The aim of this article is to contribute to a philosophy of technics by proposing an answer to the following question: what is the nature of the human body as an element of technical systems? The argument focuses on an examination of the phenomenon of bodily technics. This examination is guided by the conviction that Pierre Bourdieu's social theory can be read as contributing significantly to an answer to the above question. However, since Bourdieu's project is not (...) directly aimed at enhancing our understanding of the technicity of the human body, a reading of Marcel Mauss's seminal essay on bodily technics is also discussed to set the stage for an examination of the technicity of the body and to justify the manner in which Bourdieu's theory is read here. Through a careful study of the key notions of habitus, field, practice, time and rule, Bourdieu's social theory is systematically presented and explored for its contribution to an understanding of the question raised in this article. In conclusion, a number of remarks are made on how the relation between Mauss and Bourdieu is to be understood and on the argumentative strength of Bourdieu's work. (shrink)

The aim of this article is to contribute to a philosophy of technics by proposing an answer to the following question: what is the nature of the human body as an element of technical systems? The argument focuses on an examination of the phenomenon of bodily technics. This examination is guided by the conviction that Pierre Bourdieu's social theory can be read as contributing significantly to an answer to the above question. However, since Bourdieu's project is not (...) directly aimed at enhancing our understanding of the technicity of the human body, a reading of Marcel Mauss's seminal essay on bodily technics is also discussed to set the stage for an examination of the technicity of the body and to justify the manner in which Bourdieu's theory is read here. Through a careful study of the key notions of habitus, field, practice, time and rule, Bourdieu's social theory is systematically presented and explored for its contribution to an understanding of the question raised in this article. In conclusion, a number of remarks are made on how the relation between Mauss and Bourdieu is to be understood and on the argumentative strength of Bourdieu's work. (shrink)

In the Shuowen, one of the earliest comprehensive character dictionaries of ancient China, when discussing where the Chinese characters derive their structural components, Xu Shen proposed the dual constitutive principle of “adopting proximally from the human body, and distally from things around.” This dual emphasis of “body” and “things around” corresponds largely to the phenomenological issues of body or corporeality on the one hand, and lifeworld on the other. If we borrow Heidegger’s definition of Dasein as Being-in-the world, we can (...) easily arrive at a reformulation of Xu Shen’s constitutive principle of the Chinese script as one that concerns “bodily Dasein.” By looking into various examples of script tokens we can further elaborate on how the Chinese make use not only of the body in general but various body parts, and how they differentiate their life world into material nature, living things, and a multifaceted world of equipment in forming a core basis of Chinese characters/components, upon which further symbolic manipulation such as “indication”, “phonetic borrowing”, semantic combination, and “annotative derivation”, etc. can be based. Finally, examples will be cited to show how in the Chinese scripts the human body might interact with other’s bodies or with “things around” in various ways to cover the social, environmental, ritual, technical, economical, and even intellectual aspects of human experience. Bodily Dasein, so to speak, provides us with a new perspective of understanding and appreciating the entire scope of the Chinese script. (shrink)

The question of the status and the mode of functioning of technologies which participate in our cognitive activity (action, perception, reasoning) is inseparable from the question of the bodily inscription of these faculties. One can adopt the principle that a tool is fully appropriate when it functions as a component of the organs of our lived body. However, these technical entities can be differentiated along a scale according to the role played by their separability. The possibility of picking up (...) and putting down a hammer, a pair of spectacles, an agenda is part of the meaning of these tools. When they are “in hand”, they become transparent for the subject and serve in the constitution of his lived experience. Put down, they can be transmitted, modified, received. According to the frequency of the transition picking up/putting down, the tool can be picked up while anticipating that it can just as quickly put down again (the mouse of a computer, cutlery at table, an agenda, …). At the other extreme, another sort of tool functions rather as a prosthetic device that is taken up with the prospect of remaining attached to the body for a long time (an artificial leg, spectacles, clothes, …). This differentiation of technologies along a continuum which depends on forms of use seems to us sufficient to distinguish extension and embodiment. (shrink)

