近年，“文化技艺”成为德国文化与媒介研究的一个新前沿，本文围绕相关问题专 访媒介哲学家杰弗里·温斯洛普-扬，他被认为是对德国媒介理论最富洞见者之一。杰 弗里教授认为，“文化技艺”是一种产生我们所知的文化差异网格的操作。在基特勒的 理论谱系中，之所以使用“文化技艺”这一术语，是因为“媒介”概念难以涵盖他想做 的一切。同时，“文化技艺”远远超出技术领域。他还指出，技术决定论涉及一种单 向度的、因果性的影响，这恰恰是“文化技艺”所否认的。此外，与麦克卢汉的“人类 中心主义”倾向相比，“文化技艺”是对人类、动物和机器物种共同进化的一种非目的 论、非人类中心主义的分析，强调从来没有一个纯粹的人后来与技术融合，变成一个后 人类。故此，人类不是工具或媒介的中心或源起点，而是涉及人、动物和人造物体的操 作链的结果。

In recent years, “cultural technologies”has become a new frontier of German culture and media research. This paper makes an interview with media philosopher Geoffrey WinthropYoung around relevant issues.He is one of the most insightful scholars of German media theory. Professor Geoffrey believes that“cultural technologies”are operations that generate the grid of distinctions we know as culture.The reason why Kittler uses the term“cultural technologies”in his theoretical pedigree is that the concept of“media”cannot cover everything he wants to do. Therefore, the“cultural technologies”goes far beyond the technical field. At the same time, technology determinism involves a unilinear, causal influence, which is denied by“cultural technologies”.In addition, compared with McLuhan’s “Anthropocentrism” tendency, “cultural technologies”approach is a non-teleological, non-anthropocentric analysis of the co-evolution of the human, animal and machine species. And it emphasizing that there never was a“pure” human who later on merged with technology and then turned into a posthuman.Therefore, humans are not the center or originating points of tools or media，they are the result of operative chains involving human, animal and artifciality.