Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
…
6 pages
1 file
Project De/light me! is a reader on new patterns of second order theory, or meta-theory, but applyed not on meta as supra level, not higher, but lower or down theory, underground theory of weird productions, applications, and phenomenas, on their patterns. So, it is about experimenting in a B-production level of theory, non-academic or second handed thought, concerned with the processing of theory on its new abut with technology.
Tools have always been inherent to us and have caused mayor breakthroughs in human history. From the invention of fire, which enabled a change in our digestive system and the shape of our teeth, to industrial machinery which transformed our production system and exerted new economic, political and social forthcomings in society. The simplest mode in which we can think about technology, is through material objects which are man-made. Lewis Mumford made an effort to categorize technological objects, or what he calls techniques in to tools, machines, utensils and utilities, without stating that such categories are exclusive or complete. This gap also makes available a space to redefine our relationship with technology and its meaning in retrospect to our human cultural assemblage. To extend Mumford’s categories, we could include our hands as a type of tool that extends our capabilities to do multiple actions, due to their versatile types of movements and grips they can perform. We could even go beyond manmade objects and include our own bodies as technology. Tools In their traditional definition, are objects that need human presence for them to work or any other source of energy, tools in a traditional sense are passive objects. With the arrival of the computer, and with pioneering work from people like John Von Neuman and Alan Turing to use the computer In creative ways, instead of a faithful slave, a necessity for a new definition for tools is aroused. In as much as with a new view of what the essence of technology is and its relationship with the domains of culture, economy, politics, and the biological realm. We are at a stage where we can return to being tool makers like our predeceases and not just black box tool users. But we will have to accept that these new tools can now be capable in having their own independence and the capacity to also design further new tools. We will have to accept that there will be a loss of control on our behalf, and embrace a new sea of possibilities and challenges that these new autonomous beings can bring. Tools will become active instead of passive, when will machines design?
DOAJ (DOAJ: Directory of Open Access Journals), 2008
This paper is concerned with the nature of traditions of Arts practice with respect to computational practices and related value systems. At root, it concerns the relationship between the specificities of embodied materiality and aspirations to universality inherent in symbolic abstraction. This tension structures the contemporary academy, where embodied arts practices interface with traditions of logical, numerical and textual abstraction in the humanities and the sciences. The hardware/software binarism itself, and all that it entails, is nothing if not an implementation of the Cartesian dual. Inasmuch as these technologies reify that worldview, these values permeate their very fabric. Social and cultural practices, modes of production and consumption, inasmuch as they are situated and embodied, proclaim validities of specificity, situation and embodiment contrary to this order. Due to the economic and rhetorical force of the computer, the academic and popular discourses related to it, are persuasive. Where computational technologies are engaged by social and cultural practices, there exists an implicit but fundamental theoretical crisis. An artist, engaging such technologies in the realization of a work, invites the very real possibility that the technology, like the Trojan Horse, introduces values inimical to the basic qualities for which the artist strives. The very process of engaging the technology quite possibly undermines the qualities the work strives for. This situation demands the development of a 'critical technical practice' (Agre). This paper seeks to elaborate on this basic thesis. It is written from the perspective, not of the antagonistic luddite, but from that of a dedicated practitioner with twenty five years experience in the design and development of custom electronic and digital artworks. Note and Disclaimer: This paper, inevitably, focuses on issues which arise as a result of the peculiarities of western cultural and technical history, and reflects discourses conducted in the English language. As discussed, some of the forces influencing those historical flows relate to the traditions of western philosophy, itself strongly influenced by Christian doctrine. The question of what form automated computation might have taken if it had arisen in a culture with different religious and philosophical history is a fascinating one. Likewise, the way that such a culture might negotiate the relation between technology and culture might be very different from that which has occurred in the West, and might offer important and useful qualities.
Ernst Cassirer on Form and Technology: Contemporary Readings, 2012
The paper “Technics of Thinking” explores the potential of Ernst Cassirer’s notion of symbolic and, especially, technological mediation, which allows for a fresh take on the old problems of knowledge and mind. Building on Cassirer’s core insight, delivered in the technology essay, concerning how tools ground the sort of mediacy that makes thinking possible, it sketches what is coined as a “differential” approach to knowledge. The resulting approach is at variance in significant respects from the philosophy of difference associated with poststructuralist thinking, and Hoel goes on to compare it, instead, with lines of thinking pursued in the contemporary philosophy of technology, in science and technology studies and in recent “extended mind” approaches within the philosophy of mind.
