A media archaeology that traces connections between new media technologies and distinct cultural realms, considering topics that range from Kant's philosophy to somnambulist clairvoyants.

Can an empirisist theory of memory be identifi ed in Plato’s dialogues? Research in the dialogues and reconstructing the pertinent references convinced me that- along with the multi-discussed and generally accepted concept of memory within Plato’s metaphysical framework of the theory of knowledge- an empirisist version of memory is utilized by the Athenian philosopher in his argumentations, concerning mainly epistemological issues and problems; in fact, given the republished metaphysical concept of memory, one cannot fi nd, beyond the orthodox, old interpretation (...) related to metempsychosis, ies attributing to Plato such, perhaps heretic, parallel use of sensorymaterial and empiricist structures. Moreover, I contend that the empiricist version of memory is related, or, can be considered, as a precursor, to a great extent, to the so called empirical theory of memory; the theory where memory is a necessary and decsively functioning constituent to the new and modern theory of knowledge. (shrink)

My topic is authenticity in or perhaps as painting, not the authenticity of paintings; I know next to nothing about the problem of verifying claims of authorship. I am interested in another kind of genuineness and fraudulence, the kind at issue when we say of a person that he or she is false, not genuine, inauthentic, lacks integrity, and, especially when we say he or she is playing to the crowd, playing for effect, or is a poseur. These are not (...) quite moral distinctions (no one has a duty to be authentic), but they are robustly normative appraisals, applicable even when such falseness is not a case of straight hypocrisy but of lack of self-knowledge or of self-deceit. (A person can be quite sincere and not realize the extent of her submission to the other’s expectations and demands.) This sort of appraisal also has a long history in post-Rousseauist reflections on the dangers of uniquely modern forms of social dependence, and they are prominent worries in the modern novel. (shrink)