Making sense of the world around us is a process involving both semiotic and material mediation—the use of signs and sign systems and various kinds of tools. As we use them, we experience them subjectively as extensions of our bodily selves and objectively as instruments for accessing the world with which we interact. Emphasizing this bipolar nature of language and technics, understood as intertwined "forms of sense," Robert Innis studies the multiple ways in which they are rooted in (...) and transform human perceptual structures in both their individual and social dimensions. The book foregrounds and is organized around the notion of "semiotic embodiment." Language and technics are viewed as "probes" upon which we rely, in which we are embodied, and that themselves embody and structure our primary modes of encountering the world. While making an important substantive contribution to present debates about the "biasing" of perception by language and technics, Innis also seeks to provide a methodological model of how complementary analytical resources from American pragmatist and various European traditions can be deployed fruitfully in the pursuit of new insights into the phenomenon of meaning-making. (shrink)

Making sense of the world around us is a process involving both semiotic and material mediation—the use of signs and sign systems and various kinds of tools. As we use them, we experience them subjectively as extensions of our bodily selves and objectively as instruments for accessing the world with which we interact. Emphasizing this bipolar nature of language and technics, understood as intertwined "forms of sense," Robert Innis studies the multiple ways in which they are rooted in (...) and transform human perceptual structures in both their individual and social dimensions. The book foregrounds and is organized around the notion of "semiotic embodiment." Language and technics are viewed as "probes" upon which we rely, in which we are embodied, and that themselves embody and structure our primary modes of encountering the world. While making an important substantive contribution to present debates about the "biasing" of perception by language and technics, Innis also seeks to provide a methodological model of how complementary analytical resources from American pragmatist and various European traditions can be deployed fruitfully in the pursuit of new insights into the phenomenon of meaning-making. (shrink)

What are the ethics of child genital cutting? In a recent issue of the journal, Duivenbode and Padela (2019) called for a renewed discussion of this question. Noting that modern health care systems...

The awareness of the last 20 years about embodied cognition is directing multidisciplinary attention to the musical domain and impacting psychological research approaches from the 4E cognition. Based on previous research regarding musical teaching and learning conceptions of 30 young guitar apprentices of advanced level in three learning cultures: Western classical, jazz, and flamenco of oral tradition, two participants of flamenco with polarised profiles of learning were selected as instrumental cases for a prospective ex post facto design. Discourse and practice (...) of the two flamenco guitarists were analysed in-depth to describe bodily issues and verbal discourse on the learning practice in their natural contexts. Qualitative analysis is performed on the posture, gestures, verbal discourse, and musical practice of the participants through the System for the Analysis of Music Teaching and Learning Practices. The results are organised attending: the Embodied mind through differential postures and gestures of flamenco participants that showed a fusion among verbal, body language, and musical discourse with respect to the musical literacy cultures; the Embedded mind and a detailed description of circumstances and relationships of the two flamenco participants, and how music is embedded in their way of life, family and social context, and therefore transcends musical activity itself; the Enactive mind, regarding the active processes that make differences between the reproductive and the transformative flamenco apprentices, then tentative relationship are observed in the discourse of each apprentice and the way in which they practice; finally, the Extended mind through the bodily, technical and symbolic tools they use during learning. Flamenco culture of oral tradition made use of listening, and temporary external representations instead of notational, but also the body played a central role in a holistic rhythm processing through multimodality, such as singing, playing, and dancing. Conclusions point out the embodied mind as a result of the culture of learning reflected through the body and the gesture in instrumental learning. (shrink)

This article aims to analyse how a photographic interaction, complicated by technical and bodily disruption, entails a productive glitch in the form of systemic friction. The analysis is grounded in artist Lisa Tan’s exhibition Dodge and/or Burn in Stockholm (2023–24), with a focus on a central video work. The exhibition’s theme of crisis and transformation guides the analysis within a qualitative framework informed by an art historical methodology of semiotics and phenomenology combined with media and disability studies. This interdisciplinary (...) perspective organizes an account anchored in the artwork’s initial capture and exhibition display. As the glitch is redefined, from a technical error to an embodied experience of systemic friction, the article offers an innovative take on how both photography and glitch can be conceptualized and deployed. As a result, the glitch emerges as a tool to address today’s dominant sociotechnical systems and their visual underpinnings. (shrink)

