Late Medieval and Early Modern Fight Books offers insights into the cultural and historical transmission and practices of martial arts, based on the corpus of the Fight Books (Fechtbücher) in 14th- to 17th-century Europe. The first part of the book deals with methodological and specific issues for the studies of this emerging interdisciplinary field of research. The second section offers an overview of the corpus based on geographical areas. The final part offers some relevant case studies. This is the (...) first book proposing a comprehensive state of research and an overview of Historical European Martial Arts Studies. One of its major strengths lies in its association of interdisciplinary scholars with practitioners of martial arts. Contributors are Sydney Anglo, Matthias Johannes Bauer, Eric Burkart, Marco Cavina, Franck Cinato, John Clements, Timothy Dawson, Olivier Dupuis, Bert Gevaert, Dierk Hagedorn, Daniel Jaquet, Rachel E. Kellet, Jens Peter Kleinau, Ken Mondschein, Reinier van Noort, B. Ann Tlusty, Manuel Valle Ortiz, Karin Verelst, and Paul Wagner. (shrink)

The twenty-first century has witnessed a pervasive militarization of aesthetics with Western military institutions co-opting the creative worldmaking of art and merging it with the destructive forces of warfare. In Martial Aesthetics, Anders Engberg-Pedersen examines the origins of this unlikely merger, showing that today's creative warfare is merely the extension of a historical development that began long ago. Indeed, the emergence of martial aesthetics harkens back to a series of inventions, ideas, and debates in the eighteenth and early (...) nineteenth century. Already then, military thinkers and inventors adopted ideas from the field of aesthetics about the nature, purpose, and force of art and retooled them into innovative military technologies and a new theory that conceptualized war not merely as a practical art, but as an aesthetic art form. This book shows how military discourses and early war media such as star charts, horoscopes, and the Prussian wargame were entangled with ideas of creativity, genius, and possible worlds in philosophy and aesthetic theory (by thinkers such as Leibniz, Baumgarten, Kant, and Schiller) in order to trace the emergence of martial aesthetics. Adopting an approach that is simultaneously historical and theoretical, Engberg-Pedersen presents a new frame for understanding war in the twenty-first century. (shrink)

Our aim is to point out the role of scientific research in contemporary technological developments. Interactions between science and technology in the context of application-driven research projects of the 20th century are discussed. We define science and technology as two separate domains, and provide elementary models for their interaction by the means of applied and engineering sciences. These elementary models constitute linear and cascade models of science-technology interaction. We apply these elementary models for the purpose of further methodological analysis of (...) Soviet nuclear warfare project. The special role of organization and management in research and development activities is being emphasized. The new science-technology interaction model is devised in the course of nuclear project. This new interaction model is referred as non-linear or spiral. The model is seen as more collaborative and risk aware than linear and cascade interaction models present in twentieth century. The conclusion is the new model was of great impact to modern social forms in which research is carried out in the present. (shrink)

The book brings together leading contemporary thinkers of war to outline the aesthetic dimension of warfare across art, technology, and politics.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 371-397 [Access article in PDF] How the "New Science" of Cannons Shook up the Aristotelian Cosmos Mary J. Henninger-Voss [Figures]Approximately halfway through the "Second Day" of Galileo's Dialogue Concerning the Two Chief World Systems Galileo's mouthpiece, the mathematician Salviati, scoffs at his Aristotelian colleague Simplicio: "I see that you have hitherto been of that herd who, in order to learn (...) how matters such as this [motion] take place, and in order to acquire a knowledge of natural effects, do not betake themselves to ships or crossbows or cannons, but retire to their studies... to see whether Aristotle has said anything about them."1 Silly, simple Simplicio! He has been searching for natural philosophical wisdom in the books of natural philosophers rather than in the world of docks and arsenals. Indeed this quotation appears near the outset of Day Two wherein Salviati offers cannonshot as proof for the opposing Aristotelian position that the experience of projectiles proves the motionless state of the earth. Obviously, if the earth rotates toward the east, cannonballs shot point-blank to the west ought to travel much further than to the east. And clearly this is not so. Simplicio agrees that the new arguments offered by the cannon are excellent, "and now I see with how many elegant experiments nature graciously wishes to aid us in coming to the recognition of the truth," Simplicio enthusiastically enjoins. "What a shame there were no cannons in Aristotle's time!" exclaims the third interlocutor, Sagredo. "With them he would indeed have battered down ignorance, and spoken without [End Page 371] [Begin Page 373] the least hesitation concerning the universe."2 The irony here is not only that Aristotle might have used cannons in order to explain the workings of the universe but also that Galileo does so in the following pages. His demonstrations with reference to artillery demolish the Aristotelian position, but he has had Simplicio open the door for him by recognizing this most violent of artifices as an elegant experiment provided by nature.3The cannon provides a primary referent for Galileo's new mathematical physics of motion from his very first dialogue to his very last. The early De Motu culminated in a series of questions about the shot of cannons, while the conversation in his final masterwork, Discourses Concerning Two New Sciences, was set in the Venetian arsenal, and to it Galileo appended a table of the parabolic paths that could be expected from cannons shot at various elevations.4 In some sense Galileo turned inside-out a much older problem, one that had haunted military engineers of sixteenth-century Italy—and Galileo had been trained, and trained others, in military engineering.5 State organizers of war and captain generals were less interested in the implications the arts of fortifications and artillery held for the existing science of natural motion than in the necessity to reduce to a science, that is, a coherent body of knowledge, the rules for manufacturing cannons, planting artillery battery, aiming guns, and fortifying camps, cities, and castles.What Galileo gives us is recognizable as early physics, as a sophisticated mechanical science, a neat triumph of mathematical method in natural philosophy. But the ways and means by which mathematics came together with natural philosophy to address problems of both technology and nature are by no means neat. My claim is that attention to the military sphere will help us sort out some of those ways and means. The curious thing about the historiography on the relationship between early modern science and warfare is that the fact of a connection seems to have been taken for granted, while the implications have seldom been investigated.6 This essay is an attempt to trace those implications by [End Page 373] looking at a mathematician who specifically tried to reduce to a mathematical science the military arts, Niccolò Tartaglia.7 Tartaglia's story shows how the minutia of Aristotelian philosophy was transmuted in early attempts to understand cannonshot... (shrink)

