In 1944 Horkheimer and Adorno warned that industrial society turns reason into rationalization, and Polanyi warned of the dangers of the self-regulating market, but today, argues Stiegler, this regression of reason has led to societies dominated by unreason, stupidity and madness. However, philosophy in the second half of the twentieth century abandoned the critique of political economy, and poststructuralism left its heirs helpless and disarmed in face of the reign of stupidity and an economic crisis of global proportions. New theories (...) and concepts are required today to think through these issues. The thinkers of poststructuralism Lyotard, Deleuze, Derrida must be re-read, as must the sources of their thought, Hegel and Marx. But we must also take account of Naomi Klein’s critique of Milton Friedman and the Chicago School and her account of the ‘shock doctrine’. In fact, argues Stiegler, a permanent ‘state of shock’ has prevailed since the beginning of the industrial revolution, intensified by the creative destruction brought about by the consumerist model. The result has been a capitalism that destroys desire and reason and in which every institution is undermined, above all those institutions that are the products par excellence of the Enlightenment the education system and universities. Through a powerful critique of thinkers from Marx to Derrida, Stiegler develops new conceptual weapons to fight this destruction. He argues that schools and universities must themselves be transformed: new educational institutions must be developed both to take account of the dangers of digitization and the internet and to enable us to take advantage of the new opportunities they make available. (shrink)

'beauty has purport and significance only for human beings, for beings at once animal and rational' In the Critique of Judgement Kant offers a penetrating analysis of our experience of the beautiful and the sublime, discussing the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation and the connection between morality and the aesthetic. He also investigates the validity of our judgements concerning the apparent purposiveness of nature (...) with respect to the highest interests of reason and enlightenment. The work profoundly influenced the artists and writers of the classical and romantic period and the philosophy of Hegel and Schelling. It has remained a central point of reference from Schopenhauer and Nietzsche through to phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics and contemporary critical theory. J. C. Meredith's classic translation has been revised in accordance with standard modern renderings and provided with a bilingual glossary. This edition also includes the important 'First Introduction' that Kant originally composed for the work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

This book is the first postphenomenological analysis of the important roles the cellphone plays in contemporary everydayness. It is an example of a new methodology to study everyday technologies that combines historical research with a philosophical investigation.

Bernard Stiegler works systematically through the current crisis in education and family relations resulting from the mesmerizing power of marketing technologies. He contends that the greatest threat to social and cultural development is the destruction of young people's ability to pay critical attention to the world around them. This phenomenon, prevalent throughout the first world, is the calculated result of technical industries and their need to capture the attention of the young, making them into a target audience and reversing the (...) relationship between adults and children. _Taking Care_ exposes the carelessness of these industries and urges the reader to re-enter the "battle for intelligence" against the drive-oriented culture of short-term attention characteristic of the negative aspects of the new technologies. Long-term attention, Stiegler shows, produces retentions of cultural memory mandatory for social development—and for the counteracting of ADD and ADHD. Examining the history of education from Plato to the current quagmires in France and the United States, he tracks the notion of critical thinking from its Enlightenment apotheosis to its current eradication. Stiegler is unique in combining the most radical of theoretical constructs—such as "grammatization"—with quite traditional values, values he proposes we re-address in our not-so-brave new world. (shrink)

Technics and Time 2: Disorientation continues Stiegler's interrogation of prosthetic and ortho-thetic memory in light of the crisis that arises when speed and delay are irreconcilable, the crisis of "human being" itself.

With his remarkable range of vision, the author takes us on a voyage of discovery that leads from Eden to Fellini, from paradise to parody - plotting the various models of the imagination as: Hebraic, Greek, medieval, Romantic, existential and post-modern.

Experimental Phenomenology has already been lauded for the ease with which its author explains and demonstrates the kinds of consciousness by which we come to know the structure of objects and the structure of consciousness itself. The format of the book follows the progression of a number of thought experiments which mark out the procedures and directions of phenomenological inquiry. Making use of examples of familiar optical illusions and multi-stable drawings, Professor Ihde illustrates by way of careful and disciplined step-by-step (...) analyses, how some of the main methodological procedures and epistemological concepts of phenomenology assume concrete relevance. Such formidable fare as epoche, noetic and noematic analysis, apodicticity, adequacy, sedimentation, imaginative variation, field, and fringe are rendered into the currency of familiar examples from the everyday world. (shrink)

Cinematic time -- The cinema of consciousness -- I and we : the American politics of adoption -- The malaise of our educational institutions -- Making (the) difference -- Technoscience and reproduction.

Introduction -- Karl Marx's concept of alienation -- Objectification, alienation, and estrangement -- Other origins of alienation and objectification -- Marx's account of alienation : from early to late -- The alienated object of production : commodity fetishism -- The alienated means of production : machine fetishism -- Machines and the transformation of work -- Marx's energeticist turn -- The first law of thermodynamics -- From arbeit to arbeitskraft -- The second law of thermodynamics -- Machines in the communist future (...) -- Technology and the boundaries of nature -- Material wealth and value : the Grundrisse's fragment on machines -- The strife between technology and capital : the fall in the rate of profit -- Enjoyment not value : challenging the logic of exhaustion -- Man himself as fixed capital -- Class kinship and the redistribution of the means of production -- Machines in the capitalist reality -- Between thermodynamics and humanism : approaching capital -- Machinery as an historical category of production -- Machines, trains, and other capitalist monsters -- Rough, foul-mouthed boys : women's monstrous laboring bodies -- Wage labor and race -- Wage labor and sexuality -- Machinery and revolution -- Alienation beyond Marx -- Science and technology in Marx's excerpt notebooks -- Karl Marx and Charles Babbage -- Machines and temporality : the treadmill effect and free time -- Technophobia and technophilia -- Technophobia and twentieth-century theory. (shrink)