There is increasing recognition within psychoanalysis and related therapies that awareness of the body is important in understanding and treating patients. Psychic Threats and Somatic Shelters explores the ways in which adults and children become acquainted with the range of physical issues that arise within their psychoanalytic or psychological treatments. Nitza Yarom discusses in a practical and clinically focused way the large variety of physical outlets which today's person uses to shelter from the many troubles and restrictions that are placed (...) on everyday life. Her book is divided into two main sections: Somatic shelters, which explores the variety of physical symptoms encountered by patients, including problems with weight and eating; with sensation through sight, sound, smell and taste; in movement through hyper activity or rigidity and through the communication of physical pain. Embodied dialogue, in which the author updates the use of the basic technical principles of psychoanalysis to involve the body in the treatment including transference and counter-transference between analyst and patient. In Psychic Threats and Somatic Shelters the emotional communication of these body narratives are vividly demonstrated in the treatments presented, here the interaction in the consulting room is revealed in bodily resonance and its therapeutic effects. This book is written for psychoanalysts and psychotherapists, psychologists, body therapists, family therapists, social workers and art/movement therapists. (shrink)

Beyond simple verbal or technical strategies aimed at extending man’s physical capacities and range of action, our modern times provide unusual means of emancipating ourselves from the limitations and imperfections of the body. Science and the arts inspire each other when they discuss the new possibilities offered by chemistry, genetics, devices, cybertechnologies (A.I.), scientific achievements in the field of transsexuality, developments in digital imaging and immersive 3D virtual experiences, and speculation on the potential of so-called quantum therapies, which most scientists (...) scoff at—while other therapeutic avenues based on the use of certain frequencies are being opened up by neuroscience. Some performances are veritable medical experiments, turning the strangely metamorphosed body into an object of art, another mutant. Recent discoveries are multiplying ordinary capacities tenfold, sometimes raising the question of the unity of mind and body, undermined by the cybernetic development of the human being. The arts seek to be pioneers in addressing these issues, as does speculative science fiction, which attempts to anticipate the risks created by these innovations. (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)

The identification and valorization of unacknowledged, feminized forms of economic productivity has been an important task for feminist theory. In this article, we expand and rethink existing definitions of labour, in order to recognize the essential economic role women play in the stem cell and regenerative medicine industries, new fields of biomedical research that are rapidly expanding throughout the world. Women constitute the primary tissue donors in the new stem cell industries, which require high volumes of human embryos, oöcytes, foetal (...) tissue and umbilical cord blood. Such material is generally given for free in the advanced industrial democracies, constituted as a surplus (‘spare’ embryos) or waste (umbilical cord ‘afterbirth’, cadaveric foetuses, poor quality oöcytes) whose generative powers should not be withheld from others. At the same time, among impoverished female populations in developing nations, such biological material is now often procured through frankly transactional relations, where women undertake risky procedures for small fees. In each case, female bodily productivity is mobilized to support bioeconomic research, yet the economic value involved in these relations is largely unacknowledged. In this article, we consider both the gift economy and the transactional economy for reproductive tissues as a form of labour. In order to fully conceptualize the specificities of feminized productivity in the bioeconomy, we distinguish between earlier feminist theories of reproductive labour and the emerging practices generated by stem cell research, which we term regenerative labour. We consider how historical transformations in the regulation of feminized labour and the technical repertoires of stem cell research renegotiate the productivity limits of female reproductive biology, opening it out to novel and profitable forms of surplus value and enrolling women in complex negotiations over their role in bioeconomic activity. (shrink)

Philosophers have traditionally approached questions of meaning as part of the philosophy of language. In this book David Cooper broadens the analysis beyond linguistic meaning to offer a an account of meaning in general. He shows that not only words, sentences, and utterances in the linguistic domain can be described as meaningful but also items in such domains as art, ceremony, social action, and bodily gesture. Unlike much of the recent work in the philosophy of meaning, Cooper is not (...) concerned with trying to develop a theory of meaning but with examining the meaning of meaning through an overview of the behaviour and scope of "meaning" and its cognates, addressing questions about the import, function, and status of meaning. This fuller account of meaning not only addresses questions of the meaning of meaning but also the issues or problems that answers to those questions generate, such as, Is meaning just a misleading "folk" term for something more basic, such as the causal conditions governing the production of certain noises and movements? Is meaning something that we should strive for or should we let our lives "just be," rather than mean? By taking the problem of meaning out of the technical philosophy of language and providing a more general account Cooper is able to offer new insights into the meaning of meaning that will be of interest not only to philosophers of language but to philosophers working in other areas, such as epistemology and metaphysics. (shrink)

