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Jan Philip Müller

Jan Philip Müller

Doctor Philosophiae

About

45
Publications
2,601
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Introduction
I am a scholar in media cultures, mainly interested in the materialities, aesthetics and politics of auditory and visual media with a focus on the interfaces between knowledge, technology, perception and culture. I graduated in Volkswirtschaftslehre (economics) and Kulturwissenschaft (culture studies) with a thesis on the discourses and technologies of the x-ray image. My doctoral thesis pursued a history of asynchronisms and synchronisations between hearing and seeing up to the sound film. My work is inspired by and takes up approaches from media archaeology, histories of knowledge, film and sound studies, science and technology studies, and theories of cultural techniques. Currently, I am investigating experimental situations between art and activism in radiophonics and sound art.

Publications

Publications (45)
Conference Paper
Full-text available
Worum es im Folgenden gehen soll, ist also das Autoradio als altes Medium. Ein Zeichen für das Alter eines Mediums besteht vielleicht darin, dass seine – vergangene – Geschichte erzählt wird... in anderen Medien. Darum möchte ich über einen Film sprechen, in dem Autoradios und das Autoradio eine entscheidende Rolle spielen: AMERICAN GRAFFITI, ein F...
Chapter
Full-text available
A dialogue with the Mini-FM/micro radio activist/artist Tetsuo Kogawa about radiophonics, futures, collectives, (im-)perceptibilities, hands-on experimentation with radio circuits, and dissent
Presentation
Full-text available
Radio is wireless – the transmitter and the receiver can be mobile. As radio is not bound to a specific place, the exact location of transmitter and recipient of sound can be difficult to determine. In radiophonics, these peculiarities in terms of mobility and positioning within the realm of the radio waves combine with other auditory realms and sp...
Presentation
Full-text available
"Radio-Mobile" is one of the 13 thematic collections (called "narratives") that organize the works of radio art presented at the exhibition "Radiophonic Spaces. A sonic journey through the history of radio art" (https://radiophonic.space). Along the collected works, "Radio-Mobile" traces a line of experimental negotiations with radiophonic spaces,...
Conference Paper
Full-text available
The tension or suspension of Drive In Music between music and radio broadcast plays into the fields that I am trying to deal with in my talk: sound, radio, spatialities, and mobilities. (As a sidenote: Although this list might sound like I do, I will not explicitly talk about mobile phones…). Or, more precisely, what I will try to do is to think th...
Chapter
This chapter traces how in STEAMBOAT WILLIE (1928) the storyboard works as a "diagram of time": a cultural technique that distributes different temporalities on different layers of this film by connecting them. Walt Disney's animated films received intense attention in the early discourse on what sound-film was, and what it would become: from Serg...
Conference Paper
Full-text available
Ich würde an Alfred Hitchcocks Film THE BIRDS gerne ein paar Gedanken zu den Relationen zwischen tierischen Vogelschreien auf der einen Seite und menschlichen Äusserungen, Sprache auf der anderen Seite entwickeln. Ich würde sagen, diese Verhältnisse werden in THE BIRDS durchgespielt in einer Art von audio/visuellen Schichtungen, die sich als Grund...
Article
Full-text available
The "Acoubouy", an acoustic surveillance device used for the "electronic wall" between North- and South Vietnam; the "Good Moooorning Vietnam" of the American Forces Vietnam Network (AFVN), "Hanoi Hannah" of Radio Hanoi, "Dave Rabbit" of the GI pirate radio "Radio First Termer" or "Ghost Tape #10" that US psychological operations units played at hi...
Conference Paper
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As Wolfgang Hagen has shown, there is a certain impossibility of the the radiophonic archive. Starting from this thought I would like to sketch some of the consequences for the thinking about and working with archives and databases of sound and radio art.
Article
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Rezension der Bücher:__________________________________________ - Scott Curtis: The Shape of Spectatorship. Art, Science, and Early Cinema in Germany, New York (Columbia University Press) 2015. ________________________________________________________________ - Oliver Gaycken: Devices of Curiosity. Early Cinema and Popular Science, Oxford u. a. (Oxf...
Thesis
Full-text available
Sound films are not merely an addendum to the history of cinema. The advent of sound films is the occasion for a far-reaching discourse about the relationship between seeing and hearing; about what ‘audiovision’ actually is, could, and should be. And even more generally, one could discuss the fact that sound films are one of the first big projects...
Article
Micheal Snow's talking picture »Rameau's Nephew […]« (1974) develops an ever unstable taxonomy of audio-visual relations in the talking movie. The contribution investigates this experimental film by following three motives – translation, surface, water – with which the talking movie reflects itself. Thus, moments of transition between mere technica...
Book
Full-text available
Was erzählen Gegenstände über das Verhältnis des Kinos zur Oingwelt? Wie ändern sich Filmgeschichte und Medientheorie, wenn sie vom Objekt aus gedacht werden? Oie Frage nach den kinematografischen Objekten produziert nicht nur ein genuines Wissen von den Dingen, sondern auch über den Film selbst. In den 100 Einträgen dieses Wörterbuchs werden kinem...
Chapter
Creating Loops, Identifying Sound Objects. Auditory Techniques in Pierre Schaeffer's Musique Concrète and Walter Murch's Sound Design in THX 1138 The text traces the genealogy of auditory techniques and discourses by identifying connections between Pierre Schaeffer's Musique Concrète (created since the late 1940s) and a shift in the aesthetics of...
Chapter
Infrastrukturen, die die Entwicklung des Urbanen bestimmen, werden in der Stadt- und Architekturtheorie vor allem als technische Artefakte erfasst. Dabei gerät jedoch in den Hintergrund, wie technische Mittel der Fortbewegung, soziale Entwicklungen, politische Ereignisse und ästhetische Formen ineinander greifen und die Erfahrung der Stadt bestimme...
Conference Paper
Full-text available
This is a mainly unrevised and uncorrected script for my talk on some preliminary ideas for the project “Experimental Feedbacks of Radiophonics” that I presented before the project had actually started. It draws together some basic notions of radiophonics that seem to be recurring themes in the discourses on radio, into a – rather rough – model. Tw...
Article
Full-text available
ZfM online www.zfmedienwissenschaft.de/online/buchbesprechung/filmgeraeusch
Chapter
»Aber die Polizisten sind nicht nur die besseren Photographen, sondern auch die besseren Schriftsteller.« (Uwe Nettelbeck: Fantômas. Eine Sittengeschichte des Erkennungsdienstes) Ein Tatort ist nicht nur die räumliche Vermessung einer Straftat - er ist ein Konglomerat aus Verdachtsmomenten und materiellen Indizien. Als Projektionsfläche für Spekula...
Data
An audio/visual theory according to “Rameau’s Nephew by Diderot (thanx to Dennis Young) by Wilma Schoen” by Michael Snow. ___________________________________________________ “Rameau’s Nephew”, a philosophical dialogue written by the French philosopher Denis Diderot was first published in 1805 in German – translated by Johann Wolfgang von Goethe – w...
Chapter
Full-text available
In John Smith's THE GIRL CHEWING GUM (UK 1976) there is an ambiguity about the 'orders' of the image: On one side it is about a director giving orders, on the other side it is about the orders of the cinematographic visible and hearable: What can be seen and heard? From where? And what not; what is outside, in the off(s)?
Chapter
Full-text available
In the second half of the nineteenth century, processes were developed and devices built that enabled sounds and moving images to record themselves over time and then be played back: gramophone and film. This is the starting point of a history of technical audiovisual media in which a central problem of the relationships between image and sound the...
Chapter
Jan Philip Müllers Aufsatz "Dickson Experimental" greift die historische Rekonstruktion des wahrscheinlich ersten synchronisierten Tonfilms auf: Der von William Dickson 1895 in Thomas Edisons Film-Test-Labor "Black Maria" gedrehte Film wurde im Jahr 2000 vom legendärenHollywood-Cutter und Sounddesigner Walter Murch rekonstruiert. Müller kombiniert...
Book
Ein goof ist ein Fehler im Film. Kurz wird sichtbar, was eigentlich unsichtbar bleiben sollte, damit der Film funktioniert. Doch goofs finden sich nicht nur in Filmen: Wann immer Geschichte geschrieben wird, gibt es fehlerhafte Übergänge, unstimmige Details, kaschierte Anachronismen und nachträglich definierte Anfänge. So werden mit dem goof nicht...
Conference Paper
Full-text available
On the occasion some recent digital videos that show artifacts of "datamoshing" I talk about some aspects of digital video compression.
Thesis
Full-text available
Magisterarbeit zur Kultur-, Wissens- und Technikgeschichte der Röntgenbilder zwischen 1895 und 1914. Dies ist die unveränderte Fassung meiner Magisterarbeit, die ich 2002 geschrieben habe. Seitdem habe ich den Text also nicht auf Fehler, falsche Angaben und Ähnliches durchgesehen, oder sonst irgendetwas, das ich heute möglicherweise anders machen o...