International Symposium on Algorithmic Design for Architecture and Urban Design (ALGODE ), 2011
In this paper we examine some of the main characteristics of the transformations induced by digital culture. Our argumentation is based on a triple point of view. First we reconsider the architectural form as a significant instant inside a sequence of potentialities. Second we mark the renewal of the notion of ornament and its inscription into the digital culture. Third we return to the fabrication-conception continuum and we note the abilities of tools and technologies to stimulate perceptual entities. Finally we illustrate these topics with two examples of architectural algorithmic design. Based on these examples, we will mark the links between intuition and computation and the emergence of a digital materiality.
This thesis conceptually investigates the relationship between human existence and the technical object, and thereby relates questions faced within the philosophy of technology to the field of philosophical anthropology. This conceptual work will be taken up in a twofold manner. Firstly, I detail how the Western philosophical tradition has tended to distance its own practice and thinking from the technical, and how it, relatedly, has hierarchically subjugated technics from what essentially defines us as human beings. This will involve a genealogical investigation of the figure of the philosopher and the technician, which will detail how and why these figures have been antagonistic and oppositional from the start. The argument being that this relationship constitutes a genuine hindrance for thinking of existence as originarily technical within the confines of traditional philosophical inquiry and its various schools of thought. Secondly, I conceptually investigate and phenomenologically describe the relationship between human existence and technics by way of an engagement with, first and foremost, the early and late thought of the German philosopher Martin Heidegger, the work of the French palaeoanthropologist André Leroi-Gourhan and the thought of the contemporary French philosopher Bernard Stiegler. The thesis sets out to question, in this regard, whether or not tool-user and tool, the human and the technical object are originarily prosthetically coupled, and hence if, so to speak, the inventor is also invented with what it invents. Its argument being, in this connection, that the invention of the human is technics. The central thesis of Heidegger’s later philosophy of technology that the essence of technics is by no means anything technical will thus be called into question.
2013
Click here if your download doesn"t start automatically Philosophy of Technology: The Technological Condition-An Anthology Philosophy of Technology: The Technological Condition-An Anthology This anthology brings together, for the first time, a collection of both seminal historical and contemporary essays on the nature of technology and its relation to humanity. Its selections not only situate technology in the familiar context of ethical, political, aesthetic, and engineering concerns, but also thoroughly examine historical, metaphysical, and epistemological issues.The volume begins with historical readings on knowledge and its applications that have laid the foundation for contemporary writings on the philosophy of technology. Contemporary essays then critically assess previous assumptions about science and discuss the relation between science and technology and philosophy's treatment of both. The second half of the volume focuses on Heidegger's writings on technology, on the relationship between technology and the natural world, and on the issues that arise as technology becomes an integral part of our society. Philosophy of Technology includes, beyond the commonly anthologized figures, selections from European writers often not available in English-language collections. It is a valuable resource for anyone who wishes to explore the technological condition.
2016
but it provides a distant echo of Heidegger‘s notion of “enframing” (Gestell) and his observation that the essence of technology is not anything technological (Heidegger, 2007, p. 5). For Heidegger, this means, first of all, that the essence of technology has nothing to do with meansends relations or with technology as a tool or an instrument. References in the following to “nontechnical” or even “technophobic” images of technology invoke magical notions of technology. According to these magical notions, technology is not primarily an ingenious way of extracting as much as possible from the limited resources of a limited world. Instead, nontechnical dreams of technology envision that the world could turn out to be limitless, after all, and that technology can alter even our conceptions of what is technically possible. While Ernst Cassirer draws a strict dividing line between this magical image of technology and the realities of engineering in the context of nature and society (1930,...
Iranian Role in Pakistan’s Baluchistan Insurgency, 2024
1991. Revista de Estudios Internacionales , 2020
Journal of Progressive Human Services, 2002
Trakya Üniversitesi Edebiyat Fakültesi Dergisi, 2024
New Global Studies, 2020
International Journal of Engineering and Techniques, 2020
MAKALAH PERPAJAKAN 2_ SUBYEK DAN OBYEK PPH PASAL 21_KARTIKA MALIKA PUTRI_C1C020093, 2022
International Journal of Economic and Environmental Geology
Journal of Medicinal Chemistry, 2021
Pediatrics, 1997
Pediatric Pulmonology, 1999
The American Journal of Sports Medicine, 2012
International Conference on Computational Cybernetics, 2010
World Journal of AIDS, 2015
Soviet Physics Uspekhi, 1991