Challenging and rewarding in equal measure, _Phenomenology of Perception_ is Merleau-Ponty's most famous work. Impressive in both scope and imagination, it uses the example of perception to return the _body_ to the forefront of philosophy for the first time since Plato. Drawing on case studies such as brain-damaged patients from the First World War, Merleau-Ponty brilliantly shows how the body plays a crucial role not only in perception but in speech, sexuality and our relation to others. Perhaps above all, Merleau-Ponty's (...) insights about the embodied mind are a bold and refreshing challenge to the new era of virtual reality and artificial intelligence, as scientists and psychologists discover the centrality of the body to mind and intelligence. (shrink)

In _The Meaning of the Body_, Mark Johnson continues his pioneering work on the exciting connections between cognitive science, language, and meaning first begun in the classic _Metaphors We Live By_. Johnson uses recent research into infant psychology to show how the body generates meaning even before self-consciousness has fully developed. From there he turns to cognitive neuroscience to further explore the bodily origins of meaning, thought, and language and examines the many dimensions of meaning—including images, qualities, emotions, and metaphors—that (...) are all rooted in the body’s physical encounters with the world. Drawing on the psychology of art and pragmatist philosophy, Johnson argues that all of these aspects of meaning-making are fundamentally aesthetic. He concludes that the arts are the culmination of human attempts to find meaning and that studying the aesthetic dimensions of our experience is crucial to unlocking meaning's bodily sources. Throughout, Johnson puts forth a bold new conception of the mind rooted in the understanding that philosophy will matter to nonphilosophers only if it is built on a visceral connection to the world. “Mark Johnson demonstrates that the aesthetic and emotional aspects of meaning are fundamental—central to conceptual meaning and reason, and that the arts show meaning-making in its fullest realization. If you were raised with the idea that art and emotion were external to ideas and reason, you must read this book. It grounds philosophy in our most visceral experience.”—George Lakoff, author of _Moral Politics_. (shrink)

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In _Parables for the Virtual_ Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing (...) and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, _Parables for the Virtual _tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. _Parables for the Virtual_ will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general. (shrink)

In _Vibrant Matter_ the political theorist Jane Bennett, renowned for her work on nature, ethics, and affect, shifts her focus from the human experience of things to things themselves. Bennett argues that political theory needs to do a better job of recognizing the active participation of nonhuman forces in events. Toward that end, she theorizes a “vital materiality” that runs through and across bodies, both human and nonhuman. Bennett explores how political analyses of public events might change were we to (...) acknowledge that agency always emerges as the_ _effect of ad hoc configurations of human and nonhuman forces. She suggests that recognizing that agency is distributed this way, and is not solely the province of humans, might spur the cultivation of a more responsible, ecologically sound politics: a politics less devoted to blaming and condemning individuals than to discerning the web of forces affecting situations and events. Bennett examines the political and theoretical implications of vital materialism through extended discussions of commonplace things and physical phenomena including stem cells, fish oils, electricity, metal, and trash. She reflects on the vital power of material formations such as landfills, which generate lively streams of chemicals, and omega-3 fatty acids, which can transform brain chemistry and mood. Along the way, she engages with the concepts and claims of Spinoza, Nietzsche, Thoreau, Darwin, Adorno, and Deleuze, disclosing a long history of thinking about vibrant matter in Western philosophy, including attempts by Kant, Bergson, and the embryologist Hans Driesch to name the “vital force” inherent in material forms. Bennett concludes by sketching the contours of a “green materialist” ecophilosophy. (shrink)

"... Dr. Ihde brings an enlightening and deeply humanistic perspective to major technological developments, both past and present." —Science Books & Films "Don Ihde is a pleasure to read.... The material is full of nice suggestions and details, empirical materials, fun variations which engage the reader in the work... the overall points almost sneak up on you, they are so gently and gradually offered." —John Compton "A sophisticated celebration of cultural diversity and of its enabling technologies.... perhaps the best single (...) volume relating the philosophical tradition to the broad issues raised by contemporary technologies." —Choice "... important and challenging... " —Review of Metaphysics "... a range of rich historical, cultural, philosophical, and psychological insights, woven together in an intriguing and clear exposition... The book is really a pleasure to read, for its style, immense learning and sanity." —Teaching Philosophy The role of tools and instruments in our relation to the earth and the ways in which technologies are culturally embedded provide the foci of this thought-provoking book. (shrink)

In New Philosophy for New Media, Mark Hansen defines the image in digital art in terms that go beyond the merely visual. Arguing that the "digital image" encompasses the entire process by which information is made perceivable, he places the body in a privileged position -- as the agent that filters information in order to create images. By doing so, he counters prevailing notions of technological transcendence and argues for the indispensability of the human in the digital era.Hansen examines new (...) media art and theory in light of Henri Bergson's argument that affection and memory render perception impure -- that we select only those images precisely relevant to our singular form of embodiment. Hansen updates this argument for the digital age, arguing that we filter the information we receive to create images rather than simply receiving images as preexisting technical forms. This framing function yields what Hansen calls the "digital image." He argues that this new "embodied" status of the frame corresponds directly to the digital revolution: a digitized image is not a fixed representation of reality, but is defined by its complete flexibility and accessibility. It is not just that the interactivity of new media turns viewers into users; the image itself has become the body's process of perceiving it.To illustrate his account of how the body filters information in order to create images, Hansen focuses on new media artists who follow a "Bergsonist vocation"; through concrete engagement with the work of artists like Jeffrey Shaw, Douglas Gordon, and Bill Viola, Hansen explores the contemporary aesthetic investment in the affective, bodily basis of vision. The book includes over 70 illustrations from the works of these and many other new media artists. (shrink)

