Babbage's apparatus: Toward an archaeology of the black box

Grey Room

Volumn , Issue 28, 2007, Pages 31-55

  Siegel, Greg ^a  

^a NONE

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[No Author keywords available]

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EID: 65849214689     PISSN: 15263819     EISSN: None     Source Type: Journal    
DOI: 10.1162/grey.2007.1.28.30     Document Type: Review

References (33)

1. Charles Babbage, Passages from the Life of a Philosopher, ed. Martin Campbell-Kelly (London: Pickering & Chatto, 1991), 245
2. Anthony Hyman, Charles Babbage: Pioneer of the Computer (Princeton: Princeton University Press, 1982), 160
3. Erkki Huhtamo, "From Kaleidoscomaniac to Cybernerd: Notes toward an Archaeology of Media," in Electronic Culture: Technology and Visual Representation, ed. Timothy Druckrey (New York: Aperture, 1996), 303
4. See also Erkki Huhtamo, "Elements of Screenology: Toward an Archaeology of the Screen," Iconics 7 (2004): 31-82
5. Huhtamo, "From Kaleidoscomaniac to Cybernerd," 303
6. Carolyn Marvin, "Experts, Black Boxes, and Artifacts: New Allegories for the History of Electric Media," in Rethinking Communication, Vol. 2: Paradigm Exemplars, ed. Brenda Dervin, Lawrence Grossberg, Barbara J. O'Keefe, and Ellen Wartella (Newbury Park, CA: Sage, 1989), 190
7. See also Carolyn Marvin, When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century (New York: Oxford University Press, 1988)
8. Jennifer Daryl Slack and J. Macgregor Wise, "Cultural Studies and Technology," Handbook of New Media, ed. Leah A. Lievrouw and Sonia Livingston (London: Sage, 2002), 491
9. See also Jennifer Daryl Slack, "Contextualizing Technology," in Rethinking Communication, Vol. 2, ed. Dervin, Grossberg, O'Keefe, and Wartella, 329-345
10. Marvin, When Old Technologies Were New, 8
11. The term structured feelings is a modification of Raymond Williams's notion of a "structure of feeling," which he discusses in The Long Revolution (New York: Columbia University Press, 1961), 48-49
12. Thomas L. Hankins and Robert J. Silverman, Instruments and the Imagination (Princeton: Princeton University Press, 1995), 128
13. Hankins and Silverman, 135. See also "Machines to Hear for Them," the first chapter in Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction (Durham, NC: Duke University Press, 2003)
14. Marta Braun, Picturing Time: The Work of Etienne-Jules Marey (1830-1904) (Chicago: University of Chicago Press, 1992), 15
15. Anson Rabinbach, The Human Motor: Energy, Fatigue, and the Origins of Modernity (New York: Basic, 1990), 95
16. Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge: Harvard University Press, 2002), 48; emphasis added
17. Robert C. Reed, Train Wrecks: A Pictorial History of Accidents on the Main Line (New York: Bonanza Books, 1968), 25
18. On the relationship between modernity, the illustrated press, and the sensationalization of streetcar and early motorcar accidents, see Ben Singer, "Modernity, Hyperstimulus, and the Rise of Popular Sensationalism," in Cinema and the Invention of Modern Life, ed. Leo Charney and Vanessa R. Schwartz (Berkeley and Los Angeles: University of California Press, 1995), 72-99
19. Wolfgang Schivelbusch, The Railway Journey: The Industrialization of Time and Space in the Nineteenth Century (Berkeley and Los Angeles: University of California Press, 1986), 78
20. Taking her cue from Schivelbusch, Lynne Kirby argues that "early railroad travelers lived a double relation to the train journey: the pleasure of speed, the thrill of the 'projectile' being shot through space, matched against the terror of collision and its psychological effects - phobia, anxiety, and, in many cases, hysteria. Certainly, as noted, with the marked increase in railroad accidents in the United States after 1853, the extent to which fear of collision had become bound up with the fabric of train travel could not be doubted." Lynne Kirby, Parallel Tracks: The Railroad and Silent Cinema (Durham, NC: Duke University Press, 1997), 58
21. Roger Cooter, "The Moment of the Accident: Culture, Militarism and Modernity in Late-Victorian Britain," in Accidents in History: Injuries, Fatalities and Social Relations, ed. Roger Cooter and Bill Luckin (Amsterdam: Rodopi, 1997), 112
22. Leo Marx, The Machine in the Garden: Technology and the Pastoral Ideal in America (1964; reprint, New York: Oxford University Press, 2000), 195
23. John F. Kasson, Civilizing the Machine: Technology and Republican Values in America, 1776-1900 (1976; reprint, New York: Hill and Wang, 1999)
24. and David E. Nye, American Technological Sublime (Cambridge: MIT, 1994). Although Marx, Kasson, and Nye all focus on the American context, plenty in their analyses is applicable to the concurrent Western European context
25. Terry Eagleton, The Ideology of the Aesthetic (Oxford, UK: Blackwell, 1990), 52
26. Theodor W. Adorno, "Progress," in Benjamin: Philosophy, History, Aesthetics, ed. Gary Smith (Chicago: University of Chicago Press, 1989), 89
27. Ernst Jünger, "On Danger," in The Weimar Republic Sourcebook, ed. Anton Kaes, Martin Jay, and Edward Dimendberg (Berkeley and Los Angeles: University of California Press, 1994), 370
28. Jeffrey T. Schnapp, "Crash (Speed as Engine of Individuation)," Modernism/Modernity 6.1 (1999): 1-49
29. Siegfried Giedion, Mechanization Takes Command: A Contribution to Anonymous History (New York: Norton, 1969), 31
30. Alan Trachtenberg, "Foreword," in Wolfgang Schivelbusch, The Railway Journey: The Industrialization of Time and Space in the Nineteenth Century (Berkeley: University of California Press, 1986), xiii
31. On the history of the seismograph, see James Dewey and Perry Byerly, "The Early History of Seismometry (to 1900)," Bulletin of the Seismological Society of America 59, no. 1 (1969): 183-227
32. On the history of the lie detector, see Paul V. Trovillo, "A History of Lie Detection," Journal of Criminal Law and Criminology (1931-1951) 29, no. 6 (1939): 848-881
33. Ronald R. Thomas provides a superb cultural-historical analysis of the lie detector in Detective Fiction and the Rise of Forensic Science (Cambridge, UK: Cambridge University Press, 1999)