Contemporary security has expanded its meaning, content and structure in response to globalization and the emergence of greatly improved world-wide communication. This book addresses how and why the nature of security has changed and what this means for the security actors involved and the wider society. The expert contributors reflect upon new communication methods, post-modern concepts of warfare, technological determinants and cultural preferences to provide new theoretical and analytical insights into a changing security environment and the protocols of war in (...) the 21st century."--Provided by publisher. (shrink)

In this paper we shall give an extended overview of the diffferent methodological options and approaches at the disposal of future editors of scientifijically sound, scholarly editions of our Fight Book sources. These options will be evaluated with respect to applicability of the material envisaged, work load, comparative and editorial obstacles, etc. The inevitably preliminary conclusions will then be tested by applying them to one extremely important exemplum for the whole corpus: the text tradition concerning the Zedel, the verses ascribed (...) to the auctoritas of Master Johannes Liechtenauer, the Urtext of the German martial arts heritage. The paper should therefore be seen as a tool for future editors, rather than as a preliminary study for an edition in its own right, although the present author will not deny the existence of plans in that direction. (shrink)

Within the sporting landscape much has changed from the proliferation and integration of new technologies, for example, the practice of mixed martial arts (MMA) has developed on the fringes of modern sport. It combines several martial arts, is practised in a cage, and allows ground strikes. MMA is presented here within a framework inspired by Norbert Elias’s theory of civilizing of aggressive impulses through sport. We reviewed more than 20 years of literature, with 785 international references and a (...) triple analysis of the discipline, those being physical violence, symbolism, the play impulse. (shrink)

This article reports on Art-at-Work, a twenty-four-hour exhibition that took place on Auckland University of Technology’s North Shore campus on 17 July 2013. The passing away of progressive educator Elwyn S. Richardson was the catalyst for this project that emerged simultaneously alongside the Elwyn S. Richardson symposium, Revisiting the early world. Researching the history of progressive education, and its relationship to art, in Aotearoa/new Zealand created an opportunity to enact a relational curatorial approach to art-centred research in education. Artworks, (...) including archival children’s works, were installed, others performed, in three re-imagined sites across the campus. The project was informed by an understanding of walking as something to do with knowing as seeing, a seeing that opens up spaces and places, and, with a nod towards Michel Serres’ notion of the parasite, the practice of walking is productive in agitating points of rupture. The exhibition’s audience-publics were equipped with a ‘Site-Map’ that invited them to construct a ‘walk-talk the landscape’ of their own making. It was anticipated that the points of rupture that would emerge would enable imaginings of a different ordering of events to emerge, different to those that are already known and understood as well as to those that might otherwise unfold within a narrow neoliberal narrative. The project overview offered in this article reveals our endeavour to do something different with research in education, with history, to be attentive to art, with art, making art matter, keeping art in touch, with education, in twenty-first century learning teacher education environments. (shrink)

Technology's impact on and implications for the social, ethical, political, and cultural dimensions of our world must be seriously considered and addressed. Philosophy of Technology is a clear introduction to one of philosophy's newest issues. Don Ihde critically examines the impact of technological developments on various cultures throughout history-from the earliest feats of engineering and architecture to the cutting-edge developments in artificial intelligence- with an aim to understanding the human implications within a world technological culture. Using a wide variety (...) of concrete examples and illustrations, including artificial intelligence, robotics, and nuclear energy, the author looks at both the current situation and future directions. In a final chapter, he takes the position that the foundational concern for the twenty-first century is the global environment, followed closely by multiculturality and its effect on technoculture, the future of warfare, and the distribution of wealth in a world economy. Special Features Provides an introduction to the best and most recent literature on the subject Places the philosophy of technology within the overall project of philosophy Provides a clear and comprehensive overview of the main issue in the field Promotes understanding of the special role of philosophical criticism Contains a wealth of often humorous and highly imaginative examples that have become the hallmark of this author. (shrink)

This book presents a new and radical interpretation of some of Martin Heidegger’s most influential texts. The unfamiliar interpretations all seek to question and unframe hasty assessments of the concepts and constellations of thoughts surrounding Heidegger’s notion of modern technology.