Meaning is one of our most central and most ubiquitous concepts. Anything at all may, in suitable contexts, have meaning ascribed to it. In this wide-ranging book, David Cooper departs from the usual focus on linguistic meaning to discuss how works of art, ceremony, social action, bodily gesture, and the purpose of life can all be meaningful. He argues that the notion of meaning is best approached by considering what we accept as explanations of meaning in everyday practice and (...) shows that in these situations we are explaining the appropriate fit of an item - whether a word or an artwork - with something larger than or outside of itself. This fuller account of meaning explores questions of the meaning of meaning and tackles issues such as whether meaning is just a misleading 'folk' term for something more basic, whether there really is meaning at all, and whether we should strive for meaning or let our lives 'just be' rather than mean. By taking the problem of meaning out of the technical philosophy of language and providing a more general account, Cooper is able to offer new insights into the import, function, and status of meaning that will be of interest not only to philosophers of language but to students and philosophers working in areas such as epistemology and metaphysics. (shrink)

The machine as a social movement of today's “precariat”—those whose labor and lives are precarious. In this “concise philosophy of the machine,” Gerald Raunig provides a historical and critical backdrop to a concept proposed forty years ago by the French philosophers Félix Guattari and Gilles Deleuze: the machine, not as a technical device and apparatus, but as a social composition and concatenation. This conception of the machine as an arrangement of technical, bodily, intellectual, and social components subverts the opposition (...) between man and machine, organism and mechanism, individual and community. Drawing from an unusual range of films, literature, and performance—from the role of bicycles in Flann O'Brien's fiction to Vittorio de Sica's Neorealist film The Bicycle Thieves, and from Karl Marx's “Fragment on Machines” to the deus ex machina of Greek drama—Raunig arrives at an enhanced conception of the machine as a social movement, finding its most apt and concrete manifestation in the Euromayday movement, which since 2001 has become a transnational activist and discursive practice focused upon the precarious nature of labor and lives. (shrink)

First paragraph: When we perform bodily gestures, are we ever literally thinking with our hands (arms, shoulders, etc.)? In the more precise, but correspondingly drier, technical language of contemporary philosophy of mind and cognition, essentially the same question might be asked as follows: are bodily gestures ever among the material vehicles that realize cognitive processes? More precisely still, is it ever true that a coupled system made up of neural activity and bodily gestures counts as realizing a (...) process of thought, in such a way that the gross bodily movements concerned should be granted cognitive status along with, and in essentially the same sense as, the neural activity? (shrink)

History of science's spatial turn has focused on the horizontal dimension, leaving the role of the vertical mostly unexplored as both a condition and object of scientific knowledge production. This special issue seeks to contribute to a burgeoning discussion on the role of verticality in modern sciences, building upon a wider interdisciplinary debate about the importance of the vertical and the volumetric in the making of modern lifeworlds. In this essay and in the contributions that follow, verticality appears as a (...) condition of knowledge production—a set of movements and mobilities, technical challenges, political negotiations, and bodily hardships—and an object of scientific inquiry, requiring new techniques of mapping and visualisation and generative of new insights into physical processes and temporal change. By foregrounding the vertical, historians of science can gain new insights and tell new stories about how science is done in the field, the observatory, and the laboratory, and about how those sciences have helped build a modern, three-dimensional world. (shrink)

