Can we use technology in the pursuit of a good life, or are we doomed to having our lives organized and our priorities set by the demands of machines and systems? How can philosophy help us to make technology a servant rather than a master? Technology and the Good Life? uses a careful collective analysis of Albert Borgmann's controversial and influential ideas as a jumping-off point from which to address questions such as these about the role and significance of technology (...) in our lives. Contributors both sympathetic and critical examine Borgmann's work, especially his "device paradigm" apply his theories to new areas such as film, agriculture, design, and ecological restoration and consider the place of his thought within philosophy and technology studies more generally. Because this collection carefully investigates the issues at the heart of how we can take charge of life with technology, it will be a landmark work not just for philosophers of technology but for students and scholars in the many disciplines concerned with science and technology studies. (shrink)

In the tradition of Walden and A River Runs Through It, this is a vivid account of the Crazy Mountains in Montana, urging us to awaken from the spell of technology.

Currently, much hope for the protection of nature is pinned on the science of ecology. Without suggesting that we should pay less serious attention to science, I argue for a more pluralistic approach to the environmental and technological problems facing our time. I maintain that when ecology changes attitudes and ways of life, it does so by importing a language of engagement with nature rather than by remaining confined to a strictly scientific account. This language of engagement, which shows how (...) nature and natural things can be engaged by humans in a multiplicity of ways, I call disclosive discourse. Disclosive discourse, however, is not used exclusively by ecologists and other scientists. To the contrary, the great literary writers exemplify in their writings the ways this discourse can present nature and natural things in their most profound and powerful appeal. Moreover, disclosive discourse is not limited to words: artworks, too, are disclosive. By characterizing the deeper problem with which we are faced differently, as fundamentally technological rather than environmental, a more diversified plurality of alternatives to technology, not limited to those having to do with primarily nature, can be brought into relief and encouraged. (shrink)

In his writings, McKibben confronts us with a fundamental choice. The choice is not whether to drill ever deeper, deep-water oil wells or invest in further exploration for new oil fields because we will be running out of fossil fuel, as he argues. Nor is the choice whether to burn cleaner coal. The choice is not even whether to develop more efficient and less polluting technologies, more fuel-efficient and cleaner-burning automobiles, for instance, or whether to recycle or develop wind and (...) solar power or tilt farm policies away from industrial agriculture. He encourages these latter, of course, but they are by themselves insufficient answers to the deeper challenges of our time. For example, efficient and cleaner... (shrink)

The theatrical device of the bed-trick occurs fifty-two times in forty-four plays during the English Renaissance.1 Just as in the first two plays employing it, Alphonsus, Emperor of Germany and Grim the Collier of Croyden, male characters arrange 60 percent of the bed-tricks used in gaining control over women. Shakespeare's heroines in All's Well That Ends Well and Measure for Measure, then, appear to mark a decisive break from the bed-trick's evolutionary pattern. Helen and Mariana, respectively, persevere in their endeavors (...) in spite of a male-dominant hierarchy. Yet, upon closer inspection, men are the ones who create the circumstances that prompt the necessity of using the device. They impose such... (shrink)