the similarities and differences between German and North American posthumanism. (shrink)

This paper explores the thesis that the concept of cultural techniques should be strictly limited to symbolic technologies that allow for self-referential recursions. Writing enables one to write about writing itself; painting itself can be depicted in painting; films may feature other films. In other words, cultural techniques are defined by their ability to thematize themselves; they are second-order techniques as opposed to first-order techniques like cooking or tilling a field. To illustrate his thesis, (...) Macho discusses a sequence of historical examples, from body signs and death masks to digital code and ID papers. These examples serve to reiterate another basic proposal that is already announced in the paper’s title. The recursive, self-observing qualities of cultural techniques make them a ‘technology of the self’ and thus render them indispensable for the generation, repetition and maintenance of identity. (shrink)

Originally published in 2003, this article presents one of the first attempts to provide a systematic summary of the new concept of cultural technique. It is, in essence, an extended checklist aimed at overcoming the textualist bias of traditional cultural theory by highlighting what is elided by this bias. On the one hand, to speak of cultural techniques redirects our attention to material and physical practices that all too often assume the shape of inconspicuous quotidian practices (...) resistant to accustomed investigations of meaning. On the other hand, cultural techniques also comprise sign systems such as musical notation or arithmetical formulas located outside the domain of the hegemony of alphabetical literacy. The rise of the latter in particular is indebted to the impact of the digital – both as a domain of technology and a source of theoretical reorientation. Together, these aspects require a paradigmatic change that challenges and supersedes the traditional ‘discursivism’ of cultural theory. (shrink)

This contribution, by a mathematician, to the Common Knowledge symposium “Fuzzy Studies” examines some mechanisms that seem essential for the “ratchet effect” that, in Michael Tomasello's use of the term, refers to the ability of human cultures to preserve their achievements even through serious crises and even where preservation entails substantial loss. By taking the word culture to refer to any group of individuals who closely cooperate over an extended period, this article evaluates mathematicians and mathematics as its main example. (...) The assessment of the enterprise of mathematics as a culture corresponds to the author's personal experience — and mathematics, he argues, is both historically old and simply structured, despite the formidable complexity of mathematical knowledge as it has been compiled over the centuries. The preserving, restructuring, and enlarging of this knowledge may be regarded as the main cultural goals of mathematics and are the objects of study here. This article concentrates first on the techniques used in pursuing the tasks of preservation, enlargement, and restructuring — techniques such as counting methods and geometric diagrams — and it emphasizes their use in communication, when they function as media. The cultural techniques of mathematics, known to and used by all members of that culture, are media that, through intensity of communication, add symbolic functions to mere procedures. (The prototypical example of a cultural technique, in this sense, is language.) Knowledge, as the additional symbolic value, is distributed and at the same time preserved in the process of permanent communication. (shrink)

The originality of Kittler is not his preference for technical media, but his insight in the linking of media with the technique of time axis manipulation. The most elementary experience in human existence is the irreversibility of the flow of time. Technology provides a means for channeling this irreversibility. Media are practices that use strategies of spatialization to enable one to manipulate the order of things that progress in time by transforming singular events in reproducible data. Human bodies cannot be (...) seen as media because they are subject to the linearity of time. Are media a priori functioning universals for Friedrich Kittler? The answer is: no. Media history has a beginning (writing) and an end (computer). (shrink)

This paper offers a brief introduction and interpretation of recent research on cultural techniques (or Kulturtechnikforschung) in German media studies. The analysis considers three sites of conceptual dislocations that have shaped the development and legacy of media research often associated with theorist Friedrich Kittler: first, the displacement of 1980s and 1990s Kittlerian media theory towards a more praxeological style of analysis in the early 2000s; second, the philological background that allowed the antiquated German appellation for agricultural engineering, Kulturtechniken, (...) to migrate into media and cultural studies; and third, the role of these conceptual dislocations in enriching media-genealogical inquiries into topics such as life, biopolitics, and practice. (shrink)

