Suppose there comes a day when Homo sapiens has evolved into or been overtaken by techno sapiens. Will it then still make sense to speak of human beings as created in the image of God? What is the relevance of asking such a question today? I offer a sketch of the present state of development and discussion in artificial intelligence (AI) and artificial life (AL) and discuss some implications for the human condition. Taking into account both reality and (...) fiction in AI and AL, I hold that, regardless of the degree of realization, issues related to technological evolution inform the cultural agenda—at least the European–American one. I comment on antireductionist arguments and on arguments from philosophy and (history of) culture. I argue in favor of a consonance between neurotechnology and the Christian gospel in terms of realizing the marks of messianic life. However, issues of justice, reason versus nature, and perfection and finitude versus imperfection and immortality call for further illumination. Even though no principal opposition seems to exist between technological evolution and possible interpretations of the concept of the image of God (imago dei), a number of significant dissimilarities need to be addressed, such as the differences between technical improvement and forgiveness or transformation and between immortality and resurrection. The role of irregularity, disturbance, and error for creative processes in nature and culture is an exciting topic in science and technology as well as in theology. (shrink)

The 2009 post-election violence on the streets of Tehran was brought to world attention by the image production and distribution activities of Iranian citizens. This paper considers the communicative potential of these images as they are encountered by distant observers. Beginning with George Herbert Mead’s concept of a generalised other that establishes the ground for intersubjective person formation and the moral basis of self–other relations, I build a critical framework for considering the limits and potentiality of self–other encounters in (...) mediated contexts. Arguing that communication presupposes a shared cultural attitude to images, I explore the distinctive cultural frame and image-encounters that the Internet establishes for its users, before turning attention to the activity occurring on the other side of the screen. Setrag Manoukian has observed that in the 2009 Iranian situation the once distinct categories of action and mediation collapsed together; “everyone was acting and reporting” simultaneously. I shall examine the claims for a new reflexivity associated with this situation. Turning again to the perspective of the distant observer, I explore some of the constraints on the functioning of the Iranian images as communicative acts. In conclusion I briefly consider what work is required on the part of the viewer to build a context for empathetic regard. (shrink)

As digital labour becomes more widespread across the uneven geographies of race, gender, class and ability, and as histories of colonialism and inequality get drawn into these forms of labour, our imagination of what these worlds contain similarly needs to expand. Beyond the sensationalist images of the ‘brogrammer’ and the call-centre worker lie intersecting labour practices that bring together histories of bodies and materiality in new ways. In the recent past, these entanglements have yielded oppressive results. As scandals over predictive (...) policing, data mining and algorithmic racism unfold, digital labourers need both to be accounted for in analyses of algorithmic technologies and to be counted among the designers of these platforms. This article attempts to do both of these by highlighting particular cases in which digital labour frames embodied subjects, and to propose ways digital workers might train themselves to recognise ethical problems as they are emerging. I use the idea of attunements as a way to grasp what these forms of care might look like for the digital worker. (shrink)

ABSTRACT In this article, we propose strategies for capturing polemical regions in a corpus of posts from Twitter, setting out from a theoretical framework that emphasises a dialogic perspective. Based on these strategies, we provide entry points for analysing the materiality of the techno-discursive universe that circulates in digital environments. By producing this research corpus, we acquired a clearer understanding of elements that compose discursive images surrounding Diego Maradona in circulation on Twitter following the player’s death. Towards this aim, (...) we formulated and critically considered techniques for extracting and producing a digital research corpus by delimiting a discursive space on Twitter surrounding Maradona’s death. The results obtained pertain to the conditions for use of these platforms by discourse analysts, the cartography of the regions configured in this space and the clashes that become consolidated within them. RESUMO Neste artigo, propomos estratégias de captação de regiões polêmicas em corpus produzido a partir de publicações do Twitter, partindo de quadro teórico que enfatiza a perspectiva dialógica. Com base nessas estratégias, fornecemos entradas para a análise da materialidade oriunda do universo tecnodiscursivo em circulação em ambientes digitais. Em razão da produção do corpus da investigação, avançamos na compreensão de traços que compõem imagens discursivas em torno de Diego Maradona em circulação no Twitter por ocasião de seu falecimento. Para tanto, explicitamos e problematizamos técnicas de captação e produção de um corpus digital de pesquisa, através da delimitação de um espaço discursivo no Twitter que circundou a morte de Maradona. Os resultados obtidos se dirigem tanto às condições de utilização dessas plataformas por analistas do discurso, quanto à cartografia das regiões do dizer que se configuram nesse espaço e dos embates que nelas ganham consistência. (shrink)

Inspired by Paul B. Preciado’s work of autotheory, Testo Junkie, and the various processes of self-shaping that circulate through his corpus, this visual piece and its accompanying personal essay draw upon the artist’s familial and ancestral knowledge of their grandmother’s confinement in an asylum. Developing a visual methodology based on the holographic philosophy of Nondual Śaiva Tantra, Techno-Tantrik Embodiment seeks to offer analogous holistic technologies that harness the power of the repressed and the taboo, to transform mind, body and (...) environment. The piece questions how technological scale sets conditions for relations, feelings, democratic processes and infrastructures, and it provides a mixed-reality approach to consciousness, asking: what types of engagement with image-based systems can subvert and transform our worldview? Utilizing a queer framework that eschews respectability or a quest for ‘positive’ counternarratives, it explores the possible synergies between Tantrik and digital technologies, to build meaningful connections with ourselves and alterity. (shrink)

This essay argues that nano-images would be best understood with an aesthetical approach rather than with an epistemological critique. For this aim, I propose a ‘techno-aesthetical’ approach: an enquiry into the way instruments and machines transform the logic of the sensible itself and not just the way by which it represents something else. Unlike critical epistemology, which remains self-evidently grounded on a representationalist philosophy, the approach developed here presents the advantage of providing a clear-cut distinction between image-as-representation and (...) other modes of existence of images, such as the one of ‘ imaginaction ’ that I draw from a comparison between far-field and near-field microscopies. Once this regime of imaginaction is distinguished from representation, I focus on nanotechnological percepts and argue that they follow a transmodal logic. I then draw the implications of this enquiry in terms of a new sensible condition that changes the way we think of non-living objects. Finally, I conclude that if techno-aesthetics dares to posit and articulate sensibility beyond the privileged sphere of subject/object relationships, it simultaneously engages us to consider the political character of our responsibilities towards the design of nano-engineered sensorial spaces. (shrink)