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of (...) the shifting political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

Excerpt from A History of Formal Logic In this edition of the most considerable history Of formal logic yet published, the Opportunity has Of course been taken to make some adjustments seen to be necessary in the original, with the author's full concurrence. Only in 36, however, has the numeration of cited passages been altered owing to the introduction of new matter. Those changes are as follows. About the Publisher Forgotten Books publishes hundreds of thousands of rare and (...) classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

ABSTRACT This essay explores ways to “write together” the awkwardly jointed histories of “science” and “medicine”—but it also includes other “arts” (in the old sense) and technologies. It draws especially on the historiography of medicine, but I try to use terms that are applicable across all of science, technology, and medicine (STM). I stress the variety of knowledges and practices in play at any time and the ways in which the ensembles change. I focus on the various relations of “science” (...) and “medicine,” as they were understood for a succession of periods—from mainly agricultural societies, through industrial societies, to our biomedical present—trying to sketch a history that encompasses daily practices and understandings as well as major conceptual and technical innovations. The model is meant to facilitate inquiry across topics and across times, including those to come. (shrink)

The tension between beauty and technology is evinced in the modern distinction within technē itself between technology and “fine art.” Yet while beauty,as Kant observes, is never a means to an end, neither is it an “end in itself.” Beauty points beyond itself while refusing subordination to human interests. Both its noninstrumentality and its self-transcending character I trace to the intrinsic necessity of the beautiful, which is essentially impersonal while paradoxically being an object of love. I suggest that we conceive (...) of beauty as an “anonymous voice,” and I relate the latter to Heidegger’s critique of modern technology as a projection upon nature of “resource being.” I conclude that technology can be creative rather than destructive of beauty when it lets natural ends, which are inescapably in conflict with one another, transcend themselves through self-sacrifice. (shrink)

Communication plays a vital and unique role in society-often blamed for problems when it breaks down and at the same time heralded as a panacea for human relations. A sweeping history of communication, _Speaking Into the Air_ illuminates our expectations of communication as both historically specific and a fundamental knot in Western thought. "This is a most interesting and thought-provoking book.... Peters maintains that communication is ultimately unthinkable apart from the task of establishing a kingdom in which people can (...) live together peacefully. Given our condition as mortals, communication remains not primarily a problem of technology, but of power, ethics and art." —Antony Anderson, _New Scientist_ "Guaranteed to alter your thinking about communication.... Original, erudite, and beautifully written, this book is a gem." —_Kirkus Reviews_ "Peters writes to reclaim the notion of authenticity in a media-saturated world. It's this ultimate concern that renders his book a brave, colorful exploration of the hydra-headed problems presented by a rapid-fire popular culture." —_Publishers Weekly_ What we have here is a failure-to-communicate book. Funny thing is, it communicates beautifully.... _Speaking Into the Air_ delivers what superb serious books always do-hours of intellectual challenge as one absorbs the gradually unfolding vision of an erudite, creative author." —Carlin Romano, _Philadelphia Inquirer_. (shrink)

Communication plays a vital and unique role in society-often blamed for problems when it breaks down and at the same time heralded as a panacea for human relations. A sweeping history of communication, _Speaking Into the Air_ illuminates our expectations of communication as both historically specific and a fundamental knot in Western thought. "This is a most interesting and thought-provoking book.... Peters maintains that communication is ultimately unthinkable apart from the task of establishing a kingdom in which people can (...) live together peacefully. Given our condition as mortals, communication remains not primarily a problem of technology, but of power, ethics and art." —Antony Anderson, _New Scientist_ "Guaranteed to alter your thinking about communication.... Original, erudite, and beautifully written, this book is a gem." —_Kirkus Reviews_ "Peters writes to reclaim the notion of authenticity in a media-saturated world. It's this ultimate concern that renders his book a brave, colorful exploration of the hydra-headed problems presented by a rapid-fire popular culture." —_Publishers Weekly_ What we have here is a failure-to-communicate book. Funny thing is, it communicates beautifully.... _Speaking Into the Air_ delivers what superb serious books always do-hours of intellectual challenge as one absorbs the gradually unfolding vision of an erudite, creative author." —Carlin Romano, _Philadelphia Inquirer_. (shrink)

Norbert Elias (2001) produced one of the most influential theories on the history of violence in human societies in terms of ‘the civilizing process’. With the transformation of feudalism, the rise of bourgeois society and the development of the modern state, interpersonal violence was increasingly regulated by social norms that emphasized self-restraint and personal discipline. His theory was a moral pedagogics of the body in which the ‘passions’ are self-regulated through detailed social regimes. While his theory is influential, it (...) has also been the subject of systematic criticism. I examine three obvious lacunae in Elias’ theory. First, his theory does not provide an adequate account of the role of religion in the civilizing process, particularly with respect to controlling human violence, and I examine Elias’ theory through a commentary on charisma and the sacred in human society, namely the role of sacred violence. Second, Elias had relatively little to say about the interaction between military technology and interpersonal norms. Modern technology has made it possible, both in peace and war, for the state and modern military institutions to gain control of forms of mass violence that were unimaginable in less civilized societies. We could accept Elias’ proposition about constraint in terms of interpersonal violence, but argue that modern technology has obviously enhanced the capacity of the means of violence in society. This ‘de-personalization’ of violence is consistent with aspects of Elias’ civilization theory. However, the theme of technology was completely understated. Third, apart from Elias’ interest in art and society as a consequence of his teaching appointment in Ghana (1962–4), his theory was primarily concerned to explain aspects of social change in European society. An exploration of the evolution of military violence and charisma among American Plains Indians, especially the Cheyenne, is intended as an elaboration of the debate around Elias’ ‘figurational sociology’. Through an examination of the training of warriors in nomadic Plains culture, their mode of warfare is defined as a form of spiritual violence, because warfare was bound up with religious norms of conduct and their military interaction was highly ritualized. These spiritual technologies are an important illustration of military technologies of self-creation. My account concludes with an examination of the nature of modern conflict between professional armies within an international human rights framework. The democratization of warfare results in the routinization of military charisma and the charismatic hero survives primarily in popular culture as a celebrity. (shrink)