Projects

Projects (4)
Project
I am interested in various image techniques (technical inscriptions, diagrams, maps, cinemato- and other graphies) and their aesthetics.
Project
This project aims at a history of experimental radiophonic practices, namely sound installation art and radio activism, that explore radiophonic spatialities. Thereby, two motifs in the history of radiophonics are taken up: (1) Experiment. Radio has recurrently been understood in the form of experimental arrangements – from physics to perceptual, social, political, or aesthetic tests. (2) Disconnections. Discourses of radio refer to a double interval between sender and receiver: Radio has been called 'schizophonic' or 'acousmatic' because its sounds are heard as removed from their – invisible – sources or contexts – at the same broadcast radio interrupts the connection to the scattered listeners that cannot be present at the place of the broadcaster and have to stay silent. Radiophonics then can be described in terms of spatial relations and specific separations and connections; e.g. of acoustic, electromagnetic, geographical, cultural or network spaces. When, for instance, Max Neuhaus installs his Drive-In Music (1967/68) by arranging low-range transmitters along a road that emit different sounds on the same radio frequency, or when in 1977 Radio Alice opens its transmissions to voices phoning in from the streets of Bologna, such aesthetic and political strategies 're-experimentalize' radio: the spatial arrangements, the (dis-)connections of radiophonics are reconfigured, the potentialities of technology reverting into culture and vice versa are tested out, the definition of radiophonics is renegotiated.