The article aims to map the contemporary techno-social networks, together with delineation of the algorithmic governmentality, computational unconscious, the epistemic structure of the Eurocentric matrix of power haunted by its own repetition of the constant abyss of horrors, only to search for gestures of resistance. Gestures of resistance, contrary to the false conviction of capitalist realism, can be found everywhere, including in Jordan Peele's Nope (2022). Through a variety of motifs, themes, and cultural and cinematic references, Peele creates a (...) resistance image, i.e., an image that resists the historical trajectory of the violence of the digital colonial matrix of knowledge. In particular with Nope, in which the history of racial violence is disentangled by evoking the relation between the entanglement of capital and epistemic violence embodied in an all-devouring predator UFO. But Nope is also about visualizing silenced histories. Indeed, to strive to capture UFO with the camera is to break away from modernity as a totalizing onto-epistemology and in this register generating a false universal subject of a Man. (shrink)

Humanity’s creative capacity has never been more unsettling than it is at our current moment, when it has ushered us into new technological worlds that challenge the very definition of “the human.” Those anxious to safeguard the human against techno-scientific threats often appeal to religious traditions to protect the place and dignity of the human. But how well do we understand both theological tradition and today’s technological culture? In _The Indiscrete Image, _Thomas A. Carlson challenges our common ideas (...) about both, arguing instead that it may be humanity’s final lack of definition that first enables, and calls for, human creativity and its correlates—including technology, tradition, and their inextricable interplay within religious existence. Framed in response to Martin Heidegger’s influential account of the relation between technological modernity and theological tradition, _The Indiscrete Image_ builds an understanding of creativity as conditioned by insurmountable unknowing and incalculable possibility through alternative readings of Christian theological tradition and technological culture—and the surprising resonance between these two. Carlson concludes that the always ongoing work of world creation, tied essentially to human self-creation, implies neither an idol’s closure nor an icon’s transcendence, but the “indiscrete image” whose love makes possible—by keeping open—both the human and its world. (shrink)

Over one hundred years after Max Weber delivered his lecture “Science as a Vocation,” his description of the work of the physician in a disenchanted world still resonates. As a chronically ill patient who interacts with physicians frequently, I struggle with reconciling my understanding of my ill body with how my physician makes sense of my illness. My diagnosis created an existential crisis that caused me to search for meaning in my embodied experience, but I soon learned there is little (...) room for such a search within modern biomedicine. Instead, I turned to fine art to help me make sense of my ill body and its purpose in my life. With the aid of my printmaker sister, Darian Goldin Stahl, I have transformed the magnetic resonance images of my body into works of art, which help to re-enchant my body and give purpose to my illness. (shrink)

The sociocultural landscape of contemporaneity can be represented as a porous inhomogeneous space consisting of border zones. These zones, understood by P. Galison as “local coordination of beliefs and actions,” can be deployed due to already existing conditions, for example, a project may arise at a university. However, such zones do not create sustainable social configurations and infrastructures associated with new areas of knowledge. In this article, we expand the concept of trading zones and call them zones requiring local ontologies (...) that arise on the border between different knowledge and imagination systems and, in turn, require their own infrastructure. This approach supports the view on humanities not as “pre-packaged” knowledge, but as special “technique” forming local ontologies. For a humanities-as-technique to emerge, it is necessary that two or more systems of knowledge coincide in time and form an intermediate zone, on the basis of which some local ontology can unfold. Thus, for example, when combining contemporary philosophy and contemporary mathematics, new images of knowledge emerge. Humanities-as-technique are considered as the basis for the establishment of trading zones, which are understood as local ontologies. We also propose a system of concepts that can be used to describe and construct these trading zones on the territory of the humanities in a techno-oriented cultural environment. (shrink)

This special issue explores the power that images with a techno-scientific content can have in international relations. As we introduce the articles in the collection, we highlight how the study of this influence extends current research in the separate (but increasingly interacting) domains of history of science and technology, and political science. We then show how images of different types (photographs, cartoons and plots) can inform inter-state transactions through their public appeal alongside the better-studied dialogic practices of the diplomatic (...) arena. Finally, we offer an analysis of the interlacing of different diplomatic tracks based on words and images and conclude that, in contrast with words, images conflate agency and argument, therefore creating opportunities to inform transactions and negotiations which their designers may not have even intended. (shrink)

This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

Both Wittgenstein and Flusser tried to find an answer to the question: how are media possible? Although Wittgenstein does not ask this question explicitly it can be detected in his Tractatus. Because of this fundamental similarity between both thinkers, it is possible to read Wittgenstein's theory of logical form from the point of view of Flusser's concept of techno-image and to interpret Flusser's notion of medium from the point of view articulated in Wittgenstein's Tractatus. At the same time, (...) it is necessary to focus on their differences. Wittgenstein deals with the problem of the form of a significant world, while Flusser focuses on the problem of specific artifacts, that is, technical images. For Wittgenstein a medium is generally one object placed among other objects. Flusser, on the other hand, is interested in a specific medium situated among other artifacts. (shrink)

