Introduction: contemporary conditions and diagrammatic trajectory -- From joy to the gap: the accessing of the infinite by the finite (Spinoza, Nietzsche, Bergson) -- The care of the self versus the ethics of desire: two diagrams of the production of subjectivity (and of the subject's relation to truth) (Foucault versus Lacan) -- The aesthetic paradigm: from the folding of the finite-infinite relation to schizoanalytic metamodelisation (to biopolitics) (Guattari) -- The strange temporality of the subject: life in-between the infinite and the (...) finite (Deleuze contra Badiou) -- Desiring-machines, chaoids, probeheads: towards a speculative production of subjectivity (Deleuze and Guattari) -- Conclusion: composite diagram and relations of adjacency. (shrink)

In Archive Fever , Jacques Derrida deftly guides us through an extended meditation on remembrance, religion, time, and technology--fruitfully occasioned by a deconstructive analysis of the notion of archiving. Intrigued by the evocative relationship between technologies of inscription and psychic processes, Derrida offers for the first time a major statement on the pervasive impact of electronic media, particularly e-mail, which threaten to transform the entire public and private space of humanity. Plying this rich material with characteristic virtuosity, Derrida constructs a (...) synergistic reading of archives and archiving, both provocative and compelling. "Judaic mythos, Freudian psychoanalysis, and e-mail all get fused into another staggeringly dense, brilliant slab of scholarship and suggestion."-- The Guardian "[Derrida] convincingly argues that, although the archive is a public entity, it nevertheless is the repository of the private and personal, including even intimate details."-- Choice "Beautifully written and clear."--Jeremy Barris, Philosophy in Review "Translator Prenowitz has managed valiantly to bring into English a difficult but inspiring text that relies on Greek, German, and their translations into French."-- Library Journal. (shrink)

Modest_Witness@Second_Millennium. FemaleMan_Meets_OncoMouse explores the roles of stories, figures, dreams, theories, facts, delusions, advertising, institutions, economic arrangements, publishing practices, scientific advances, and politics in twentieth- century technoscience. The book's title is an e-mail address. With it, Haraway locates herself and her readers in a sprawling net of associations more far-flung than the Internet. The address is not a cozy home. There is no innocent place to stand in the world where the book's author figure, FemaleMan, encounters DuPont's controversial laboratory rodent, OncoMouse. (...) Haraway sees the world of contemporary technoscience as a drama. Information sciences and life sciences are at the center of the dramatic action. Scenes are set in landscapes where maps of human genetic differences are stored in databases, racialized bodies are reconfigured by morphing for photographs in popular magazines, and transgenic mice important to breast cancer research are patented intellectual property. The actors are many, and not all are human. Beginning with the Modest Witness, the key figure in the Science Revolution, Haraway shows us the trouble lurking in race and gender- marked practices for attesting to matters of fact. In later scenes, Haraway explores the kinship relations among the many cyborg creatures produced in the late twentieth-century--in nuclear research, genetic engineering, reproductive technologies, computer-mediated representational practices, and mutations in biological approaches to "race.". (shrink)

Quine's areas of interest are panoramic, as this lively book amply demonstrates.

Prologue: autumn aroma -- What's left? -- Arts of noticing -- Contamination as collaboration -- Some problems with scale -- Interlude: smelling -- After progress : salvage accumulation -- Working the edge "freedom" -- Open ticket, Oregon -- War stories -- What happened to the state? : two kinds of Asian Americans in translation -- Between the dollar and the yen -- From gifts to commodities and back -- Salvage rhythms : business in disturbance -- Interlude: tracking -- Disturbed beginnings (...) : unintentional design -- The life of the forest : coming up among pines -- History -- Resurgence -- Serendipity -- Ruin in gaps and patches -- In science as translation -- Flying spores -- Interlude: dancing -- In the middle of things -- Matsutake crusaders -- Ordinary assets -- Anti-ending : some people I met along the way -- Spore trail: the further adventures of a mushroom -- Notes -- Index. (shrink)