Karl Morrison discusses historical writing at a turning point in European culture: the so-called Renaissance of the twelfth century. Why do texts considered at that time to be masterpieces seem now to be fragmentary and full of contradictions? Morrison maintains that the answer comes from ideas about art. Viewing histories as artifacts made according to the same aesthetic principles as paintings and theater, he shows that twelfth-century authors and audiences found unity not in what the reason read in a text (...) but in what the imagination read into it: they prized visual over verbal imagination and employed a circular, or nuclear, spectator-centered perspective cast aside in the Renaissance of the fourteenth and fifteenth centuries. Twelfth-century writers assimilated and transformed a tradition of the conceptual unity of all the arts and attributed that unity to the fact that art both conceals and discloses. Recovering that tradition, especially the methods and motives of concealment, provides extraordinary insights into twelfth-century ideas about the kingdom of God, the status of women, and the nature of time itself. It also identifies a strain in European thought that had striking affinities to methods of perception familiar in Oriental religions and that proved to be antithetic to later humanist traditions in the West. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Much of Arnold Hauser’s work on the social history of art and the philosophy of art history is informed by a concern for the cognitive dimension of art. The present paper offers a reconstruction of this aspect of Hauser’s project and identifies areas of overlap with the sociology of knowledge—where the latter is to be understood as both a separate discipline and a going intellectual concern. Following a discussion of Hauser’s personal and intellectual background, as well as of (...) the shifting political and academic setting of his work, the paper addresses one of Hauser’s central questions, viz. how best to square a thoroughgoing commitment to the social nature of art with the reality of successive artistic styles, given that the latter seem to be characterizable on purely formal grounds. This is followed by a discussion of Hauser’s conflicted views on the relation between art, science, and technology. This injects a tension into Hauser’s work, due to his initial reluctance to explain just how the aesthetic and the cognitive realms relate. The final part of the paper, through a closer examination of the analogies and disanalogies that Hauser sees between art history and the history of science, attempts to give a positive answer—“on Hauser’s behalf”, as it were—to the question of whether art may be credited with a specific cognitive dimension of its own, and if so, what its contribution to our cognitive enterprise may consist in. (shrink)

This book traces the evolution of Hindu theories of warfare in India from the dawn of civilization.

Excerpt from History of Philosophy and Philosophical Education: Under the Auspices of the Aristotelian Society of Marquette University God and Philosophy (the Powell lec tures of 1940) New Haven, Yale University Press, and Oxford, Oxford University Press, 1941, 144 pages. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the (...) original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Problems of the history of philosophy, no matter what aspect of that science they deal with, are always very important. Today, when idealist philosophy seeks to give an exaggerated picture of the importance of the major spiritual values created by the peoples of the West, these problems are acquiring particular significance. In the postwar period, the number of works published abroad on the history of philosophy has increased sharply. The most popular of the older works are being revised (...) and reissued. A great number of writings on methodology have appeared. The influence of philosophy is spreading to other fields of knowledge and to their history. Specifically, historians of culture, science, technology and art are striving, influenced by the materialist concept of history, to shed the light of philosophy upon the problems that inevitably arise in these fields when their history is studied, but which cannot be resolved by the cognitive resources of the special sciences. This circumstance renders problems of the methodology of the history of philosophy particularly important and places greater responsibility upon researchers in this field. (shrink)

The paper uses two historical examples, public health (1840-1880) and town planning (1945-1975) in Britain, to analyse the challenges faced by goal-driven research, an increasingly important trend in science policy, as exemplified by the prominence of calls for addressing Grand Challenges. Two key points are argued. (1) Given that the aim of research addressing social or global problems is to contribute to improving things, this research should include all the steps necessary to bring science and technology to fruition. This need (...) is captured by the idea of practical integration, which brings this type of research under the umbrella of collective practical reason rather than under the aegis of science. Achieving practical integration is difficult for many reasons: the complexity of social needs, the plurality of values at stake, the limitation of our knowledge, the elusive nature of the skills needed to deal with uncertainty, incomplete information and asymmetries of power. Nevertheless, drawing from the lessons of the case studies, it is argued that (2) practical integration needs a proper balance between values, institutions and knowledge: i.e. a combination of mutual support and mutual limitation. Pursuing such a balance provides a flexible strategy for approximating practical integration. (shrink)

The ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography (...) in Fifty Cameras is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

