Inhalt
- | Kapitel kaufen Cover1
- | Kapitel kaufen Content4
- | Kapitel kaufen Editorial | Lorenz Engell, Bernhard Siegert6
- | Kapitel kaufen ARTICLES14
- | Kapitel kaufen The Technological Fact of Counterfactuals | Jeffrey West Kirkwood14
- | Kapitel kaufen Parallel Editing, Double Time. Mad Men’s Time Machine | Elisabeth Bronfen34
- | Kapitel kaufen DEBATE50
- | Kapitel kaufen Fake News and the Complexity of Things | William E. Connolly50
- | Kapitel kaufen Garden-Variety Formalist | Colin Lang56
- | Kapitel kaufen ARCHIVE62
- | Kapitel kaufen Darwin Among the Machines [To the Editor of the Press, Christchurch, New Zealand, 13 June, 1863.] | Samuel Butler62
- | Kapitel kaufen A Community of Limbs. Samuel Butler’s Co-Evolution of Man, Media, and Culture | Niels Werber66
- | Kapitel kaufen FOCUS74
- | Kapitel kaufen From Anthropocene to Mediocene? On the Use and Abuse of Stratifying the Earth’s Crust by Mapping Time into Space | Georg Toepfer74
- | Kapitel kaufen Materializing the Medium. Staging the Age of Humans in the Exhibition Space | Nina Möllers86
- | Kapitel kaufen Medianatures | Jussi Parikka104
- | Kapitel kaufen Entangled Trees and Arboreal Networks of Sensitive Environments | Birgit Schneider108
- | Kapitel kaufen Abandoned Infrastructures. Technical Networks beyond Nature and Culture | Gabriele Schabacher128
- | Kapitel kaufen Odyssey without Nostos, or, From Globe to Planet | Hans-Christian von Herrmann148
- | Kapitel kaufen Toxic Money. Economic Globalization and its (Edible) Currencies | Karin Harrasser158
- | Kapitel kaufen ABSTRACTS172
- | Kapitel kaufen AUTHORS176
- | Kapitel kaufen Authors’ addresses ZMK 9 | 1 | 2018180
Beschreibung
Optical media were instrumental in transforming the conception of facts, objectivity, and the »real.« This paper considers their role in structuring understandings of counterfactuals and states that could not be real. By returning to Ernst Mach’s photographic ballistics experiments, writing on thought experiments (a term he coined), and his dispute with Max Planck about the nature of the Weltbild, the article shows that, despite his legacy as a positivist, Mach’s epistemology of mechanical images opened a legitimate space of indeterminacy, contingency, and counterfactuality.
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