Starting from the current trend to digitise the university, this thesis aims to clarify the specific relation between university thinking and its use of media. This thesis is an investigation concerning the sensorial and medial conditions which enable the event of thinking to emerge at the university, i.e. conditions which do not make thinking necessary, but possible. Thinking is approached as an event which can happen while studying at the university, not as an outcome, nor a disposition or skill. The (...) ambition of this thesis is theory development and of making a contribution in the field of philosophy of education. The theoretical framework discussed in chapters one and two will allow first, an analysis of the university sensorium inspired by the work of Ivan Illich who, through a history of the senses, pioneered this kind of research applied to medieval reading practices. Secondly, the work of media philosopher Vilém Flusser is used to operationalize the analysis of media at the university; this thesis will use the Flusserian concepts of code, modes of consciousness, transcoding, gestures, intellectual field, dialogue and apparatus. The methodology consists of a novel approach inspired by Flusser’s phenomenology of gestures: in order to find traces of thinking, this investigation looks for gestures (with media) occurring in university practices, gestures which seem to imply some form of coding or transcoding. The first chapter critically discusses Ivan Illich’s historical hypothesis of the mediatic specificity of the university thinking. Illich works with a particular conception of the history of the senses through which he shows how the invention of the optical text and its way of reading gave rise to a new way of thinking which was later fostered by the university. The text emerges as an instrumental way of using the book for studying and thinking, a profanation and suspension of the book. This move is taken to be the signature move of the university which enables a particular way of thinking: abstract and non-visual thinking, which is made present through the event of reading. The second chapter introduces the media-theoretical framework of Flusser by discussing his particular take on codes and the modes of consciousness enabled by the dominant codes. Provisionally, transcoding is taken to be an indication of the event of thinking. The threshold introduces the approach of a phenomenology of gestures which will be used in the following two chapters. The third chapter examines the practice of university lecturing from a sensorial and gestural perspective by using several direct observations of lectures and historical reports of lectures. It was found that the lecture does not promote any particular sense, hence no particular mode of consciousness, and that the media in the lecture suffers a continuous transcoding. Thinking in the lecture was described as a thinking which suddenly makes itself present for all those attending the lecture. The fourth chapter examines MOOCs which are taken to be the digital counterpart of the university course. The specific media usage enabled by MOOCs is described starting from two case studies: an xMOOC and the bMOOC (designed by KU Leuven and LUCA researchers). Using interviews and an autoethnographic account, this chapter finds indications of what could be digital gestures in the MOOC and concludes that thinking in the MOOC occurs as a collective construction of a techno-image. The fifth and final chapter outlines the theoretical contributions of this thesis. The kind of thinking made possible by university practices is described as a form of collective thinking, non-productive and anti-apparatus. The ways in which this thinking is made possible are theorised by introducing the notion of mediatic displacement, a specific event in which the particular logic of media is suspended in such a way as to make room for a thinking which is not determined by any mediality. The notion of intellectual askesis is proposed for the collective enactment of attention, as the sensorial condition which makes possible the mediatic displacement. In light of these findings, the thesis proposes to understand the promise of the digital university as still a utopian project to come, because it cannot yet enable the sensorial and collective attention techniques which the classical university managed to enact through its study practices. (shrink)

While border surveillance produces geopolitical realities and distinctions between types of human life, Richard Mosse’s video installation INCOMING (2017) uses a military high-grade thermal camera to challenge this onto-political project. Recording refugee camps and crossings via the Mediterranean into Europe, his techno-images’ specific mosaic structure, tactility, and luminous flatness evoke the visual mode of Byzantine icons, thus switching from a paranoid, invasive world/view to an economy of mediation and contact with the Other.

While border surveillance produces geopolitical realities and distinctions between types of human life, Richard Mosse’s video installation INCOMING (2017) uses a military high-grade thermal camera to challenge this onto-political project. Recording refugee camps and crossings via the Mediterranean into Europe, his techno-images’ specific mosaic structure, tactility, and luminous flatness evoke the visual mode of Byzantine icons, thus switching from a paranoid, invasive world/view to an economy of mediation and contact with the Other.

_Purpose._ The current crisis situation is connected with the tendency to eliminate the philosophical basis of higher education, the classical university, whose mission is to form a certain type of state, culture, and person. Philosophy and humanities in general played an important role in forming the modern concept of man. In the context of the expansion of the information society and the development of the latest technologies (biotechnologies, artificial intelligence), which stimulates the world market, the problem of the fundamentals of (...) the social and personal dimension of a person, his/her ability to consciously choose their own life, is becoming actualized. The main purpose of the article is in problematizing the development prospects for philosophy in a modern university, and its significance in the formation of a modern person with a certain level of self-awareness. To achieve this, the authors envisage providing a description of modern society, related trends in humanitarianism, determining the situation in university education, and characterizing the type of person or post-human that it mainly produces. _Theoretical basis._ The basis of the article is sociocultural anthropology. _Originality._ Trends in society and education, defined by the relationship between the state, education, and the market, reflect the situation of the post-human or trans-human, which is characterized by the creation of a nomadic subject with nomadic thinking. The crisis of the modern and classical university as an institution constituting a modern man is associated with the rapid development of technologies, the expansion of the information society, the orientation towards the knowledge economy, which subordinates the university to the market, requiring the formation of a person that corresponds to market feasibility. However, in today’s world, the realization of freedom priorities, the prevention of manifestations of unfreedom, the ability to critically interpret information, and distinguish between truth and falsehood are of great importance. The formation of this depends on the education system. But, the situation in higher education is determined by the dominance of techno-scientific understanding and development of the world, the priorities of the economy, economic viability, and profit. Under such conditions, the humanities and philosophy, in search of ways and means of their own survival, risk turning into a kind of techno-sophistry that produces various images. These images can be more or less successfully sold on the market, recreating a certain figure of a human-consumer and a human-transformer who obeys the post-truth situation, even appearing as an object of transformation by ideology or propaganda. _Conclusions._ It is, therefore, essential to form a person who is capable of critically comprehending the reasons for his/her choice, which can be provided by philosophy with the foundations of searching for truth. In the conditions of technological development, in view of the achievements of artificial intelligence, and the latest network resources, it is important in education not only to overcome the orientation towards professional fragmentation and to verify permanent knowledge but also direct live communication on the basis of critical thinking, which forms the basis in the process of cultivating a person by philosophy. (shrink)