Focusing on a subject the author has extensively engaged with over the years (most notably in his 2010 study Der Diener), the article develops the notion of service as a cultural technique, and the media-theoretical figure of the servant as its servomechanism. The analysis follows three distinct scenarios that highlight, via different channels of perception (acoustic, optic and haptic), the interplay between corporeal practices and media objects in the production of specific cultural effects. In each of the examples (...) chosen, service implies highly regulated networks of recursive operational chains that regulate in their turn the production and distribution of power and knowledge. Thus, Krajewski argues, despite, or rather, precisely because of their apparent marginality and invisibility, the ‘small gestures’ of service join the ranks of already established, elementary symbolic techniques such as reading or writing. (shrink)

This contribution examines the media history of swarm research and the significance of swarming techniques to current socio-technological processes. It explores how the procedures of swarm intelligence should be understood in relation to the concept of cultural techniques. This brings the concept into proximity with recent debates in posthuman (media) theory, animal studies and software studies. Swarms are conceptualized as zootechnologies that resist methods of analytical investigation. Synthetic swarms first emerged as operational collective structures by means of (...) the reciprocal computerization of biology and biologization of computer science. In a recursive loop, swarms inspired agent-based modelling, which in turn provided biological researchers with enduring knowledge about dynamic collectives. This conglomerate led to the development of advanced, software-based ‘particle systems’. Swarm intelligence has become a fundamental cultural technique related to dynamic processes and an effective metaphor for the collaborative efforts of society. (shrink)

"My aim in this paper is to develop an ontology of media operations that is rooted in Gilbert Simondon’s theory of individuation. I position this media operative ontology in contrast to Bernhard Siegert’s understanding of operative ontology as a cultural technique. Drawing on Wolfgang Ernst, Henri Atlan, and Michel Serres, I argue that Siegert’s position compromises the extra-cultural operationality of technical media, and of techniques more generally, in its bid to redirect media theory from its Kittlerian trajectory. (...) With his theory of information as reception of environmental singularity by a metastable receiver, Simondon provides a mechanism for theorizing how extra-cultural operationality of technical media informs the production of culture and the distinctions upon which it rests, without compromising the alterity of technics. Mein Ziel in diesem Beitrag ist es, eine Ontologie von Medienoperationen zu entwickeln, die auf Gilbert Simondons Theorie der Individuation fußt. Auf der Grundlage von Wolfgang Ernst, Henri Atlan und Michel Serres behaupte ich, dass Siegerts Versuch, die Medientheorie von ihrer Kittlerschen Linie abzulenken, den Stellenwert der außerkulturellen Operationalität technischer Medien und der Techniken im Allgemeinen herabspielt. Mit seiner Theorie der Information als Empfang von umweltlicher Singularität durch einen metastabilen Empfänger bietet Simondon dagegen einen Mechanismus, dank dem theoretisch durchdacht werden kann, wie die außerkulturelle Operationalität der technischen Medien die Kulturproduktion und die Unterscheidungen, auf denen sie beruht, prägt, ohne die Andersheit der Technik zu reduzieren. ". (shrink)

The essay examines solitude not as fate, sacrifice or passion, but as an experience that is actively initiated, that is perceived ambivalently, sometimes painfully, but also sensually, and that functions as context as well as occasion for the practice of cultural techniques – talking (to oneself), reading, writing, drawing or painting. Solitude techniques are analysed as “technologies of the self” (Michel Foucault) and “techniques of the body” (Marcel Mauss), as strategies for self-perception and “internal policy” (Paul (...) Valéry). The history of these self-techniques as solitude techniques is unfolded using examples from Stoic philosophy and early Christian theology. An emphasis is placed on self-doubling or splitting techniques: those who are alone with themselves also see themselves as more or less resilient objects that can be strengthened against the influences of other voices and people. Among the techniques of solitude is, above all, the quest for suitable places that are often – desert, sea, mountain peak, etc. – characterised not only by being devoid of humans, but also by a kind of uniformity. In this way, they resemble writing or drawing surfaces on which meanings can be brought to light through sketches or graphic characters. (shrink)