In his essay Thinking Colours and/or Machines Kittler hints at a key point in the emergence of modern European culture: the point at which ‘letters and numbers no longer coincide’. In this essay - first published in 2003 as Zahl und Ziffer - Kittler traces the split between numerals and numbers in sweeping historical detail. This is part of a much larger project, the aim of which is to think about technology, history and culture anew by considering the ways in (...) which ‘letters, numbers, images and tones’ have been differentiated and re-integrated by developing notation systems and media technologies. In this present essay, Kittler is concerned specifically with the question of number. His argument is that numbers and numerals have not always stood apart. In Old Hebrew and even nursery rhymes, for example, numbers are in fact words. This might seem like a banal observation, but for Kittler it is crucial as historically, mathematics proper only developed ‘in cultures in which numbers are present as numerals’, a development which entailed the transformation of numbers from signifiers into signifieds and which rested on the emergence of storage and transmission media that Kittler calls ‘the media of mathematics’. This connection between media and mathematics is explored through a wide range of philosophical sources: Plato, Philolaus, Aristotle and Aquinas, to name but a few. Kittler is fascinated by the inscription technologies that make mathematics possible, and which at the same time structure cultural forms as well as our bodily experience of them. As he puts it in a programmatic aside, ‘media studies only make sense’ if they focus on how ‘media make senses.’ Hence his focus on the Greek phonetic alphabet: for Kittler, its superiority has less to do with its ability to reproduce the spoken words of any language, than with the fact that at one point it was used to handle language, music, and mathematics - that is, one and the same set of signs was used to encode letters, tones and numbers. This, however, was not an abstract undertaking but developed in constant feedback with specific instruments or media, especially the lyre and the bow. It was here that fundamental concepts such as logoi were first developed that were subsequently distorted, misunderstood and deprived of their musico-technical origins by philosophers such as Aristotle. Kittler’s essay is thus also part of a larger cultural project, indebted in particular to Martin Heidegger, whose aim it is to ferret out the different, as yet unrevealed beginning of occidental culture. Moreover, while it was necessary for the evolution of modern mathematics that numbers receive a notation system of their own that will allow for ratios and decimals, among others, it is obvious that Kittler sees the computer as a return of universal alphabet that operates in constant feedback with a medium that shapes our senses: ‘In the Greek alphabet our senses were present - and thanks to Turing they are so once again.’. (shrink)

Global clinical trials depend on a range of standards in order for research results to be comparable. As standardization is more than a mere technical exercise, tensions can arise when things are not uniform. This paper uses empirical data from interviews with principal investigators as well as Clinical Research Organization and pharmaceutical industry representatives working in India’s clinical trial industry to critically examine the ways Indian researchers navigate quests for standardization. It turns the analytical lens to the often obfuscated work (...) of standardization aiming to transcend the biological and cultural specificity of research participants and research sites. Drawing on the concept of local biologies, it illustrates that the universal body presumed by clinical trial methodology is, in fact, a specifically Euro-American one: Indian participants not only need to be made globally comparable but also aligned with the drugs’ future consumers. Focusing on the tensions between biomedicine’s postulation of bodily universality and trial participants’ local biologies, this paper advances recent interventions problematizing the structural violence undergirding global clinical trials. It also contributes to the literature on local biologies in its discussion of how these are negotiated in Indian for-profit clinical trials. (shrink)

The term āśraya is used in manifold ways in the Abhidharmakośa and its bhāṣya. This comes from the fact that its basic meaning, indicating anything on which something else depends or rests, is quite generic. Despite the plasticity of its usage, we can find some recurring and distinct technical applications of the term in the AK, which I explore in my paper. First, I look at its usage of characterising a member of various asymmetric dependence relationships on which the arising (...) and sometimes also the persistence of the other relatum depends. Through examining the nature of various āśraya-āśrita dependence relations the AK discusses, I show that āśraya stands for an entity that determines the fundamental nature of the thing it supports. In the second half of the paper, I move on to those occurrences of the term where āśraya has a specific referent. While āśraya can refer to the six sense faculties individually, it can also stand for them collectively pointing towards its widespread meaning as ‘psychophysical basis’. In this context, the focus often shifts either to the material or the mental elements that make up a sentient being. I will dedicate special attention to the discussion of the transformation of the basis, where, on my reading, it is more natural to interpret āśraya as referring primarily to the mind, with its bodily connotations being marginal. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

One of the most intriguing bio-objects in the emerging field of regenerative medicine is umbilical cord blood. Employed in existing haematological therapies, but also loaded with potentialities for future uses, cord blood has been lately the focus of a regulatory debate which confronts public and private forms of biobanking. This article explores the political and anthropological side of this debate, describing the ways in which different health practices related to the umbilical cord (and to its symbolic sibling, the placenta) have (...) been involved in processes of societal production and reproduction. Through the use of ethnological and historical data, and their comparison with current practices, I contend that the technical manipulation of cords and placentas goes much longer into the past than what a first glance suggests, and that these two objects can be understood as biological spaces in which forms of social belonging and versions of the societal bond are at play. The current conflict between public and private cord blood banks is therefore interpreted as part of a longer history of bodily practices, and as reflecting recent mutations in the biopolitical constitution of advanced liberal societies. (shrink)