The differences between the image of top athletes in history and those today could meet at the intersection between cyborg theory and sport studies. The reconceptualisation of athletes could at first be viewed as a shift from the “natural” to the “artificial”. Throughout history top athletes have always been considered to be somehow unnatural, and have always been celebrated as heroes who have overcome the boundaries of their natural bodies. Today’s sports events have been attracting more viewers than ever (...) before, and tough competition has been raising the very standards of competition. High attendance sports are already freak shows; whether from the comfort of their homes or from the grandstands, it is difficult for sport supporters to imagine themselves sculpting such a super-muscular body with super-fast reflexes. Old-fashioned blood, sweat and tears are still present somewhere, although they are incorporated into the advanced achievements of the modern techno-culture. A number of the issues raised from this perspective have found room for discussion in the relatively new pluri-perspectival approach to the challenges of the biotechnological era – in bioethics. Bioethics offers a platform for a dialogue on the key questions of today’s world, a dialogue that surpasses disciplinary, expert, historical and cultural positions. However, any such discourse is facing a pluralism of approaches and methodological barriers, and presupposes the existence of adequate theoretical grounds. This paper highlights only some of the problem points that plastically outline the insufficiencies of the existing mono-perspectively guided conceptions in the field of sport. Accordingly, the authoress emphasises only some of the symptoms that point to the disorientedness of everyday life, which is portrayed in sport in a rather peculiar way: the fragility of the ethical positions contained in the concepts of the “spirit of sport” and fair play in facing the developments of science and technology, the objectification of the body, and an increase in the people’s interest in high-risk activities. The authoress views these traits as signs of the need to transcend the until recently prevalent reductionistic and mono-perspectival approaches, which the distinctive bioethical approach can indeed do. (shrink)

The differences between the image of top athletes in history and those today could meet at the intersection between cyborg theory and sport studies. The reconceptualisation of athletes could at first be viewed as a shift from the “natural” to the “artificial”. Throughout history top athletes have always been considered to be somehow unnatural, and have always been celebrated as heroes who have overcome the boundaries of their natural bodies. Today’s sports events have been attracting more viewers than ever (...) before, and tough competition has been raising the very standards of competition. High attendance sports are already freak shows; whether from the comfort of their homes or from the grandstands, it is difficult for sport supporters to imagine themselves sculpting such a super-muscular body with super-fast reflexes. Old-fashioned blood, sweat and tears are still present somewhere, although they are incorporated into the advanced achievements of the modern techno-culture. A number of the issues raised from this perspective have found room for discussion in the relatively new pluri-perspectival approach to the challenges of the biotechnological era – in bioethics. Bioethics offers a platform for a dialogue on the key questions of today’s world, a dialogue that surpasses disciplinary, expert, historical and cultural positions. However, any such discourse is facing a pluralism of approaches and methodological barriers, and presupposes the existence of adequate theoretical grounds. This paper highlights only some of the problem points that plastically outline the insufficiencies of the existing mono-perspectively guided conceptions in the field of sport. Accordingly, the authoress emphasises only some of the symptoms that point to the disorientedness of everyday life, which is portrayed in sport in a rather peculiar way: the fragility of the ethical positions contained in the concepts of the “spirit of sport” and fair play in facing the developments of science and technology, the objectification of the body, and an increase in the people’s interest in high-risk activities. The authoress views these traits as signs of the need to transcend the until recently prevalent reductionistic and mono-perspectival approaches, which the distinctive bioethical approach can indeed do. (shrink)

Cosmetic surgery and techno-medical manufacturing of the body are booming. The transformative potential of cosmetic surgery is used to shape and enhance physical appearance, gender identity and sexuality. Among the cosmetic procedures that have become popular is intimate surgery for women, which is oriented towards an ideal shape of the vulva. Almost in parallel with this trend, vulva-positive websites highlighting the diversity of the vulva are becoming ever more widespread in order to enlighten women and contribute to women’s health. (...) This Art-Science Interaction consists of two parts that are in conversation with one another. Artist Merve Şahinol presents in her part “VULVA STUDY. hidden but not undiscovered” photographs of clay vulvas she modeled during therapy sessions to use in talks with women who are challenged by their own perception of their body image. She shares her thoughts and experience of the modeling and learning process in form of prose. In “Manufacturing the Vulva”, sociologist Melike Şahinol explores the rhizomatic dilemma between self/body awareness and empowerment, and the normalization and beauty constraints of manufacturing the vulva. This contribution emphasizes the awareness of the vulva as well as the lack of specific analyses of post-surgery embodiment experiences that include the “new” corporeal experience of sexuality and the fact that these experiences in general have been addressed but not sufficiently analyzed. (shrink)

This essay begins by focusing on four cultural characters that signify different but associated aspects of the changing destiny of the human figure at the end of the twentieth century and beyond. These characters embody the human figure, in the double sense of form and metaphor, at work, at leisure and at war, and as gendered cultural and philosophical ideal. It is our suggestion that they provide excellent images of a general economy of the future present. Their significance as indices (...) of the destiny of the human resides in the way that they disclose the effects of a restricted economy that overflows its boundaries to incorporate, utilise and restrict every element of its generalised expenditure, to use the categories of Georges Bataille: its sumptuary excess, its sacred forms, its abjected waste, its modes of eroticism, its violence. The essay continues by discussing the implications of, and consequences for, human life in the face of the corporate or techno‐bureaucratic drive to incorporate the ‘impossible‐real’. For Paul Virilio, the technological desire to overwrite the temporal and spatial dimensions of ‘the actual’ discloses something of the ‘divine’ in this new technology. In conclusion, then, the essay questions what resistance there might be to the law of the machine‐God who lies, impossibly, as the immanent being of machinic efficiency, operativity and becoming excellence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being a (...) case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art being a (...) case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