Résumé La sous-traitance dans les métiers londoniens est un phénomène massif au XVIIIe siècle qui transforme l’économie et la culture technique artisanales. Elle est liée à la recherche de producteurs qualifiés capables de répondre à la demande en nombre d’articles hautement composites, censés varier les effets visuels et fonctionnels des objets de consommation. L’économie de la variété, appliquée à une production importante, favorise l’extension des circuits entre producteurs et l’essor des marchés de production, c’est-à-dire une organisation ramifiée complexe fondée sur (...) la mobilisation d’opérateurs externes spécialisés, sous l’égide d’artisans-entrepreneurs. Nous nous proposons d’examiner l’impact de cette organisation du travail sur la culture technique et les identités professionnelles en milieu artisanal. On abordera cette question d’une part à travers l’écrit économique, d’autre part à partir d’actes de la pratique. (shrink)

Humanity is made of technical objects. Despite of this fact, technique is not considered as a cultural matter especially in engineering schools where it should be taught. As teachers and searchers at the INSA Lyon, we have experienced the way and the difficulties to develop this technical culture.

This article examines the confessional booth as an architected space that, by serving as a geo-epistemological enclosure, prefigures digital forms of data capture and production. In conversation with critical scholarship about ‘confessional culture,’ it analyzes how confessionals and digital enclosures embody different historical iterations of a cultural technique that promises absolution – understood as a cleansing process of transparent exposure. It argues that, with digital enclosures, the renunciative self-mortification that lies at the heart of classic Christian confession is reprogrammed (...) into what Byung-Chul Han calls a ‘pornographic self-presentation.’ The self-death dealt by the confessional thus becomes an apparently voluntary self-exploitation for the social media subject. In both cases, however, absolution governs via rituals of cathartic transparency, submitting interiority to processes of legible exteriorization and articulating the subject via an exhibitive logic that blurs the boundaries between communicative freedom and compulsory self-exposure. (shrink)

The organizational culture of an educational institution is key in influencing students' adoption of new teaching practices. It is felt that creating a positive and supportive culture goes a long way in encouraging people to embrace and practice the new education methods. This information can be useful for identifying how certain cultural elements affect students' engagement and, thus, facilitating the establishment of more appropriate and suitable environments in institutions that contribute to better educational outcomes. This study’s focus is on (...) exploring the nexus between organizational culture and the impact that it possesses on the students' interactions with innovations in learning methods, with several considerations. Informed consent was obtained from 1411 students in 5 colleges, including questions that sought demographic information including gender, age, and study year. Statistical Package for Social Sciences (SPSS) was analyzed to test reliability, mean scores, and correlations. The findings show that the research used methods like reliability analysis, descriptive analysis, Pearson correlations, analysis of variance (ANOVA), post hoc assessment, and Chi-Square tests. These suggest positive correlations between main organizational culture variables and differences between institutions. The findings suggest that a positive organizational culture enhances student engagement with innovative learning techniques. The study concludes that fostering a supportive and innovation-driven organizational culture is essential for improving student participation and effectiveness in educational practices. (shrink)

The Tianqin, often a plucked zither or lute, holds significant cultural and musical heritage in China. The objective of this study is to explore the evolutionary perspectives on the culture of a Chinese folk musical instrument by examining its playing techniques and cultural changes. Conducted in Longzhou County, Guangxi Zhuang Autonomous Region, China, this study involved ethnographic fieldwork, including participant observation and interviews with key informants such as Tianqin musicians and craftsmen. Data analysis was performed using thematic (...) analysis, revealing that the Tianqin has transitioned from a ritualistic instrument to a symbol of cultural heritage and mass entertainment. The findings highlight the instrument's adaptability through innovations in playing techniques and materials, supported by governmental initiatives promoting Tianqin culture. This research underscores the importance of preserving and promoting traditional musical instruments in contemporary society. The study's insights contribute to a broader understanding of cultural adaptation and innovation in ethnomusicology. (shrink)