This article analyzes two traditional approaches to teaching military ethics, aspirational and functionalist approach, in light of the existing technological development in the military. Introduction of new technological solutions to waging warfare that involve dehumanization, such as unmanned aerial vehicles, as well as employment of different technological tools to enhance humans participating in war and to improve military efficiency, not only bring to the surfaces the obviously existing weakness and inadequacies of the two traditional approaches to military ethics education, which (...) have been rendered suboptimal, but also raise new challenges. The paper argues that teaching military ethics solely from the two perspective does not meet the demands of the upcoming military technological revolution and that the future will demand a more profound and conceptual moral education of military personnel that will reassess the role of martial virtues, increase responsibility for killing in war and result in military professionals that resemble “a Renaissance man” in their philosophical outlook. Only by ensuring that all military professionals have been properly and adequately ethically educated, future armies, as well as entire societies, can actively aspire toward optimal armed forces structure, a more professional and efficient approach to military profession, and ultimately better and more responsible military personnel in total. (shrink)

Reflecting on the technological age, poet Rainer Maria Rilke wrote of the intense emotions with which people can endow manufactured objects. We seem to "charge" the world of things as we would a battery. Now German art historian Christoph Asendorf explores this transformation of human sense perception in the industrial age and contributes to a new understanding of European culture and modernity. Drawing from literature, painting, architecture, film, philosophy, anthropology, and popular culture, Asendorf offers rich analyses of works by Manet, (...) Baudelaire, Monet, Zola, Benjamin, Heidegger, and Duchamp. These close readings are combined with a montage of key cultural images and events ranging from Paxton's Crystal Palace to the introduction of electricity. The result is a striking account of the emergence of consumer culture within the developing commodity economy of modern Europe. Certain to challenge the mono-disciplinary perspectives of many specialists, this book will interest historians of art, culture, literature, science, and technology. (shrink)

Master Sun's _The Art of War_ is by no means the only ancient Chinese treatise on military affairs. One chapter in the _Huainanzi_, an important compendium of philosophy and political theory written in the second century B.C.E., synthesizes the entire corpus of military literature inherited from the Chinese classical era. Drawing on all major, existing military writings, as well as other lost sources, it assesses tactics and strategy, logistics, organization, and political economy, as well as cosmology and the fundamental morality (...) of warfare. This powerful work set out to become the last word on military matters, subsuming and replacing all preceding literature. Written under the sponsorship of Liu An, king of Huainan, the _Huainanzi_'s "military methods" emphasize the preservation of peace as the ultimate value to be served by the military, insisting that the army can be effectively and rightly used only when defending the sacred hereditary position of the emperor and his vassals. This position stands in stark contrast to that of _The Art of War_, which prioritizes the enrichment and empowerment of the state. Liu An's philosophy also argues that military success depends on the personal cultivation of the commander and that deception is not enough to secure victory. Only a commander with the exceptional qualities of insight and cognition, developed through a program of meditative practice and yogic refinement, can effectively control and interpret the strategic situation. Andrew Seth Meyer offers both a full translation of this text and an extensive analysis of its historical context. His thorough treatment relates Liu An's teachings to issues in Chinese philosophy, culture, religion, and history, helping to interpret their uncommon message. (shrink)

How does the physics we know today-- a highly professionalized enterprise, inextricably linked to government and industry-- link back to its origins as a liberal art in ancient Greece? What is the path that leads from the old philosophy of nature and its concern with humankind's place in the universe to modern massive international projects that hunt down fundamental particles and industrial laboratories that manufacture marvels? John Heilbron's fascinating history of physics introduces us to Islamic astronomers and mathematicians, calculating (...) the size of the earth whilst their caliphs conquered much of it; to medieval scholar-theologians investigating light; to Galileo, Copernicus, Kepler, and Newton, measuring, and trying to explain, the universe. We visit the 'House of Wisdom' in 9th-century Baghdad; Europe's first universities; the courts of the Renaissance; the Scientific Revolution and the academies of the 18th century; the increasingly specialized world of 20th and 21st century science. Highlighting the shifting relationship between physics, philosophy, mathematics, and technology-- and the implications for humankind's self-understanding-- Heilbron explores the changing place and purpose of physics in the cultures and societies that have nurtured it over the centuries. (shrink)