Marketing and web analytic companies have implemented sophisticated algorithms to observe, analyze, and identify users through large surveillance networks online. These computer algorithms have the capacity to infer categories of identity upon users based largely on their web-surfing habits. In this article I will first discuss the conceptual and theoretical work around code, outlining its use in an analysis of online categorization practices. The article will then approach the function of code at the level of the category, arguing that an (...) analysis of coded computer algorithms enables a supplement to Foucauldian thinking around biopolitics and biopower, of what I call soft biopower and soft biopolitics. These new conceptual devices allow us to better understand the workings of biopower at the level of the category, of using computer code, statistics and surveillance to construct categories within populations according to users’ surveilled internet history. Finally, the article will think through the nuanced ways that algorithmic inference works as a mode of control, of processes of identification that structure and regulate our lives online within the context of online marketing and algorithmic categorization. (shrink)

Darwin and feminism: preliminary investigations into a possible alliance -- Darwin and the ontology of life -- The Nature of culture -- Law, justice, and the future -- The Time of violence: Derrida, deconstruction, and value -- Drucilla Cornell, identity, and the "Evolution" of Politics -- Philosophy, knowledge, and the future -- Deleuze, Bergson, and the virtual -- Merleau-Ponty, Bergson, and the question of ontology -- The thing -- Prosthetic objects -- Identity, sexual difference, and the future -- The Time (...) of thought -- The Force of sexual difference -- (Inhuman) forces: power, pleasure, and desire -- The future of female sexuality. (shrink)

This book contains the unfinished manuscript and working notes of the book Merleau-Ponty was writing when he died.

A theoretical physicist and feminist theorist, Karen Barad elaborates her theory of agential realism, a schema that is at once a new epistemology, ontology, and ethics.

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

Suggests an open system of psychological exploration to cut through accepted norms of morality, language, and politics.

House. From cellar to garret. Significance of the hut -- House and universe -- Drawers, chests and wardrobes -- Nests -- Shells -- Corners -- Miniature -- Intimate immensity -- Dialectics of outside and inside -- Phenomenology of roundness.

A monumental work by an important modern philosopher, Matter and Memory (1896) represents one of the great inquiries into perception and memory, movement and time, matter and mind. Nobel Prize-winner Henri Bergson surveys these independent but related spheres, exploring the connection of mind and body to individual freedom of choice. Bergson’s efforts to reconcile the facts of biology to a theory of consciousness offered a challenge to the mechanistic view of nature, and his original and innovative views exercised a profound (...) influence on other philosophers--including James, Whitehead, and Santayana--as well as novelists such as Dos Passos and Proust. Matter and Memory is essential to an understanding of Bergson’s philosophy and its legacy. (shrink)

Science studies has often been against the normative dimension of epistemology, which made a naturalistic study of science impossible. But this is not to say that a new type of normativity cannot be detected at work inscience studies. This is especially true in the second wave of studies dealing with the body, which has aimed at criticizing the physicalization of the body without falling into the various traps of a phenomenology simply added to a physical substrate. This article explores the (...) work of Isabelle Stengers and Vinciane Despret in that respect, and shows how it can be used to rethink the articulation between the various levels that make up a body. (shrink)

Henri Bergson (1859-1941) is one of the truly great philosophers of the modernist period, and there is currently a major renaissance of interest in his unduly neglected texts and ideas amongst philosophers, literary theorists, and social theorists. Creative Evolution (1907) is the text that made Bergson world-famous in his own lifetime; in it Bergson responds to the challenge presented to our habits of thought by modern evolutionary theory, and attempts to show that the theory of knowledge must have its basis (...) in a theory of life. (shrink)

This brilliant exposition of the critique of identity is a classic in contemporary philosophy and one of Deleuze's most important works. Of fundamental importance to literary critics and philosophers,Difference and Repetition develops two central concepts—pure difference and complex repetition&mdasha;and shows how the two concepts are related. While difference implies divergence and decentering, repetition is associated with displacement and disguising. Central in initiating the shift in French thought away from Hegel and Marx toward Nietzsche and Freud, _Difference and Repetition_ moves deftly (...) to establish a fundamental critique of Western metaphysics. (shrink)

There are now many important contributions to the scientific study of the brain-mind continuum. These results come both from research into non-ordinary states of consciousness and into the brain's intrinsic, largely unconscious mechanisms. The larger potential of such investigations consists precisely in making the parameters of our cognitive system apparent. But they also reveal the socio-cultural uses to which these parameters are currently, or in the foreseeable future, being applied. This article wrestles with that fact. Specifically, it examines the implications (...) for those of us interested in the dynamics of visual awareness and the structural and phenomenological aspects of noticing. Because some of the key characteristics of consciousness are so ingrained that we are usually blind to them, it is all the more important to understand how and why we pay attention to certain features of our environment. Subjective consciousness pertains to the realm of inner experience as well as focusing on the external world. What Daniel Dennett terms `intentionality' or directedness towards an object is a sign of our connectedness to the outside world. Beyond connection, I am interested in how complex works of art help us cognize, confer reality, or have knowledge of what lies before our eyes. I will argue that this calibration of the agent's experience and her perception of the world is under threat today. (shrink)