Abstract
Bernard Stiegler's critical analysis of the analogic gramme begins with the phonogramme produced by the phonograph, proceeds through the cinematogramme represented by cinema, and culminates in the comprehensive analogic gramme presented by television. From a media—theoretical perspective, he reinterprets Jacque Derrida's concept of spectrality, exposing the inevitable existential crisis under posthumanist conditions. Through the third retention as the technology of the analogic gramme, the human subject can “recall” and adopt the “specter” of “already there”, realize the différance of self—identity, and open up a future full of uncertain possibilities. However, due to the temporally discrete modality of the analogic gramme, the evolutionary process from the phonograph to television also marks a progressive intertwining of the human flow of consciousness with the technical flow of mechanical images. This convergence increasingly subjects human consciousness to the editing and modulation of the mechanical—image flows. When the mechanical—image flows are standardized by the global memory industry's archi—flux, the uncertain “specter” is promptly captured by the logic of capital, undermining the common differentiation between human and technology. In this way, Stiegler reveals the essence of the contemporary alienation in human—technology coexistence and indicates a path for technological—cultural critique and practice.
Keywords
Bernard Stiegler, analogic gramme, cinema, television, specter
First Page
189
Last Page
200
Recommended Citation
Yang, Chen. 2025. "Rewriting Spectrality: On Bernard Stiegler's Critique of the Analogic Gramme." Theoretical Studies in Literature and Art 45, (6): pp.189-200. https://tsla.researchcommons.org/journal/vol45/iss6/19