From a largely Western phenomenon, the “animal turn” has, in recent years, gone global. Animals and Human Society in Asia: Historical, Cultural and Ethical Perspectives is just such a timely product that testifies to this trend.But why Asia? The editors, in their very helpful overview essay, have from the outset justified the volume's focus on Asia and ensured that this is not simply a matter of lacuna filling. The reasons they set out include: the fact that Asia is the cradle (...) of early human settlement and animal domestication; Asia encompasses an extreme diversity of closely connected ecosystems and human cultures; Asia is the place where the world's major religions originated; and, as in other parts of the world, Asia's use of animals for food and other utilitarian purposes constitutes a prominent feature of its culture. All of these factors, they argue, made Asia a unique lab for the exploration of major developments in human civilization and the complexities of human-animal interactions.Based on these premises, the book is divided into four parts, each concentrating on areas that the editors consider to have paramount significance in world history: Part I, “Hunting and Domestication”; Part II “Animals as Food”; Part III “Animals at War”; and Part IV “Animals in Culture and Religion.” As many good works on animal studies do, the volume adopts a truly cross-disciplinary approach, uniting scholars from disciplines as diverse as archaeology, history, anthropology, art, religion, literature, and cultural studies. It too takes an interregional approach and covers a vast geographical area, stretching from the western edge of Asia in the Levant to Central Asia, where once roamed the horses of the nomadic pastoral tribes, to the other end of Asia, including India, China, and Japan. Temporally impressive as well, the work takes us from the deep history of the Paleolithic period up to the contemporary world, exploring the diverse roles that a wide range of animals—horses, donkeys, camels, elephants, tigers, and so forth—have played in Asia's rich and unique past and present.Strong in archaeology, Part I, “Hunting and Domestication,” responds to the much-called for “deep” or “coevolutionary” history of human-animal relations in recent years. The three chapters discuss, respectively, the roles that proboscideans have played in the diet and culture of early societies in Paleolithic China and beyond; the ways in which animals of all sizes have been increasingly integrated into the diet, daily uses, trade, and warfare in Holocene Negev; and the diversifying roles played by donkeys in the early Bronze Age in Southern Levant as a food source, a means of transport and in ritual sacrifices. Together, they demonstrate, with reference to telling archaeological evidence how the early societies in this region have been highly dependent upon the increasingly sophisticated interactions with and uses of mega-herbivores in the protracted and by no means clear-cut transition from hunting and herding towards the agricultural way of life, affirming the co-existing and co-constituting relations between humans and other animals in the deep past of Asia.The chapters in the section on “Animals at War” equally reveal the crucial roles that animals have played in the military sphere, as either a practical war technology or a show of military power. “Elephants in Mongol History” revisits the thesis of elephant-mounted troops in South and Southeast Asia as a barrier to Mongol expansion. Through its lively account of the pivotal battles in Mongolian history, especially that against India and China, it illustrates with great success the complex interactions between animals (especially elephants, horses, and humans), technology, and the geographical environment, which jointly exercised their influence on the outcome of warfare and degree of success of political rule. Turning away from the dynamic of warfare, the following two chapters explore the biopolitical question of the management of the horse as a bio-resource in the Mamluk Sultanate of Egypt and Syria (1250–1517) and early Ming Dynasty China, respectively. The first one places its focus on the breeding, procurement, and feeding of the horse subjects in question, while the latter concentrates on the human organization of various resources for the upkeep of government horses—a conventional area of study called “horse administration” in the institutional history of the government in China.The last section, “Animals in Culture and Religion,” examines the changing images of apex predators, such as lions and tigers, in Buddhist perceptions from South Asia to East Asia; the cult of the Horse King in late Imperial China; and the significance of animal signs in Mongolian historiography. They represent an established approach in animal studies that seeks to understand different aspects of human culture through symbolic or metaphorical animals. Instead of treating the animals discussed as mere abstractions, which has been a frequent criticism of works that adopt this approach, the relations between the symbolic animals and their prototype in the natural world were attentively explored. The essay on the cult of the Horse King, for example, closely links the wax and wane of the cult since late imperial China with the changing use and subsequent disuse of the actual horses in agriculture, transportation, commerce, and quotidian life. Yet, classic as these essays on symbolic animals are, one does feel slightly unsatiated when coming to the end of this section, which also marks the end of this volume. Having been reminded early in the introductory essay that Asia was “a major site for the emergence of moral teachings and ethical guidance on the treatment of animals” and how this legacy “still affects the lives of billions of humans to this very day,” one feels naturally rather let down that no article in this volume directly addresses this vital ethical dimension, especially since it belongs to a series on “animal ethics.”Indeed, regarding the task of placing either the nonhuman animals or the ethical relations between humans and other animals center stage, the essays in this volume achieve only varying levels of success. Some authors exhibit a more acute awareness of what “animal studies” or “animal ethics” might entail epistemically and methodically and experiment by paying closer attention to the species-specific characteristics, experience, and agency of nonhuman animals in order to cast off the deified anthropocentrism previously ruled in humanist scholarship. However, others have made no such attempt. For example, in Part II of “Animals as Food,” an essay on the production and consumption of milk in contemporary China, albeit alert to the issue of health hazards to consumers, omits any consideration of the subject from the dairy cows’ perspective under the modern intensive farming system. Moreover, otherwise superb research on the tuna-fishing industry in Japan, with its insightful discussion of the nexus between knowledge economies and imperial politics, too passes over any discussion of the fate of the tuna, whether collectively as a group of living organisms containing 15 species or individually as animals with an embodied experience. One does ponder whether these essays would fit better in a volume on the cultural history of food or on the entwining history of knowledge production, economics, and politics, which conventionally position human interests at the center of research.Taken as a whole, this is an impressive volume that directs our attention to the hitherto understudied world of Asia in animal studies. The long durée, with its interdisciplinary and interregional approach, also most powerfully presents a past in Asia that could not have been the same without the participation of animals at every level, from everyday life to the shaping of cultural values, the construction of belief systems, the building of a national identity, and even the rise and fall of regimes. Scholars and students interested in expanding the frontier of our understanding of the world with a more inclusive “we” should find a wealth of interesting subjects on which to build further research. Finally, the volume also presents a fitting occasion for all scholars committed to animal studies to consider the grave challenge confronting the field that arose alongside its growing respectability and rapid expansion: Should it be oriented toward the destabilization of our previously anthropocentric conception of the world? Or should no such perimeter be imposed, as in this volume? The overall breadth and limitations of this volume leave one pondering this issue. (shrink)

This chapter contains sections titled: Heidegger's Use of the Term “History of Being” Heidegger's Debt to Dilthey's Vision of History Heidegger's Early Account of History Historicity and History in Being and Time Being‐historical Thinking in the Later Writings The History of Being and the Work of Art.