Born out of a major international dialogue held at the Fondazione Giorgio Cini in Venice, Italy, this collection of essays presents innovative and provocative arguments about the claims of universal knowledge schemes and the different aesthetic and material forms in which such claims have been made and executed. Contributors take a close look at everything from religious pilgrimages, museums, and maps of the world, to search engines and automated GPS. Current obsessions in information technology, communications theory, and digital culture often (...) concern the value and possibility of a grand accumulation of universally accessible forms of knowledge: total libraries, open data bases, ubiquitous computing, and 'smart' technologies. These obsessions have important social and philosophical origins, and they raise profound questions about the very nature of knowledge and its organization. This volume's contributors draw on the histories of maps and of encyclopedias, worldviews and visionary collections, to make sense of the crucial relation between the way the world is known and how it might be displayed and transformed. (shrink)

Today, complaints about information overload – associated with an overwhelming deluge of data – are commonplace. Early modernists have reacted to these concerns by showing that similar ones have arisen before. While this perspective is useful, it leaves out what was novel about the concept of information overload, which relied on a historically specific model of the human being. I trace the term’s history back to 1960, when the American psychologist and systems theorist James Grier Miller published his article on (...) ‘information input overload and psychopathology’. In Grier Miller’s usage, the idea of information overload signalled as much a reconceptualization of human beings as communication channels whose capacity could be overwhelmed as it did concerns about the volume of reading material to manage. Through his work, and the broader subsequent adoption of the term in academic and journalistic venues, I show how ‘information overload’ reflected intellectual and social trends specific to its time. (shrink)

In the late 1930s networks of amateur observers across Britain were collecting data on birds , aircraft and society itself . This paper concentrates on birdwatching practice in the period 1930–1955. Through an examination of the construction of birdwatching's subjects, the Observers, and their objects, birds, it is argued that amateur strategies of scientific observation and record reflected, and were part-constitutive of, particular versions of ecological, national and social identity in this period. The paper examines how conflicts between a rural, (...) organicist Britishness and a modern, planner-preservationist Britishness were elaborated and contained within the figure of the birdwatcher and within the institutional epistemologies of the Royal Society for the Protection of Birds and the British Trust for Ornithology. Such conflicts are shown to be embedded in the structuring of visual perception in different strategies of bird and aircraft identification, particularly between analytic and gestalt methods; the paper examines, using the related ‘field-science’ of aircraft recognition, the importance of identificatory processes in the construction of the Observer, and concludes by examining whether tensions between organicist and scientific discourses were in any sense resolved by the end of this period. (shrink)

On 15 October 1959, Rudolf Carnap, a leading member of the recently founded Vienna Circle, came to lecture at the Bauhaus in Dessau, southwest of Berlin. Carnap had just finished his magnum opus, The Logical Construction of the World, a book that immediately became the bible of the new antiphilosophy announced by the logical positivists. From a small group in Vienna, the movement soon expanded to include an international following, and in the sixty years since has exerted a powerful sway (...) over the conduct of the philosophy of science as well as over wide branches of philosophy, economics, psychology, and physics. The site of Carnap’s lecture that day, the Dessau Bauhaus, was a stunning building designed by Walter Gropius and dedicated just three years earlier. Protected by its flat roof and glass walls, the artists, architects, weavers, and furniture designers had made the school a citadel of high modernism. It was here that Carnap addressed an enthusiastic audience on “Science and Life.” “I work in science,” he began, “and you in visible forms; the two are only different sides of a single life.”1 In this paper I will explore this “single life” of which the new philosophy and the new art were to be different facets; in the process, I hope to cast light on the shared modernist impulses that drove both disciplines in the interwar years. 1. Rudolf Carnap, lecture notes for his Bauhaus lecture, “Wissenschaft und Leben,” prepared 1 Oct. 1929 and delivered 15 Oct. 1929, transcription from shorthand by Gerald Heverly, Carnap Papers in the Archives of Scientific Philosophy, University of Pittsburgh Libraries, University of Pittsburgh , document RC 110-07-49. Quoted by permission of the University of Pittsburgh. All rights reserved. Translations are my own unless otherwise noted. Peter Galison is associate professor in the departments of philosophy and physics at Stanford University, where he co-chairs the program in the history of science. His primary interest is in the history and philosophy of experimentation, the subject of his How Experiments End and Big Science: The Growth of Large-Scale Research, edited with Bruce Hevly . His current project is entitled Image and Logic: The Material Culture of Modern Physics. (shrink)