This paper is divided into two parts, this being the first one. The second is entitled ‘Historical and Epistemological Reflections on the Culture of Machines around Renaissance: Machines, Machineries and Perpetual Motion’ and will be published in Acta Baltica Historiae et Philosophiae Scientiarum in 2015. Based on our recent studies, we provide here a historical and epistemological feature on the role played by machines and machineries. Ours is an epistemological thesis based on a series of historical examples to show that (...) the relations between theoretical science and the construction of machines cannot be taken for granted, a priori. Our analysis is mainly based on the culture of machines around 15th and 17th centuries, namely the epoch of Late Renaissance and Early Modern Age. For this is the period of scientific revolution and this age offers abundant interesting material for researches into the relations of theoretical science/construction of machines as well. However, to prove our epistemological thesis, we will also exploit examples of machines built in other historical periods. Particularly, a discussion concerning the relationship between science theory and the development of science art crafts produced by non-recognized scientists in a certain historical time is presented. The main questions are: when and why did the tension between science give rise to a new scientific approach to applied discipline such as studies on machines and machineries? What kind of science was used for projecting machines and machineries? Was science at the time a necessary precondition to build a machine? In the first part we will focus on the difference between Aristotelian-Euclidean and Archimedean approaches and we will outline the heritage of these two different approaches in late medieval and Renaissance science. In the second part, we will apply our reconstructions to some historical and epistemological problems concerning the relations of science/technology/constructions of machines. The problem of perpetual motion will play an important role in this context. (shrink)

This paper analyses the text Vital Dispositions Come Via Mandate (Xing Zi Ming Chu, 性自命出) and argues that central to its account of the cultivation of inner virtue are the affections (qing, 情), the heart-mind (xin, 心), and the techniques of the heart-mind (xinshu, 心术; or simply ‘culture’). Qing, it is argued, are intersubjective, socio-culturally produced non-sensory data that act on the heart-mind and serve as the foundation for moral behavior. Qing is encoded in cultural forms such as (...) Music and poetry. Hence, there is an internal relationship between qing, xin, and xinshu. Correctly understanding the connection between these and how they shape the human being will help elucidate the nature of the Confucian moral program. In foregrounding qing, this paper presents Confucian moral philosophy as grounded in a hermeneutic and sympathetic understanding of the perspective of the other. (shrink)

This article revisits French sociologist Marcel Mauss’ notion of ‘techniques of the body’ to analyze the emergence of corporeal and behavioral norms instituted to prevent the spread of the coronavirus pandemic. Centering its analysis on the early stages of COVID’s global spread, the article examines a range of everyday, micro-practices that reveal how the pandemic changed our awareness, uses, and assessments of our own and others’ bodies. In a context where to not touch was to care, people often struggled (...) to find a balance between maintaining social civility and sustaining collective health. Failure to adapt the body to pandemic conditions, or instances of COVID faux-pas, resulted in discomfort, embarrassment, or annoyance on the part of those who perceived this behavior as irresponsible, dangerous, and selfish. Changing bodily practices thus became subject to judgment in ways that sometimes obscured the uneven distribution of risk and protection afforded to differently privileged or vulnerable human communities as they grappled with the uncertain phenomenologies of pandemic living and dying. COVID-19 corporealities, both fleshly and virtual, thus reveal the conjoined articulation of the social, biological, cultural, moral, and psychological in our bodily movements, expressions, and assessments. In contrast to Mauss’ theorization, many techniques of the body in the Covidscape were experienced as new, contextual, shifting, and improvised. They spoke to necessity and challenge of articulating a different relationship to the world and to others, enacted in the minute and mundane practices of everyday life, through which macro-level processes and forces are embodied and evaluated. (shrink)

This article considers `critique' as performative, being on the one hand a reiterative performance, that enacts the `critic' through the act of critique, and on the other hand reflecting the constitution of the subject. While this approach takes on the conceptual framework of Judith Butler's work, it differs by refusing critique — or its correlates; parody, subversion or similar — any special status. Like any other performance critique is taken here as a cultural practice, as a Foucauldian `technique of (...) self', though the complex genealogy of such a technique lies outside the scope of this article. In order to illustrate this argument I interpret a number of Butler's prefaces, interviews and digressions which diverge from her own theoretical framework, and argue that these `fictions' arise from critical `disavowals': that is, a `self-transformative' turn against power. The subjective `crisis' that prompts critique is then elaborated by comparison to Girard's work on imitation and sacrifice. (shrink)

