Postphenomenology and posthermeneutics as initiated by Ihde have made important contributions to conceptualizing understanding human–technology relations. However, their focus on individual perception, artifacts, and static embodiment has its limitations when it comes to understanding the embodied use of technology as involving bodily movement, social, and taking place within, and configuring, a temporal horizon. To account for these dimensions of experience, action, and existence with technology, this paper proposes to use a conceptual framework based on performance metaphors. Drawing on metaphors from (...) three performance arts—dance, theatre, and music—and giving examples from social media and other technologies, it is shown that we can helpfully describe technology use and experience as performance involving movement, sociality, and temporality. Moreover, it is argued that these metaphors can also be used to reformulate the idea that in such uses and experiences, now understood as “technoperformances”, technology is not merely a tool but also takes on a stronger, often non-intended role: not so much as “mediator” but as choreographer, director, and conductor of what we experience and do. Performance metaphors thus allow us to recast the phenomenology and hermeneutics of technology use as moving, social, and temporal—indeed historical—affair in which technologies take on the role of organizer and structurer of our performances, and in which humans are not necessarily the ones who are fully in control of the meanings, experiences, and actions that emerge from our engagement with the world, with technology, and with each other. This promises to give us a more comprehensive view of what it means to live with technology and how our lives are increasingly organized by technology—especially by smart technologies. Finally, it is argued that this has normative implications for an ethics and politics of technology, now understood as an ethics and politics of technoperformances. (shrink)

In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity of the music piece (...) variously performed. I also argue that the lack of ‘aura’, in this case, does not devalue the music piece and nevertheless allows for a notable aesthetic fruition. (shrink)

This thesis argues for the continuing possibility of Adorno set against the backdrop of a post-modern proliferation of affects. A major theoretical contention is the concept of the subject: a sticking point within philosophy. The thesis takes this up and offers a new pathway without falling into the cliché of a renewal of Adorno’s position. Drawing on Adorno’s theoretical thoughts on the subject the thesis contends that the subject is that which by turns dissolves all eventualities or more proportionally acts (...) like a place-holder for the newly emerging: structures that cannot be explained by recourse to the laws that govern its parts. These experiential structures present a surface, resistance, or solidarity that upon closer examination dissolve back into the ephemeral. Although such structures are profligate and prolific, the thesis adopts as its major concern artworks and aesthetics. Following Adorno, a claim is made for artworks that present open-ended possibilities. They are able for example to critically challenge the dominant hegemony the profundity that all too easily sides with the oppressors of life. What philosophy, a critical tool in furtherance of the good life, a concept restaged, here takes from art is not a sense of equivalence, art and philosophy are held apart in a creative and critical tension, but the sense of yearning that animates the nonconceptual side of art which the concept negates. The yearning, being experiential, is always embodied. Its fulfilment negates the immediacies, the mere appearance of life, particularly in its systematically reflexive form. The conclusion concurs with Adorno in the thought that affinity with the object is achieved not as the resultant of identity thinking, but through the act of definite negation of identifying schema. (shrink)