Simone Natale

The web will kill them all: new media, digital utopia, and political struggle in the Italian 5-Star Movement

This article examines the role of discourses about new media technology and the web in the rise of the 5-Star Movement (Movimento 5 Stelle, or M5S) in Italy. Founded by comedian and activist Beppe Grillo and web entrepreneur Gianroberto Casaleggio in 2009, this movement succeeded in becoming the second largest party at the 2013 national elections in Italy. This article aims to discuss how elements of digital utopia and web-centric discourses have been inserted into the movement’s political message, and how the construction of the web as a myth has shaped the movement’s discourse and political practice. The 5-Star Movement is compared and contrasted with other social and political movements in western countries which have displayed a similar emphasis on new media, such as the Occupy movement, the Indignados movement, and the Pirate Parties in Sweden and Germany. By adopting and mutating cyber-utopian discourses from the so-called Californian ideology, the movement symbolically identifies itself with the web. The traditional political establishment is associated with “old” media (television, radio, and the printed press), and represented as a “walking dead,” doomed to be superseded and buried by a web-based direct democracy.

Media and the Imaginary in History

This paper discusses how media theory and history should approach specimens of evidence about the cultural reception of media pertaining to the realms of the fantastic, such as speculations, predictions, dreams, and other forms of fantasy regarding media. It argues that the role of the imaginary in the history of media can be fully comprehended only by employing a perspective which is dynamic in time. In different phases of a mediums evolution, in fact, we find different fantasies; it follows that we need specific approaches to study them. The article discusses fantasies which are specific to three stages in media change: those preceding the actual invention of a medium; those accompanying the earliest period after the introduction of a new medium; and those connected to old media.

E-readers and the death of the book: Or, new media and the myth of the disappearing medium

The recent emergence of e-readers and electronic books (e-books) has brought the death of the book to the centre of current debates on new media. In this article, we analyse alternative narratives that surround the possibility of the disappearance of print books, dominated by fetishism, fears about the end of humanism and ideas of techno-fundamentalist progress. We argue that in order to comprehend such narratives, we need to inscribe them in the broader history of media. The emergence of new media, in fact, has often been accompanied by narratives about the possible disappearance of older media: the introduction of television, for instance, inspired claims about the forthcoming death of film and radio. As a recurrent narrative shaping the reception of media innovation, the myth of the disappearing medium helps us to make sense of the transformations that media change provokes in our everyday life.

Photography and Communication Media in the Nineteenth Century

The increasing interest in media history within the academic world has not yet resulted in an intensive examination of the relationship between photography and communications media. This article seeks to begin to address this lacuna by examining photographys insertion into the so-called revolution of communication in middle-nineteenth-century America. The first section of the present study links photography to the introduction of telegraphy, the development of the railway and the expansion of the postal system. The second section examines aspects of the reception of photography in nineteenth-century America and argues this is related to improvements in communication and transportation technologies. The conclusion calls for a broader consideration of the links between the history of photography and the history of media.

The medium on the stage: Trance and performance in nineteenth-century spiritualism

While historians of spiritualism have been eager to focus on its political and social implications, less attention has been given to the fact that spirit communication was also a matter of visual spectacle. This article aims to analyse spiritualist séances as a form of spectacular entertainment. Relying on a wide array of spiritualist sources, it argues that séances were meant not only as moments of religious and scientific inquiry, but also as a brilliant amusement where theatrical effects embellished an exciting shared experience. The intermingling of religion and entertainment can thus be seen as one of the defining characteristics of the spiritualist experience. After sketching the history of the presence of spiritualist mediums on the stage and discussing the involvement of professionalism in mediumship, the article will then focus on the trance as a specific performance strategy. It will examine how the trance combined issues of automatism, theatricality and absorption, and contributed to the coexistence in spirit séances of spectacular features and claims of authenticity.

The Double Birth of Wireless: Italian Radio Amateurs and the interpretative Flexibility of New Media

This article argues that the “double-birth” model proposed by Gaudreault and Marion provides a meaningful contribution to our understanding of how wireless telegraphy was developed and eventually re-invented during its early history. Drawing from a case study on the role played by Italian “radio amateurs” between 1900 and the early 1920s, we examine how such users shifted the mediums definition, legislation, and identity in the first years after the introduction of wireless technology. The emergence of new potential meanings and applications ultimately rebuilt and redefined this medium, creating space for innovation and multiple “births.”