The complete system of knowledge is a standard trope of science fiction, a techno-utopian dream and an aesthetic ideal. It is Solomon’s House, the Encyclopaedia and the Museum. It is also an ideology – of Enlightenment, High Modernism and absolute governance. Far from ending the dream of a total archive, 20th-century positivist rationality brought it ever closer. From Paul Otlet’s ‘Mundaneum’ to Mass-Observation, from the Unity of Science movement to Wikipedia, the dream of universal knowledge dies hard. As a (...) political tool, the total archive encompasses population statistics, gross domestic product, indices of the Standard of Living and the international ideology of the United Nations Educational, Scientific and Cultural Organization, the World Health Organization, the free market and, most recently, Big Data. Questions of the total archive engage key issues in the philosophy of classification, the poetics of the universal, the ideology of surveillance and the technologies of information retrieval. What are the social structures and political dynamics required to sustain total archives, and what are the temporalities implied by such projects? This introduction and the articles that follow describe and place in historical context a series of concrete instances of totality. Our analysis is arranged according to four central themes: the relationship between the Archive (singular) and archives (plural); the image of the archive and the aesthetics of totality; pathologies of accumulation; and the specific historical trajectory of the total archive in the 19th and 20th centuries. (shrink)

RESUMO Neste artigo, propomos estratégias de captação de regiões polêmicas em corpus produzido a partir de publicações do Twitter, partindo de quadro teórico que enfatiza a perspectiva dialógica. Com base nessas estratégias, fornecemos entradas para a análise da materialidade oriunda do universo tecnodiscursivo em circulação em ambientes digitais. Em razão da produção do corpus da investigação, avançamos na compreensão de traços que compõem imagens discursivas em torno de Diego Maradona em circulação no Twitter por ocasião de seu falecimento. Para tanto, (...) explicitamos e problematizamos técnicas de captação e produção de um corpus digital de pesquisa, através da delimitação de um espaço discursivo no Twitter que circundou a morte de Maradona. Os resultados obtidos se dirigem tanto às condições de utilização dessas plataformas por analistas do discurso, quanto à cartografia das regiões do dizer que se configuram nesse espaço e dos embates que nelas ganham consistência. ABSTRACT In this article, we propose strategies for capturing polemical regions in a corpus of posts from Twitter, setting out from a theoretical framework that emphasises a dialogic perspective. Based on these strategies, we provide entry points for analysing the materiality of the techno-discursive universe that circulates in digital environments. By producing this research corpus, we acquired a clearer understanding of elements that compose discursive images surrounding Diego Maradona in circulation on Twitter following the player’s death. Towards this aim, we formulated and critically considered techniques for extracting and producing a digital research corpus by delimiting a discursive space on Twitter surrounding Maradona’s death. The results obtained pertain to the conditions for use of these platforms by discourse analysts, the cartography of the regions configured in this space and the clashes that become consolidated within them. (shrink)

Since the early 1990s, high-resolution satellite imagery and imagery data, made by a vast system of architectures that were formally developed and monopolized by the U.S. military—industrial command economy, have become more widely available to the civilian public through a combination of declassified data sets, commercial satellite operators and imagery vendors, and value-added resellers of imagery data. In the various discourses surrounding imagery and the systems that collect, interpret, and construct them, this wider availability is associated with an increasing ‘‘global (...) transparency.’’ This article suggests that, specific to fields like nuclear non-proliferation, these techno-discursive discourses have a common narrative theme associated with mechanically augmented visual systems, that of the transparent window on the world. First, the author considers an epistemological problem of satellite imagery that has been contemplated for both the map and the photographic image, which is, does the image/map constitute a window or a text? Next, through a historical comparison between map making, photography, and satellite imagery interpretation, the author briefly explores different articulations of transparency, with a contemporary focus on the use of satellite imagery in the discourses surrounding nuclear non-proliferation. Finally, the author suggests that the discourses of satellite imagery, which include practices and what these practices are imagined to produce, are a crucial site where sociotechnical articulations of a modernist, positivist, or realist narrative are played out. These narratives account for the relation between subjective experience and the external ‘‘real’’ world and are associated with various and often contradictory concepts of transparency. (shrink)

This essay replies to some representative authors, canonic indeed, of the opposition to artificial intelligence : Hubert L. DREYFUS, with his study, systematic enough in its time, What Computers can't do. His phenomenological critic meets a numerous audience, even among computer scientists. Joseph WEIZENBAUM, research worker in artificial intelligence himself, gone over to the opposition with his book Computer Power and Human Reason. His objections are classically moral and anti-techno-scientific. The philosopher John R. SEARLE, whose book Mind, Brain and (...) Science reminds us most of the resistances of linguistic scientists against artificial intelligence, turning the real difficulties of formalization of language in ontological impossibilities. Terry WINOGRAD, another research worker of the early times of AI, and Fernando FLORES, former economy minister of Chile in 1973, both rebels against the computerization of the human's world - thanks to the phenomenological post-hedeggerian way of think -, in their common work, Understanding Computers and Cognition. Phenomenological philosophy has found the perfect target with AI, which embodies the image of science for the post-romantic thinking. This image can be perfectly symbolized by the frescos, choosen for the cover of this very book, situated on the walls of the Sorbonne University Library stairs! Againts the arguments of this running down romantical thinking, this book make the effort to answer on every point. But this work invites us to give up the intellectual illusions too, against which the method of cognitive sciences and information processing can be used as riddle. Incidentally, the approach of this critical method itself can be considered too as an automatic knowledge management try. (shrink)

Summary. The prerequisites of this study have three interwoven sources, the natural sciences and philosophical and socio-political ones. They are trends in the way of being of a modern, technogenic civilization. The COVID-19 pandemic caused significant damage to the image of the omnipotent techno-science that has developed in the mentality of this sociocultural type.Our goal was to study the co-evolutionary nature of this phenomenon as a natural consequence of the nature of the evolutionary strategy of our biological species. (...) Technological civilization as a cultural-civilizational type is one of the evolutionary options of Homo sapiens, the ontological basis of which is a stable evolutionary strategy (SESH). The latter is capable to spontaneous development and is consisting from biological, sociocultural, and techno-rationalistic modules. Evolutionary risks inextricably linked with it. At present, humankind has entered an era when its existence should be ensured by the meta-system engineering of its own cultural and ecological niche. By such artificially created elements, it implies the design and implementation of ecological systems of various levels of complexity, from the design of elements of such systems (which are biological individuals, populations and species) to the design of a global ecological system (biosphere). At the same time, there is a sharp jump in the value of anthropogenic and technological risk due to a sharp increase in the instability of the structure of ecological systems. We are witnessing a third wave of breaking and reconstruction of the existing relations between the elements of such systems after the Neolithic revolution and great geographical discoveries. Technological innovations led to sharp violations of normal social ecodynamics, leading to outbreaks of new infections, in particular. Theuncontested development of all sectors of controlled evolution technology is the way out of the last such crisis and the prevention of similar ones in the future. There are global nature of the organization of modern technological civilization and the transformation of the biosphere not so much into the noosphere (according to Vernadsky) but into the technosphere that determines the effect of a cascade reaction: any local co-adaptive conflict between elements of a cultural, socio-ecological niche tends to turnglobal and systemic problems. Humanity is constantly forced to make a choice between the stability and adaptability of the technosphere. (shrink)

