The Politics of Aesthetics rethinks the relation between art and politics, reclaiming 'aesthetics' from its current narrow confines to reveal its significance ...

What does it mean to think about technology philosophically? Why try? These are the issues that Carl Mitcham addresses in this work, a comprehensive, critical introduction to the philosophy of technology and a discussion of its sources and uses. Tracing the changing meaning of "technology" from ancient times to our own, Mitcham identifies the most important traditions of critical analysis of technology: the engineering approach, which assumes the centrality of technology in human life and the humanities approach, which is concerned (...) with its moral and cultural boundaries. Mitcham bridges these two traditions through an analysis of discussions of engineering design, of the distinction between tools and machines, and of engineering science itself. He looks at technology as it is experienced in everyday life--as material objects (from kitchenware to computers), as knowledge ( including recipes, rules, theories, and intuitive "know-how"), as activity (design, construction, and use), and as volition (knowing how to use technology and understanding its consequences). By elucidating these multiple aspects, Mitcham establishes criteria for a more comprehensive analysis of ethical issues in applications of science and technology. This book will guide anyone wanting to reflect on technology and its moral implications. (shrink)

Technology is no longer confined to the laboratory but has become an established part of our daily lives. Its sophistication offers us power beyond our human capacity which can either dazzle or threaten; it depends who is in control. _Living in a Technological Culture_ challenges traditionally held assumptions about the relationship between `man-and-machine'. It argues that contemporary science does not shape technology but is shaped by it. Neither discipline exists in a moral vacuum, both are determined by politics rather than (...) scientific inquiry. By questioning our existing uses of technology, this book opens up wider debate on the shape of things to come and whether we should be trying to change them now. As an introduction to the philosophy of technology this will be valuable to students, but will be equally engaging for the general reader. (shrink)

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

"Recounts the story of Joseph Jacotot" -- vii.

Mimesis, the notion that art imitates reality, has long been recognized as one of the central ideas of Western aesthetics and has been most frequently associated with Aristotle. Less well documented is the great importance of mimetic theories of literature, theater, and the visual arts during the Renaissance and the Enlightenment. In this book, the most comprehensive overview of the theory of mimesis since Auerbach's monumental study, Gunter Gebauer and Christoph Wulf provide a thorough introduction to the complex and shifting (...) meanings of the term. Beginning with the Platonic doctrine of imitation, they chart the concept's appropriation and significance in the aesthetic theories of Aristotle, Molière, Shakespeare, Racine, Diderot, Lessing, and Rousseau. They examine the status of mimesis in the nineteenth-century novel and its reworking by such modern thinkers as Benjamin, Adorno, and Derrida. Widening the traditional understanding of mimesis to encompass the body and cultural practices of everyday life, their work suggests the continuing value of mimetic theory and will prove essential reading for scholars and students of literature, theater, and the visual arts. (shrink)

No figure among the western Marxist theoreticians has loomed larger in the postwar period than Louis Althusser. A rebel against the Catholic tradition in which he was raised, Althusser studied philosophy and later joined both the faculty of the Ecole normal superieure and the French Communist Party in 1948. Viewed as a "structuralist Marxist," Althusser was as much admired for his independence of intellect as he was for his rigorous defense of Marx. The latter was best illustrated in For Marx (...) (1965), and Reading Capital (1968). These works, along with Lenin and Philosophy (1971) had an enormous influence on the New Left of the 1960s and continues to influence modern Marxist scholarship. This classic work, which to date has sold more than 30,000 copies, covers the range of Louis Althusser's interests and contributions in philosophy, economics, psychology, aesthetics, and political science. Marx, in Althusser's view, was subject in his earlier writings to the ruling ideology of his day. Thus for Althusser, the interpretation of Marx involves a repudiation of all efforts to draw from Marx's early writings a view of Marx as a "humanist" and "historicist." Lenin and Philosophy also contains Althusser's essay on Lenin's study of Hegel; a major essay on the state, "Ideology and Ideological State Apparatuses," "Freud and Lacan: A letter on Art in Reply to Andre Daspre," and "Cremonini, Painter of the Abstract." The book opens with a 1968 interview in which Althusser discusses his personal, political, and intellectual history. (shrink)

This article argues that the concept and practice of ‘self-organized learning’, as pioneered by Sugata Mitra (and his team) in the ‘Hole-in-the-Wall’ experiments (1999–2005) that inspired the novel Q & A (2006) and the resulting movie, Slumdog millionaire (2008) bear direct, but not uncritical comparison with Jacques Rancière’s account of ‘universal teaching’ discovered by maverick nineteenth century French pedagogue Joseph Jacotot. In both cases, it is argued, there is a deliberate dissociation of two functions of ‘teaching’ that are often conflated: (...) knowledge and mastery. Mitra’s development of computer-mediated learning among the supposedly ‘ignorant’ of India’s slums, and Rancière’s insistence on equality as a presupposition rather than a goal, both emphasize the agency of the student at the centre of learning, but in ways that displace both established pedagogical methods of ‘explication’ and the neoliberal ideology of ‘schooling’ as the harmonizing of individual and social functions of education. (shrink)

An English reconstruction and analysis of Benjamin's Passagen-Werk.

Gives politics the following meaning: the organization of dissent.