A short history of superimposition: From spirit photography to early cinema

As several scholars have noted, the use of superimposition effects in cinema to conjure such apparitions as ghosts, fairies, devils, and other fantastic creatures finds a significant precedent in spirit photography, a spiritualist practice by which the image of one or more spirits was ‘magically’ captured on a photographic plate. However, arguing for a relationship of direct filiation between spirit photography and the tricks employed in film remains problematic, especially given that spirit pictures were entangled with matters of religious belief. This article calls for a more solid insertion of spiritualism’s visual culture into the pre-history of film practice, giving three main cases in support of the relationship between spirit photography and early cinema. Firstly, the commercial use of spirit photographs within the spiritualist movement suggests that the circulation of these images was not exclusively informed by matters of belief. Secondly, the popularization of exposures of spirit photography operated by numerous stage magicians in the late nineteenth century can contribute towards explaining the insertion of multiple-exposure techniques in the technical expertise of early filmmakers. Thirdly, a documented case in which spirit photographs were presented to a paying public in the vein of magic lantern entertainments demonstrates that the spiritualist visual culture intersected the nineteenth-century tradition of the projected image, too. Thus, by sketching a history of superimposition effects in photography, stage magic, magic lantern, and cinema, this article claims that visual representations of ghosts in the nineteenth century constantly wavered between religion and spectacle, fiction and realism, and still and moving pictures.

Spreading the Spirit Word: Print Media, Storytelling, and Popular Culture in Nineteenth-Century Spiritualism

Spiritualists in the nineteenth century gave much emphasis to the collection of evidences of scientific meaning. During seances, they used instruments similar to those employed in scientific practice to substantiate their claims. However, these were not the only source of legitimization offered in support of the spiritualist claims. In fact, writers who aimed to provide beliefs in spiritualism with a reliable support relied very often on the testimonies of eyewitness that were reported in a narrative fashion. This article interrogates the role of such anecdotal testimonies in nineteenth-century spiritualism. It argues that they played a twofold role: on one side, they offered a form of evidentiary proof that was complementary to the collection of mechanical-based evidences; on the other side, they circulated in spiritualist publications, creating opportunities to reach a wide public of readers that was made available by the emergence of a mass market for print media. Able to convince, but also to entertain the reader, anecdotal testimonies were perfectly suited for publications in spiritualist books and periodicals. The proliferation of anecdotal testimonies in spiritualist texts, in this regard, hints at the relevance of storytelling in the diffusion of beliefs about religious matters as well as scientific issues within the public sphere. By reporting and disseminating narrative testimonies, print media acted as a channel through which spiritualism’s religious and scientific endeavors entered the field of a burgeoning popular culture.

Un dispositivo fantasmatico: cinema e spiritismo

This article focuses on the relationship between the history of spiritualist sances in the nineteenth and early twentieth century and the introduction of film. It examines in particular two cases: the convergence of psychological studies on magic and spiritualism with early film theory, signalled in particular by Hugo Ms involvement in both fields; and the trajectory fromspirit photography, a spiritualist practice that was based on the appearance of spectres on the photographic plate, to the trick movies of early cinema. The conclusion sets the relationship between beliefs in spirit and fictional representation of ghosts in film as a promising field of inquiry for contemporary film studies.

If software is narrative: Joseph Weizenbaum, artificial intelligence and the biographies of ELIZA

Software is usually studied in terms of the changes triggered by its operations in the material world. Yet to understand its social and cultural impact, one needs to examine also the different narratives that circulate about it. Software’s opacity, in fact, makes it prone to being translated into a plurality of narratives that help people make sense of its functioning and presence. Drawing from the case of Joseph Weizenbaum’s ELIZA, widely considered the first chatbot ever created, this article proposes a theoretical framework based on the concept of ‘biographies of media’ to illuminate the dynamics and implications of software’s discursive life. The case of ELIZA is particularly relevant in this regard because it became the centre of competing narratives, whose trajectories transcended the actual functioning of this programme and shaped key controversies about the implications of computing and artificial intelligence.