Purpose (metatask) of the present work is to attempt to give a glance at the problem of existential and anthropo- logical risk caused by the contemporary man-made civilization from the perspective of comparison and confronta- tion of aesthetics, the substrate of which is emotional and metaphorical interpretation of individual subjective values and politics feeding by objectively rational interests of social groups. In both cases there is some semantic gap pre- sent between the represented social reality and its representation in perception (...) of works of art and in the political doctrines as well. Methodology of the research is evolutionary anthropological comparativistics. Originality of the conducted analysis comes to the following: As the antithesis to biological and social reductionism in interpretation of the phenomenon of bio-power it is proposed a co-evolutionary semantic model in accordance with which the de- scribed semantic gap is of the substantial nature related to the complex module organization of a consistent and adaptive human strategy consisting of three associated but independently functional modules (genetic, cultural and techno-rational). Evolutionary trajectory of all anthropogenesis components including civilization cultural and so- cial-political evolution is identified by the proportion between two macro variables – evolutionary effectiveness and evolutionary stability (sameness), i.e. preservation in the context of consequential transformations of some invari- ants of Homo sapiens species specificity organization. It should be noted that inasmuch as in respect to human, some modules of the evolutionary (adaptive) strategy assume self-reflection attributes, it would be more correctly to state about evolutionary correctness, i.e. correspondence to some perfection. As a result, the future of human nature de- pends not only on the rationalist principles of ethics of Homo species (the archaism of Jurgen Habermas), but also on the holistic and emotionally aesthetic image of «Self». In conclusion it should be noted that there is a causal link between the development of High Hume (NBIC) technologies and the totality of the trend in the anthropological phenomenon of bio-power that permeates all the available human existence in modern civilization. As a result, there is a transformation of a contemporary social (man-made) risk in the evolutionary civilization risk. (shrink)

Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very presence (...) as wall-cum-images, or as images-out-of-a-wall, eroding its foundational condition to a flickering-tele-techno-pixelated spectral apparatus. Its radically modern and outdated presence reconfigures contemporary reflections on what architecture and what the modern is, indirectly referencing “Fundamentals,” the 2014 Venice Architecture Biennale curated by Rem Koolhaas. (shrink)

Disenchantment, disillusion and despair reign in a world where technical rationality and globalization create a market culture and the merchandise of audio-visual images to close the order of symbols and the hermeneutics of meaning. Techno-digital ignorance; the repression of sensitivity by an ideol..

Dans cet ouvrage, l'auteur se livre à une comparaison conceptuelle entre le principe de précaution et le principe responsabilité. Il combat la démarche tendancieuse des penseurs de la précaution qui, à l'image de Corinne Lepage, dont la conception a été reprise par le chef de l'Etat français lors du " Grenelle de l'Environnement ", assimilent précaution et responsabilité, réduisant la seconde à la première. Précaution et responsabilité ne sont en réalité absolument pas réductibles, et le principe responsabilité tel que (...) défini par Hans Jonas contient les germes d'une remise en question du mode de développement occidental, dont la notion de développement durable est actuellement le fer de lance, que le principe de précaution ne permet pas - et qu'il interdit même. Politique de Cassandre dévoile ainsi l'escroquerie politico-intellectuelle dont le principe de précaution est la manifestation, et dont le " Grenelle de l'environnement " est le dernier avatar. La responsabilité politique ne consiste à intervenir ni en aval de la catastrophe comme nous y oblige le développement techno-scientifique, ni en amont de la catastrophe et en aval des causes de cette catastrophe comme nous y incite le principe de précaution, mais en amont des causes de la catastrophe. Cet essai, à la fois philosophique, politique et poétique, tente d'allier la rigueur de la démarche intellectuelle, le souci moral de la pratique et la sensibilité humaine. (shrink)

In this paper Ludwig Wittgenstein is interpreted as a philosopher of language and technology. Due to current developments, a special focus is on lifeworld practice and technoscientific research. In particular, image-interpretation is used as a concrete methodical example. Whereas in most science- or technology-related Wittgenstein interpretations the focus is on the Tractatus, the Investigations or On Certainty, in this paper the primary source is his very late triune fragment Bemerkungen über die Farben. It is argued that Wittgenstein’s approach can (...) supplement Don Ihde’s concept of material hermeneutics, and that Wittgenstein’s constructivist and pragmatist claims relate to current authors in the philosophy of technology like Peter Janich, Carl Mitcham or Jürgen Mittelstraß. Ludwig Wittgenstein enables a philosophical approach of transcendental grammars, techno-linguistic forms of life and technoscientific language games. In detail, several methodological aspects regarding relations between language and technology are summarized. Here concretely repeatability and methodical actions play major roles in uncertain situations of language and technology practice. It is shown that Wittgenstein is still underestimated in the philosophy of technology—although his thoughtful conceptualizations of language, social practice and technology bear important methodical insights for current technosciences like synthetic biology, robotics and many others. (shrink)