The subject of the article is the philosophical and cultural methodology of digital "virtual reality", comparing the declarations of developers with the practical possibilities and social consequences of using such technologies. The developers presented projects of online digital content services for all five senses using special equipment (glasses, headphones, interactive gloves, joysticks, costumes, printers of smells and tastes, etc.). It was assumed that virtual reality would surpass the reliability of previous multimedia content and interactive computer games, and the persuasiveness and (...) attractiveness of traditional technical means of art and the press. Failure to fulfill these promises has led to significant losses since 2022 for leading companies developing digital virtual reality technologies Meta (recognized by the court as an extremist organization on 03/21/2022, activity is limited in the territory of the Russian Federation), Microsoft HapticLinks, Cave, AlloSphere, Teslasuit, VRealizer. There was a need to assess how and to what extent the methodology used and the predicted capabilities of digital virtual reality were correct. Philosophical and cultural analysis as a research method reveals: the developers of digital virtual reality promised the methodologically impossible, reducing human perception to the "sum" of the external "five senses" out of connection with the "self", inner sensitivity, bodily self-perceptions. A person is only partially amenable to algorithmized digital interaction; a critical barrier to digital virtuality is the socio-cultural identity of society and personality. The novelty of the results of the analysis lies in the conclusion: digital virtual reality in many respects is fundamentally inferior in effectiveness to traditional technical means of sensory and emotional impact and cognition, used both for creative and destructive purposes. In terms of creative potential, digital virtual reality is inferior to the technical means of art, science, education, upbringing, etc., and in terms of destructive capabilities, it is already used in the press and other mass communications technologies for manipulating public and individual consciousness, as well as psychotropic substances that cause addiction. National regulation of the development of digital "virtual reality" is recommended, aimed at protecting and developing the socio-cultural identity of Russian citizens and society, as well as for cognitive and educational purposes. It is recommended to limit the remote use of such developments to trusted domestic Internet services. (shrink)

This timely book by internationally regarded scholar of ethics and social/political philosophy, Michael Boylan, focuses on the history, application and significance of human rights in the West and China. Boylan engages the key current philosophical debates prevalent in human rights discourse today and draws them together to argue for the existence of natural, universal human rights. Arguing against the grain of mainstream philosophical beliefs, Boylan asserts that there is continuity between human rights and natural law and that human beings require (...) basic, essential goods for minimum action. These include food, clean water and sanitation, clothing, shelter and protection from bodily harm, including basic healthcare. The achievement of this goal, Boylan demonstrates, will require significant resource allocation and creative methods of implementation involving public and private institutions. Combining technical argument with four fictional narratives about human rights, the book invites readers to engage with the most important aspects of the discipline. (shrink)

Cognitive technology is an increasingly important form of technology that can deal with meaning by either replicating or simulating human cognition. Cognitive technology can make use of information technology, but it strives to go beyond mere information processing by recognizing, changing, and creating meaning. This presents us with a two-sided challenge: On the one hand, cognitive technology is challenged to ‘understand’ meaning in ordinary language. And on the other, it challenges us to rethink fundamental questions of human cognition and sense-making. (...) Both challenges demand a better understanding of the difference between the technical transformation of symbols and the understanding of meaning in the ordinary sense. After explaining the topic in relation to both the insights and the limitations of the reflections by Turing, Searle, and Heidegger, this paper primarily builds on Wittgenstein’s contributions to a better understanding of the difference between two conceptions of meaning and their implications for technical replication and simulation. The paper shows that Wittgenstein developed his early calculus account of meaning into that of language games and that language games not only come in many different varieties, but are also much more flexible than calculi. Of particular interest will be the difference between rigid and creative rule-following. Creative rule-following involves an intricate interplay of very different bodily, mental, and cultural constituents, so that its simulation is not merely a technical problem but also requires clarification of a number of profound philosophical questions. It will become clear that the challenge of cognitive technology shows up at unexpected places and that is much bigger than usually assumed. (shrink)