In Sensations of History, James J. Hodge argues that animation in new media art transforms historical experience in the digital age. Combining close textual analysis of experimental new media artworks with discussion of key phenomenological texts, Sensations of History argues for the broad critical significance of animation as we shift from analog to digital technologies. Hodge looks closely at animation aesthetics, which allow for a clear grasp of the ways digital technologies transform our sense of historical experience.

Excerpt from Cultures and Institutions of Natural History: Essays in the History and Philosophy of Science This volume consists mainly of papers delivered at two meetings cosponsored by the Museo Civico di Storia Naturale in Milan and the California Academy of Sciences in San Francisco. The first, on the Culture of Natural History, was held in Milan, November l4-l 6, I996. The second, on Institutions of Natural History, was held in San Francisco, October 5 - 7, (...) 1998. They followed two earlier conferences on Biology as History (pinna and Ghiselin I996; Ghiselin and Pinna I996) likewise held in Milan and San Francisco. We intend to continue the series of meetings and have publications based on them in commemoration of the Academy's sesquicentennial in 2003. The emphasis here is mainly upon natural history museums and the kind of science that goes on in them. Although the essays were originally written to stand by themselves, when arranged in chronological order they suggest a common theme. To paraphrase Darwin, the culture and institutions of natural history have been, and are being, evolved. They have adapted to local circumstances, diversified, and sometimes even progressed. We may hope that the future holds more than just retrogression and extinction in store. Read as case studies the essays provide valuable insights into not just how, but why, the institutions have come into being and subsequently been transformed. Previous generations had quite different ideas than we do about how a collection of naturalia is supposed to function and how it should be organized. And there were con icting goals and serious disputes about policy, much as there are today. Often, though not always, the institutions turn out to be very different from what had been envisioned by their founders. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

The debates now in progress about the interactions of science and art compel one involuntarily to recall that such discussions have been held more than once and were, a long time ago, perhaps no less heated. It suffices to cite virtually at random certain statements of Pisarev, for example , for us to see, as in a cloudy mirror, both today's advocates of scientism and the romantics of art. Does this mean that all we need is to bear in mind (...) the wise words of the past in order to advance, as is believed by Iu. I. Kagarlitskii ? Obviously, that is not the case. The problem of the interactions of science and art is a philosophical one, not one of natural science; and the results achieved in debates of the past do not eliminate the questions of world view that constantly arise anew. Philosophy has no axioms such as exist in mathematics. It is therefore difficult to imagine that subsequent history has added nothing whatever to the understanding of past debates. Yet reference to these debates would appear to be essential today to clarify at least one of the factors of the problem we have posed. It might appear that this factor has been pointed to, but it has constantly been beclouded by the explanations of how science influences artists, and how art influences scientists who are at the same time artists, by references to the unity of the creative character of science and art, and so forth. In my opinion, it is essential, however, to emphasize that the very problematics of the interactions between science and art depend on the social and cultural environment within which they exist and are discussed. Turning to the past, we can see that science and art are not realms of activity handed down to humankind "since the creation of the world." They develop in the "body," if one may put it thus, of a specific socium, a specific culture. It would, of course, be absurd to conceive of any direct contact between science and art without the mediation of human beings, of society, of culture. Moreover, the debates themselves are determined by the level at which science and art are found within a given sociocultural space, by virtue of which analysis of these debates may provide data to the researcher for an understanding of the direction of social development. The RST influences all spheres of human activity, including the esthetic. Today, however, particularly in the West, there is a tendency to elevate the significance of the RST to an absolute, to explain many processes by its direct influence on social consciousness independently of the social conditions in which it occurs. Therefore, it would seem to be methodologically important for today's debates to demonstrate, on the basis of some concrete historical material, the connection between those shifts in social consciousness that sometimes explain the direct influence of progress in science and technology, on the one hand, and certain sociocultural conditions, on the other. (shrink)

In this collection we finally find the philosophy of technology, a young and rapidly developing area of scholarly interest, making contact with history of science and technology, and mainstream epistemological and metaphysical issues. The sophistication of these papers indicates the maturity of the field as it moves away from the advocacy of anti-technology ideological posturing toward a deeper understanding of the options and restraints technological developments provide. The papers presented here take us over a threshold into the real world (...) of complicated social and technological interactions where science and art are shown to be integral to our understanding of technological change, and technological innovations are seen as configuring our knowledge of the world and opening up new possibilities for human development. With its rich historical base, this volume will be of interest to all students concerned about the interactions among technology, society, and philosophy. (shrink)

Excerpt from A Beginner's History of Philosophy About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, (...) however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

This book offers intriguing philosophical inquiries into biotechnological art and the life sciences, addressing their convergences as well as their epistemic and functional divergences. Rooted on a thorough understanding of the history of philosophy, this work builds on critical and ontological thought to interpret the concept of life that underscores first-hand dealings with matter and experimentation. The book breaks new ground on the issue of animality and delivers fresh posthumanist perspectives on the topics addressed. The authors embark on a (...) deep ontological probe of the concept of medium as communication-bridging and life-bearing. They also take on the concept of performativity as biotechnological art. The book includes concrete, well-documented case studies and shows how certain narratives and practices directly impact ideas surrounding science and technologies. It will interest philosophers in art and technology, aesthetics, ontology, and the life sciences. It will also engage art practitioners in art and science, curators and researchers. (shrink)