One of the clearest examples of a technological system, in the sense that Ellul discussed it, is contemporary biomedical health care. The foundation of technological systems is technique: efficient methods for achieving isolated goals. However, the goal of health care should be to achieve health in the full sense of wholeness. Traditional healing systems addressed heath in this sense, but biomedicine cannot; attempting to use the techniques of traditional systems without the accompanying culture ruptures those systems. Using the contemporary (...) epidemic of chronic noncommunicable diseases as an example, this article attempts to exposes the limitations of a technical approach, as well as the limitations of the methodology of risk analysis. (shrink)

This article demonstrates the possibilities and problems of the formation of a new type of human‐technique‐nature relationship ‐ the organic technique ‐ in modern civilization. It is a relationship in which neither human nor nature must adapt to the needs of technology; rather, the technique is embedded in nature and becomes 'human-sized'. We can find a model for building this new type of relationship in the construction of buildings from bamboo. The uniqueness of bamboo as a building material manifests in (...) two ways. The first relates to resources: bamboo is a very fast-growing plant, so cutting it's stem does not destroy the plant itself and in three to four years there is a new 'harvest'. This means bamboo has an extremely low cost, which is critical for developing countries with rapidly growing populations. Second, bamboo has a number of architectural advantages. Due to the flexibility and elasticity of this product, bamboo buildings are earthquake resistant. Such structures do not violate the natural landscape, but instead work with it; they are characterized by low cost and ease of construction, in a variety of forms. This has led to the widespread use of bamboo by leading architects and innovators from different countries. This article shows that the application of bamboo in architecture ‐ as opposed to artificial materials such as concrete, which exploit and destroy nature and impose their forms on cultures ‐ helps this building technique to integrate into the life of ecosystems and society, and thus to become a model of harmonizing human‐technique‐nature relations. (shrink)

This article develops a sociological reading of Walter Benjamin’s ‘Arcades Project’, or Passagen-werk . Specifically, the essay seeks to make explicit Benjamin’s non-dualistic account of structure and agency in the urban milieu. I characterize this account as the ‘dialectic of urbanism’, and argue that one of the central insights of Benjamin’s Passagen-werk is that it locates an emergent and innovative cultural form - a distinctive ‘street culture’ or jointly shared way of modern urban life - within haussmannizing techniques (...) of architectural administration and spatial domination. In the modern metropolis, Benjamin sees a new kind of collective - an embedded and effervescent sociocultural group held together not by the functionalist imperatives of capitalist urban planning but by an improvisational mode of street life. Key Words: agency • culture • embeddedness • structure • urbanism. (shrink)

The aim of this text is to develop an epistemological-technique approach which permit analyze the work of Juan Downey, and his use of technical medias and also include the struggle against the State in the political and cultural model of the primitive societies of the Yano- mani, particularly by the work of Pierre Clastres and Jacques Lizot, and also their point of view of the methods of production in the societies of abundance, as theorized the anthropologist Marshall Sahlins, considering (...) these anthropological paradigms as a medium to understand the mediatic interaction and the technique development in the works of Juan Downey. (shrink)

This paper analyses the text Vital Dispositions Come Via Mandate (Xing Zi Ming Chu, 性自命出) and argues that central to its account of the cultivation of inner virtue are the affections (qing, 情), the heart-mind (xin, 心), and the techniques of the heart-mind (xinshu, 心术; or simply ‘culture’). Qing, it is argued, are intersubjective, socio-culturally produced non-sensory data that act on the heart-mind and serve as the foundation for moral behavior. Qing is encoded in cultural forms such as (...) Music and poetry. Hence, there is an internal relationship between qing, xin, and xinshu. Correctly understanding the connection between these and how they shape the human being will help elucidate the nature of the Confucian moral program. In foregrounding qing, this paper presents Confucian moral philosophy as grounded in a hermeneutic and sympathetic understanding of the perspective of the other. (shrink)