The algorithmic turn in photography raises the question of whether an algorithmically generated image is even a photograph at all. This paradox is abundant on India's urban streets, where the pedestrian or road user is met with giant photo saturated flex hoardings printed with political and community messages and photo-shopped portraits of gods, chief ministers and party workers. In this article, attention to photo-based political posters alongside art practices sharing common elements of digital capture and postproduction contextualizes a reading (...) of technologically produced visual landscapes in the South Indian city of Bangalore. Informed by Vilèm Flusser, the techno-materiality of hoardings are interpreted as visual practices whose reliance on Microsoft and Adobe softwares reveal more than the semiotic information that is ostensibly transmitted; in so doing the extent to which photography is a useful entry point for assessing the visuality in which we're currently living and how this gets locally inflected in the case of India is explored. (shrink)

ArgumentGlass vessels such as flasks and test tubes play an ambiguous role in the historiography of modern laboratory research. In spite of the strong focus on the role of materiality in the last decades, the scientific glass vessel – while being symbolically omnipresent – has remained curiously neglected in regard to its materiality. The popular image ortoposof the transparent, neutral, and quasi-immaterial glass container obstructs the view of the physico-chemical functionality of this constitutive inner boundary in modern laboratory environments (...) and its material historicity. In order to understand how glass vessels were able to provide a stable epistemic containment of spatially enclosed experimental phenomena in the new laboratory ecologies emerging in the nineteenth and early twentieth century, I will focus on the history of thematerialstandardization of laboratory glassware. I will follow the rise of a new awareness for measurement errors due to the chemical agency of experimental glass vessels, then I will sketch the emergence of a whole techno-scientific infrastructure for the improvement of glass container quality in late nineteenth-century Germany. In the last part of my argument, I will return to the laboratory by looking at the implementation of this glass reform that created a newoikosfor the inner experimental milieus of modern laboratory research. (shrink)

Ces Lecons X abordent le phenomene humain hors de la conception toute faite repandue par les doctrines de la transparence. Ici, il s'agit de considerer chaque civilisation et ses facades sociales a l'instar d'un Texte, comme montage langagier, et de reconnaitre la condition theatrale de l'espece douee de parole. Dans cette perspective se revelent les structures dogmatiques du sujet et de la societe qui, du fait du langage, s'entre-appartiennent. La rehabilitation d'une tradition de pensee portee par le terme antique de (...) dogma, transmis par la Grece a l'Occident jusqu'a l'ere industrielle, rouvre des chemins longtemps verrouilles et remet a l'ordre du jour la question immemoriale: que veut dire instituer l'animal humain? Au carrefour de ces chemins: la suprematie de la relation d'identite / alterite, avec ce qu'elle postule du cote du lien d'image, objet des grandes manoeuvres religieuses et politiques. Ainsi, prendre en compte la vie de la representation comme ressort de la fonction d'instituer entraine a interroger les procedures genealogiques d'acces a la realite, les systemes normatifs differencies et, du meme pas, a decouvrir la face cachee du principe de Raison. Sont mises au jour la fragilite humaine et les incertitudes de l'edification sociale. Les echafaudages inventes par l'anthropos pour la reproduction et la survie ne sont intelligibles que mis en rapport avec la dimension de l'Ancetre, autrement dit du Temps, cette vision des lointains, marqueur des civilisations: scenario fondateur, elaboration des attaches au present, horizon de l'inconnu a venir. Cette donnee basique donne relief aux domaines qui sont strategiques parce qu'ils touchent au destin des montages instituants a l'echelle de l'espece: religion, techno-science-economie, regles et preceptes du droit. A notre epoque de deraisonnement multiforme, ou les individus sont malmenes et guettes par la menace de perdre pied, il convient de porter le regard sur ces constructions de discours - poussees de facon recurrente au delire meurtrier, de nos jours sous des formes inedites - et sur leur portee structurale. Si la notion d'anthropologie, aujourd'hui figee et si galvaudee que j'hesitai a la reprendre, peut retrouver vigueur, ce sera au prix du depassement de l'impasse a laquelle a finalement abouti cette discipline: a quoi sert le penser? Reprenant le theme, longuement medite, d'anthropologie dogmatique, ce livre invite le lecteur a s'aventurer sur les sentiers non balises par la doxa contemporaine, oublieuse de son site historial et de ses sources.P. L. (shrink)

Defunct satellites and other technological waste are increasingly occupying Earth’s orbital space, a region designated as one of the global commons. These dilapidated technologies that were commissioned to sustain the production and exchange of data, information, and images are an extraterrestrial equivalent of the media devices which are discarded on Earth. While indicating the extension of technological momentum in the shared commons of space, orbital debris conveys the dark side of media materialities beyond the globe. Its presence and movements interfere (...) with a gamut of governmental, commercial, and scientific operations, contesting the strategies of its management and control and introducing orbital uncertainty and disorder in the global affairs of law, politics, economics, and techno-science. I suggest that this debris formation itself functions as media apparatus —it not only embodies but also exerts its own effects upon the material and social relations that structure our ways of life, perplexing dichotomies between the common and owned, governed and ungovernable, wealth and waste. I explore these effects of debris, framing its situation in the orbital commons as a vital matter of concern for studies of the human relationship with media technologies and their waste. (shrink)

Dans son dernier article de 1954, Solvable and Unsolvable Problems, Turing répète le résultat fondamental de 1936 dans lequel est formulée l’impossibilité de résoudre tout problème algorithmique à l’aide d’une méthode universelle. Il expose ce résultat en le reliant à une notion qui paraît simple et accessible à tous : le jeu. Mais qu’est-ce qui est au juste entendu par cette notion de jeu ? S’agit-il d’un simple objet mathématique ou n’y a-t-il pas ici une notion qui touche à l’ordre (...) du monde dans son ensemble ? N’y a-t-il pas chez Turing l’intuition que la cybernétique transformera le monde en une chose contrôlable et organisable, à l’image d’un grand Jeu ? Dans la mesure où le développement des machines à calculer dépasse le strict cadre des techno-sciences, peut-on voir là le déploiement d’un Jeu dont, nous dit Héraclite, nous serions nous-mêmes les pions ? (shrink)