In the Critique of Judgement, Kant offers a penetrating analysis of our experience of the beautiful and the sublime. He discusses the objectivity of taste, aesthetic disinterestedness, the relation of art and nature, the role of imagination, genius and originality, the limits of representation, and the connection between morality and the aesthetic. He also investigates the validity of our judgements concerning the degree in which nature has a purpose, with respect to the highest interests of reason and enlightenment. The work (...) profoundly influenced the artists, writers, and philosophers of the classical and romantic period, including Hegel, Schelling, Schopenhauer, and Nietzsche. In addition, it has remained a landmark work in fields such as phenomenology, hermeneutics, the Frankfurt School, analytical aesthetics, and contemporary critical theory. Today it remains an essential work of philosophy, and required reading for all with an interest in aesthetics. (shrink)

Drawing on his own experiences of imagining, Edward S. Casey describes the essential forms that imagination assumes in everyday life. In a detailed analysis of the fundamental features of all imaginative experience, Casey shows imagining to be eidetically distinct from perceiving and defines it as a radically autonomous act, involving a characteristic freedom of mind. A new preface places Imagining within the context of current issues in philosophy and psychology.

As machines take over more tasks previously done by humans, artistic creation is also considered as a candidate to be automated. But, can machines create art? This paper offers a conceptual framework for a philosophical discussion of this question regarding the status of machine art and machine creativity. It breaks the main question down in three sub-questions, and then analyses each question in order to arrive at more precise problems with regard to machine art and machine creativity: What is art (...) creation? What do we mean by art? And, what do we mean by machines create art? This then provides criteria we can use to discuss the main question in relation to particular cases. In the course of the analysis, the paper engages with theory in aesthetics, refers to literature on computational creativity, and contributes to the philosophy of technology and philosophical anthropology by reflecting on the role of technology in art creation. It is shown that the distinctions between process versus outcome criteria and subjective versus objective criteria of creativity are unstable. It is also argued that we should consider non-human forms of creativity, and not only cases where either humans or machines create art but also collaborations between humans and machines, which makes us reflect on human-technology relations. Finally, the paper questions the very approach that seeks criteria and suggests that the artistic status of machines may be shown and revealed in the human/non-human encounter before any theorizing or agreement takes place; an experience which then is presupposed when we theorize. This hints at a more general model of what happens in artistic perception and engagement as a hybrid human-technological and emergent or even poetic process, a model which leaves more room for letting ourselves be surprised by creativity—human and perhaps non-human. (shrink)

Today’s scientific imaging technologies are able to detect and image emissions and radiations from a much wider range of the electromagnetic spectrum than ever before. Such phenomena lie beyond the horizons of ordinary human perceptibility. I examine here the implications of such translation mediations for the production of scientific knowledge and show how human embodiment is implicit for all perceptual observational possibilities. The framework is that of a postphenomenology which is able to relate these new phenomena to human embodiment.

The work is significant not only for its illuminating assessment of Kant's thought but also for its elaboration of themes first broached in Being and Time, ...

At the beginning of Western philosophy, Aristotle contrasted made objects, which did not have the source of their own production within themselves, with beings formed by nature. This distinction persisted until Marx, who conceived of the possibility of an evolution of the technical object. This philosophy developed while industrialisation was in the process of overthrowing the contemporary order of social organisation, which highlighted technology's new place in philosophical enquiry. Bernard Stiegler goes back to the beginning of Western philosophy and revises (...) the Aristotelian assessment, developing a complex argument whereby the technical object can be seen as having an essential, distinctive temporality and dynamic of its own. The author engages the ideas of Rousseau, Husserl, and Heidegger, the paleo-ontologist Leroi-Gourhan, the anthropologists Vernant and Detienne, the sociologists Weber and Habermas, and the systems analysts Maturana and Varela. (shrink)

The concept of imagination is notoriously ambiguous. Thus one must be cautious not to use ‘imagination’ as a placeholder for diverse phenomena and processes that perhaps have not much more in common than that they are difficult to assign to some other, better defined domain, such as perception, conceptual thought, or artistic production. However, this challenge also comes with great opportunities: the fecundity and openness of ‘imagination’ appeal to researchers from different disciplines with different approaches and questions, and it draws (...) together fields of enquiry that are initially considered far apart. Hence, arguably, the field of imagination is particularly poised for interdisciplinary enquiry. In the section on Imagination in Interdisciplinary Research, I will talk about some of the issues that have already entered that field of interdisciplinary inquiry. (shrink)

Here what I would like to accomplish is to set something of the stage from which the growing recognition of what I shall now term technoscience’s visualism —a term which can accommodate both sciences and engineering, and both imaging and design practices—takes its recognition. I shall very briefly look at the ‘godfathers and peers’ who help set this stage, and then proceed to an examination of a few moments in the development of visualism from da Vinci to computer assisted design (...) (CAD) and beyond. (shrink)