This paper is addressed to recent theoretical discussions of the Anthropocene, in particular Bernard Stiegler’s Neganthropocene (Open Universities Press, 2018), which argues: “As we drift past tipping points that put future biota at risk, while a post-truth regime institutes the denial of ‘climate change’ (as fake news), and as Silicon Valley assistants snatch decision and memory, and as gene-editing and a financially-engineered bifurcation advances over the rising hum of extinction events and the innumerable toxins and conceptual opiates that Anthropocene Talk (...) fascinated itself with—in short, as ‘the Anthropocene’ discloses itself as a dead-end trap…”. The objective of this paper is therefore twofold: (1) to discuss how the Anthropocene is appropriated to certain ideological discourses (paradoxically) to maintain the hegemony of precisely those systems of production that have most accelerated climate change etc.; (2) to consider how the factography of the Anthropocene is exploited in this process to mask the ideological character of industry-aligned “technocratic” environmental management. The paper is not concerned with specific case studies in terms of government and industry policy, or climate science, but rather with the ways in which the discourse of the Anthropocene has been inflected within the humanities and the broader cultural field—that is to say, ideologically, as a system or logic of meaning. How the Anthropocene “means” is, in this respect, a question of some importance. This paper does not attempt to address all the facets of this question, but focuses upon a central “apocalyptic” strain in the discourse of the Anthropocene drawn particularly from Francis Fukuyama’s millennial posthumanism and centred in the question of “sustainability” as catastrophe management—with the risk that real environmental degradation will become an alibi for a revived neoliberalism. In other words, that the critical Earth system transformations that characterise the Anthropocene are themselves commodities, and that the project of their amelioration is in process of defining a future (opportunistic) “crisis” rhetoric with a global political franchise. The ideological import of the Anthropocene stems precisely from the fact that it is planetary and, while catalysed by human agency, independent in its specific behaviour from it. The Anthropocene objectively presents as the contemporary counterpart of the Cold War doctrine of Mutually Assured Destruction and the most compelling argument for a new kind of technological “arms race.” But it also presents as the condition of an emerging ideological discourse which will determine how this race is run. From the discourse on “energy security” to the widespread “security crackdown” on environmental activists across the so-called developed & developing world, the Anthropocene has come to represent the co-option of a scientific factography for the thinly disguised resurgence of “ideological science” of the Fukuyamaesque variety (post-history, post-human). For Fukuyama, the true meaning of “posthuman” is thus the accomplishment of humanity’s historical mission. As the “End of History” designates an end of ideological struggle, so too the dénouement of the Anthropocene and the “ends of man” represent the accomplished purpose of species warfare: dominion, not simply over the world, but over all possible worlds. According to this narrative, science—like technology—must be uniquely at the service of the maintenance of the global order, organised around a universal appeal to “crisis management.” It is precisely for this reason that what calls itself post-human masks the return of an ever-more-apocalyptic Humanism. (shrink)

This book explores how the practice of art, in particular of avant-garde art, keeps our relation to time, history and even our own humanity open. Examining key moments in the history of both technology and art from the beginnings of industrialisation to today, Charlie Gere explores both the making and purpose of art and how much further it can travel from the human body.

Theories related to cognitive sciences, Human-in-the-loop Cyber-physical systems, data analysis for decision-making, and computational ethics make clear the need to create transdisciplinary learning, research, and application strategies to bring coherence to the paradigm of a truly human-oriented technology. Autonomous objects assume more responsibilities for individual and collective phenomena, they have gradually filtered into routines and require the incorporation of ethical practice into the professions related to the development, modeling, and design of algorithms. To make this possible, it is pertinent and (...) urgent to bring them closer to the problems and approaches of the humanities. Increasingly transdisciplinary research must be part of the construction of systems that provide developers and scientists with the necessary bases to understand the ethical debate and therefore their commitment to society. This article considers two theories as articulating axes: Blumenberg’s, coming from the field of philosophy, for whom the process of technification and especially the implementation of mathematical models in their algorithmic form leads to an emptying of meaning and therefore makes programmers who implement their functions to be alien to the concerns that gave them origin; Daston’s, belonging to the field of the history of science and according to which the division of labor in the processes of technification of the calculation implies a kind of subordination in which those who implement the inventions of a small group of privileged mathematicians ignore the procedures that put them into operation. Given these two theories, the black box models prevalent in AI development, and the urgency of establishing explanatory frameworks for the development of computational ethics, this article exposes the need to give a voice to the cultural history of consciousness for promoting the discussions around the implementation of mathematical algorithms. The paper takes as a reference the different points of view that have emerged around the study of technological ethics, its applicability, management, and design. It criticizes the current state of studies from a humanistic perspective and explains how the historical perspective allows promoting the training of software engineers, developers and creators so that they assume intuitions and moral values in the development of their work. Specifically, it aims to expose how cultural history, applied to the study of consciousness and its phenomena, makes those involved in this technological revolution aware of the effect that they, through their algorithms, have on society in general and on human beings in particular. (shrink)