It is a truism that the design and deployment of information and communication technologies is vital to everyday life, the conduct of work and to social order. But how are individual, organisational and societal choices made? What might it mean to invoke a politics and an ethics of information technology design and use? This editorial paper situates these questions within the trajectory of preoccupations and approaches to the design and deployment of information technology since computerisation began in the 1940s. Focusing (...) upon the dominant concerns over the last three decades, the paper delineates an interest in design and use in relation to socio-technical theories, situated practices and actor-network theory. It is argued that each of these approaches is concerned with a particular form of politics that does not explicitly engage with ethics. In order to introduce ethics into contemporary debates about information technology, and to frame the papers in the special issue, it is argued that Levinas’ ethics is particularly valuable in problematising the relationship between politics and ethics. Levinas provides a critique of modernity’s emphasis on politics and the egocentric self. It is from a Levinasian concern with the Other and the primacy of the ethical that a general rethinking of the relationship between politics, ethics and justice in relation to information and communication technologies can be invoked. (shrink)

This paper will address the question of the morality of technology. I believe this is an important question for our contemporary society in which technology, especially information technology, is increasingly becoming the default mode of social ordering. I want to suggest that the conventional manner of conceptualising the morality of technology is inadequate – even dangerous. The conventional view of technology is that technology represents technical means to achieve social ends. Thus, the moral problem of technology, from this perspective, is (...) the way in which the given technical means are applied to particular (good or bad) social ends. In opposition to this I want to suggest that the assumed separation, of this approach, between technical means and social ends are inappropriate. It only serves to hide the most important political and ethical dimensions of technology. I want to suggest that the morality of technology is much more embedded and implicit than such a view would suggest. In order to critique this approach I will draw on phenomenology and the more recent work of Bruno Latour. With these intellectual resources in mind I will propose disclosive ethics as a way to make the morality of technology visible. I will give a brief account of this approach and show how it might guide our␣understanding of the ethics and politics of technology by considering two examples of contemporary information technology: search engines and plagiarism detection systems. (shrink)

This article, focusing on the inclusion- in- notion principle in the philosophy of Leibniz and its reading by Gilles Deleuze, claims that Deleuzian approach in the philosophical critique of the philosophy of Leibniz leads to recreation of the concept of the fold and the subject of fold in Leibnizian thought. To achieve this goal, we initially provide an in-depth study of this principle and its related principles in his philosophy and place emphasis upon their ontological aspect. Then we organize Deleuze’s (...) reading of Leibniz’s philosophy around the inclusion-in-notion principle and picture the world of foldings as the outcome of such reading. We make an effort to clarify how the reading of this principle by Deleuze creates new possibilities in the philosophy of Leibniz and gives birth to the Leibnizian- Deleuzian subject of the fold. Therefore, in the last step, we study this Leibnizian- Deleuzian subject and its characteristics, which is the result of the inclusion- in- notion principle. (shrink)

This paper explores the role of existential feelings in films, and the impact of theconnections between cinema and existential feelings for emotional life in general. After explaining the notion of existential feelings and illustrating them in films with Black Swan and The Help , the paper concludes that movies offer provide insights about our own existential feelings because films promote emotional awareness by the way they function as emotional laboratories. This will lead to an examination the presence and role of (...) surprise for emotional a wareness in general, and more specifically by seeing how it works within suspense movies with the illustration of Rebecca . The analysis will show how the paradox of suspense is tied to the way we can be surprised by our own feelings, including our own existential feelings. The paper concludes that the cinema is capable of providing this privileged place for exploration because it maintains our ability to feel surprise and keep open to surprise. (shrink)