Dans son dernier article de 1954, Solvable and Unsolvable Problems, Turing répète le résultat fondamental de 1936 dans lequel est formulée l’impossibilité de résoudre tout problème algorithmique à l’aide d’une méthode universelle. Il expose ce résultat en le reliant à une notion qui paraît simple et accessible à tous : le jeu. Mais qu’est-ce qui est au juste entendu par cette notion de jeu? S’agit-il d’un simple objet mathématique ou n’y a-t-il pas ici une notion qui touche à l’ordre du (...) monde dans son ensemble? N’y a-t-il pas chez Turing l’intuition que la cybernétique transformera le monde en une chose contrôlable et organisable, à l’image d’un grand Jeu? Dans la mesure où le développement des machines à calculer dépasse le strict cadre des techno-sciences, peut-on voir là le déploiement d’un Jeu dont, nous dit Héraclite, nous serions nous-mêmes les pions? (shrink)

The main themes and aims of this book are understanding aesthetics, contemporary art and the end of the avant-garde not from the traditional viewpoint of the metaphysics of the beautiful and the sublime but rather thru close connection to the techno-genesis of virtual worlds. This book tackles problems in contemporary art theory such as the body in space and time of digital technologies, along with other issues in visual studies and image science. Further intentions exhibit the fundamental reasons (...) for the disappearance of the picture in the era of virtual reality starting from the notion of contemporary art as realized iconoclasm; art has no world for its "image". The author argues that the iconoclasm of contemporary art has severe consequences. This text appeals to philosophers of art and those interested in contemporary art theory. (shrink)

Abstract:In the Chinese cultural imaginary, the road (Dao, “way”), especially trade routes, has always been an important metaphor for changing circumstances including shifting ideological grounds. Its own life trajectory is both classical and contemporary, and its emergence predates the trains, nation-states, sovereign powers, and so on, all such signs of techno-political modernity at work. Also in that regard, spiritually inflected images of the “West Heaven,” also an old name for India, where Buddhism originated, have always been present in East (...) Asian cultural spheres, which, in turn, points to the presence of a deeper Eurasian world connected through the Middle East as well. Now, however, quite strikingly, such global conceptual structures, long part of the evolving Chinese cultural tradition too, are being rapidly localized and recast into something else. For example, in China, Buddhism, a religion fundamentally critical of idol worshipping, has become pantheistic, and the political ideas that originally promoted equality newly patriarchal. For those living along the China Eastern Railway tracks in the twenty-first century, all such ideologies have become part of a tensional fight of gods in which they, too, are caught: on one hand they long for a linear progression of society that would never turn back, but on the other hand they are reluctant to abandon the self-comforting theory of reincarnation. This is also how they come to praise the imported concept of the motherland while worshipping figures of traditional patriarchal power. (shrink)

In this article I investigate online misinformation from a media philosophy perspective. I, thus move away from the debate focused on the semantic content, concerned with what is true or not about misinformation. I argue rather that online misinformation is the effect of an informational climate promoted by user micro-behaviours such as liking, sharing, and posting. Misinformation online is explained as the effect of an informational environment saturated with and shaped by techno-images in which most users act automatically under (...) the constant assault of stirred emotions, a state resembling what media philosopher Vilém Flusser has called techno-magical consciousness. I describe three ways in which images function on social media to induce this distinctive, uncritical mode of consciousness, and complement Flusser’s explanation with insights from the phenomenology of emotions. (shrink)

What is techno-optimism and how can it be defended? Although techno-optimist views are widely espoused and critiqued, there have been few attempts to systematically analyse what it means to be a techno-optimist and how one might defend this view. This paper attempts to address this oversight by providing a comprehensive analysis and evaluation of techno-optimism. It is argued that techno-optimism is a pluralistic stance that comes in weak and strong forms. These vary along a number (...) of key dimensions but each shares the view that technology plays a key role in ensuring that the good prevails over the bad. Whatever its strength, to defend this stance, one must flesh out an argument with four key premises. Each of these premises is highly controversial and can be subjected to a number of critiques. The paper discusses five such critiques in detail. The paper also considers possible responses from the techno-optimist. Finally, it is concluded that although strong forms of techno-optimism are not intellectually defensible, a modest, agency-based version of techno-optimism may be defensible. (shrink)

In response to De Proost and Segers, we provide further reflections on how technologies induce moral change. We discuss moral changes at the societal level as distinguished from changes in bioethical principles or ethical concepts, impacts on theories of justice, and whether the transformations are negative or positive.

In a wide range of contemporary debates on Japanese cultures of technological practice, brief reference is often made to distinct Shinto legacies, as forming an animist substratum of indigenous spiritual beliefs and cosmological imaginations. Japan has been described as a land of Shinto-infused ‘techno-animism’: exhibiting a ‘polymorphous perversity’ that resolutely ignores boundaries between human, animal, spiritual and mechanical beings. In this article, we deploy instances of Japanese techno-animism as sites of theoretical experimentation on what Bruno Latour calls a (...) symmetrical anthropology of nature-cultures. In staging a dialogue between actor-network theory and Japanese techno-animism, we show how Shinto cosmograms provide an enlivening and alternative diffraction device on several of the ontological motifs manifested in Latour’s work. In particular, by mobilizing the territory of a ‘new’ animism debate in anthropology – manifested in the work of Philippe Descola and Eduardo Viveiros de Castro – we attempt to infuse Latourian ‘multinaturalism’ with new, other-than-western analytical energy. Extending actor-network theory, we argue, Shinto cosmograms offer an interesting vantage point for interpreting the immanent, affective, enchanting and enabling powers of non-humans in contributing to collective life. By thus broadening the ‘cosmopolitical’ imagination beyond Latour’s own European-Catholic frame of reference, Shinto techno-animism offers up a wider reflection on contemporary entanglements of science, politics, ecology and cosmos. This reflection, we conclude, opens up a new intellectual territory, allowing us to trace techno-animist streams of thinking both ‘East’ and ‘West’, beyond the confines of the scientific naturalism indigenous to European thinking. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

guest editors' introduction to a special issue on techno-anthropology.