According to an editor of The Economist, the world produced, in the years since World War II, seven times more goods than throughout all history. This is well appreciated by lay people, but has hardly affected social scientists. They do not have the conceptual apparatus for understanding accelerated material-technical change and its meaning for people's personal lives, for their ways of relating to them-selves and to the outside world. Of course, a great deal of speculation about emerging life forms in (...) industrialised societies exists and social scientists with a futuristic bend have projected their diverse visions upon public debates, ranging from thc Efficient Hedonism of "post-industrialist' society a la Daniel Bell to the “Responsible Convivialism” of 'post-materialist" critics such as Fritz Schumacher. Competing images of the coming "services society" or "self-service society" share a central concern: the ongoing relation between tile spheres of large organisations and personal lifestyles, between salaried work arid private consumption. They also share a eel-tau' implausibility: few people recognize themselves in either projection. And they sham ubiquitous reference to "technology", without accounting for it in real terms. A good diagnostic of what is actually happening seems to me to be Jonathan Gershuny, who sees a drift toward a particular type of self-service economy: a quite radical shift in the mode of provision of social services, as he calls it, based on new kinds of consumer technologies. Industrialization used to be partial, but is becoming total fast. This process obviously has many facets, the one I am interested in here is the intrusion of modern technology into spheres of life which in the past have been relatively little dependent on it. (shrink)

Die im Reader versammelten Beiträge verstehen sich als Versuche zu einer Soziologie des Visuellen. Sie untersuchen am Beispiel des Mediums Stadtfilm, welche Rolle die dorterzeugten Bilder großer Städte bei der Produktion urbanistischer Repräsentanten spielen. Aus diesem Grund werden insbesondere Übergänge analysiert, die Spielfilme einerseits und urbanistische Diskurse andererseits miteinander verknüpfen. Gemeinsamer Ausgangspunkt ist die These, daß es vor allem Bilder sind, die solche Verknüpfungen gewährleisten. Es wird unterstellt, daß es das Medium Film erlaubt, gerade über den Einsatz von Bildern "näher" (...) an soziale Wirklichkeiten heranzukommen, als dies textzentrierter Praxis empirischer Sozialforschung möglich ist. Stadtfilme erzeugen wirkmächtige Bilder, auf die dann unter bestimmten Bedingungen in urbanistischen Kontexten zurückgegriffen wird. Die Autoren präsentieren konzeptionelle Überlegungen und Filminterpretationen zu Moebius (1991, Regie: Matti Geschonneck), Der Himmel über Berlin (1987, Regie: Wim Wenders), In weiter Ferne, so nah! (1993, Regie: Wim Wenders), Der Bauch des Architekten (1987, Regie: Peter Greenaway) und Hass (1995, Regie: Mathieu Kassovitz). Sie bedienen sich dabei sehr unterschiedlicher Verfahren. Gemeinsam sind ihnen allerdings die Anliegen, die größere Nähe der Filme zu sozialen Welten hervorzuheben und die Übergänge zwischen Stadtfilmen und Urbanistik herauszuarbeiten. -/- City and Film. Attempts at a 'Visual Sociology' Summary The contributions collected in this reader present attempts at a Visual sociology'. Based on a study on the medium 'city film' the author s determine which role the images of big cities evoked in such films can play for urbanistic representations. Therefore the analysis is, in particular, focussed on points of transition marking a connection of movies, on the one hand, and urbanistic discourse, on the othe r. The common point of departure is the hypothesis that images, more than anything else, do guarantee such connections. The authors assume that the medium film may lead 'closer' to social realities than the text- centered practices of empirical social research. City films produce powerful images which, under certain cond itions, can be utilized in urbanistic contexts. The authors present conceptual considerations and interpretations of the following films: Moebius (1991, director: Matti Geschonneck); Der Himmel über Berlin (1987, director: Wim Wenders); In weiter Ferne, so nah! (1993, director: Wim Wenders); The Belly of the Architect (1987, director: Peter Greenaway); and quite different methods they aim at the same goals: emphasizing the greater closeness of films to social worlds and bringing out the points of transition between city films and urbanistics. (shrink)

"Der Wind spielt drinnen mit den Herzen wie auf dem Dach, nur nicht so laut", lautet eine Zeile aus Franz Schuberts Winterreise. In ihr wird prosopopoietisch1 der außersozialen Natur "ein Gesicht" (das Gesicht eines Spielers) verliehen; im weiteren wird sie mir dazu dienen, einige Probleme (sozial)konstruktivistischer Technikforschung zu diskutieren und zu zeigen, inwiefern man technische Systeme auch prosopopoietischenSysteme nennen kann.

Sozialwissenschaftler verwenden die Körpermetapher meist anthropologisch im Sinne des Erweiterns, Entlastens und Ersetzens der sinnlichen Organe und Funktionen menschlicher Körper durch anorganische technische Artefakte. Sieht man dagegen Technik als Körper der Gesellschaft, dann stellt man die Metapher vom Kopf auf die Füße. Materiale, außerkörperliche Technik interessiert hier als eine kulturelle Errungenschaft, der soziale Prozesse und Formen zu verdanken sind, die nur auf biologische Körper gestützte Interaktion nicht hervorbringen könnte. In dieser Metaphorik liefert Technik die notwendigen Organe für Recht, Wirtschaft oder (...) Wissenschaft und erlaubt neue Formen des Verträgemachens, des Gütertausches oder der Aufschließung der Natur. (shrink)

Why should we refrain from doing things that, taken collectively, are environmentally destructive, if our individual acts seem almost certain to make no difference? According to the expected consequences approach, we should refrain from doing these things because our individual acts have small risks of causing great harm, which outweigh the expected benefits of performing them. Several authors have argued convincingly that this provides a plausible account of our moral reasons to do things like vote for policies that will reduce (...) our countries’ greenhouse gas emissions, adopt plant-based diets, and otherwise reduce our individual emissions. But this approach has recently been challenged by authors like Bernward Gesang and Julia Nefsky. Gesang contends that it may be genuinely impossible for our individual emissions to make a morally relevant difference. Nefsky argues more generally that the expected consequences approach cannot adequately explain our reasons not to do things if there is no precise fact of the matter about whether their outcomes are harmful. -/- In the following chapter, author Howard Nye defends the expected consequences approach against these objections. Nye contends that Gesang has shown at most that our emissions could have metaphysically indeterministic effects that lack precise objective chances. He argues, moreover, that the expected consequences approach can draw upon existing extensions to cases of indeterminism and imprecise probabilities to deliver the result that we have the same moral reasons to reduce our emissions in Gesang’s scenario as in deterministic scenarios. Nye also shows how the expected consequences approach can draw upon these extensions to handle Nefsky’s concern about the absence of precise facts concerning whether the outcomes of certain acts are harmful. The author concludes that the expected consequences approach provides a fully adequate account of our moral reasons to take both political and personal action to reduce our ecological footprints. (shrink)