In France, the notion of “métier” continues to represent a major reference point in current discussions on work issues, both in theory and in public discourse. The “métier” encapsulates the set of specialized technical knowledge, bodily and mental skills, accepted interpersonal conventions and modes of behaviour, which characterize what could be called in English an “occupational culture”, the specific professional knowledge, culture and ethos of an occupation. The article analyses the psychological and cultural instances that make up a “métier” (...) from the point of view of the working individual, distinguishing between a personal, an interpersonal, a transper-sonal and an impersonal dimension of the working activity. The article then argues that the relationship between work and health relies upon a work organization that allows these four instances to be constantly readjusted at the individual level and at the level of the work collective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 29, Number 2, November 2003, pp. 305-325 Hume, Sympathy, and the Theater BRIAN KIRBY Every movement of the theater, by a skillful poet, is communicated, as it were by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions, which actuate the several personages of the drama. (EPM 5.2.26; SBN 221-2) Much has been written recently about the (...) role of sympathy in Hume's moral theory. That may indeed be its most important use. But it seems from a number of illustrations he uses that it has broader applications, in particular, application to a spectator's appreciation of drama. The problem some see with this broader application is that it conflicts with the basic definition of sympathy as a process by means of which impressions are shared. The actors on the stage would not seem to have the same passions which "inflame" the spectators. Worse, the spectators do not believe in their hearts that the passions which inflame them have real correlates. At first blush, "sympathy" might mean any one of several things. In "The Conscience of Huckleberry Finn," for example, Jonathan Bennett says, "As for 'sympathy': I use this term to cover every sort of fellow-feeling, as when one feels pity over someone's loneliness, or horrified compassion over his pain, and when one feels a shrinking reluctance to act in a way which will bring misfortune to someone else."1 However, fellow-feeling is not a sharing of feelings in Hume's sense. Alvin I. Goldman comes closer to Hume's meaning in a narrow description of empathy: "To empathize with someone, in its Brian Kirby, Associate Professor of Philosophy Emeritus at St. Lawrence University, is at 172 Miner Street Road, Canton, NY 13617, USA. e-mail: [email protected] 306 Brian Kirby most frequent sense, is to sympathize or commiserate, which involves shared attitudes, sentiments, or emotions."2 Still, Hume's sympathy is not the commiseration but rather what is involved in the commiseration, the shared attitudes, sentiments, and emotions. "No quality of human nature," says Hume, "is more remarkable, both in itself and in its consequences, than that propensity we have to sympathize with others, and to receive by communication their inclinations and sentiments, however different from, or even contrary to our own" (T 2.1.11.2; SBN 316). The principle of sympathy as he describes it in his technical sense is as follows: When any affection is infus'd by sympathy, it is at first known only by its effects, and by those external signs in the countenance and conversation, which convey an idea of it. This idea is presently converted into an impression, and acquires such a degree of force and vivacity, as to become the very passion itself, and produce an equal emotion, as any original affection. However instantaneous this change of the idea into an impression may be, it proceeds from certain views and reflections, which will not escape the strict scrutiny of a philosopher, tho' they may the person himself, who makes them. (T 2.1.11.3; SBN 317) If sympathy has to do with the sharing of impressions, what can one say about possible broader applications in which the correlate impression is absent? One tack to take is to dismiss the illustrative examples as aberrations or at least minor inconsistencies on Hume's part. A second is to argue that the broader applications follow reasonably, given Hume's description of the mechanism of sympathy. I propose, in this paper, to take the second tack. The above description characterizes what one might call sympathy in its normal social context in which the feelings of another are identifiable from his verbal and bodily behavior. Of course, the identification is not infallible. The other person may intend to deceive by lying or mimicking the behavior associated with a feeling. But such occasions are parasitic on normal contexts. But beyond the normal social context, there are other occasions which elicit sympathy, situations in which passions are aroused in the sympathizers for good cause, but which have no correspondent in the objects of sympathy. The case... (shrink)

Introduction. Observing the production and consumer area of modern cinematography makes it possible to draw conclusions about the value dominants of modern society, to conduct its sociocultural analysis. Cinema, both auteur and mass, is a way of reflecting and modeling the society spiritual state and its analysis makes it possible to draw quite serious and justified philosophical and social conclusions. The film in a philosophical sense is ontologized by the dominant intention of the era. Such a dominant intention of modernity (...) is hedonism. Pleasure, enjoyment, happiness, according to the humanities, is the basic values of the 21st century society. Cinema is the most comprehensive reaction to the needs of hedonism, since hedonistic prerequisites are to some degree laid down in its technical (movement, photographic phenomenology) and social nature (art and entertainment). In this regard, it seems relevant to conduct a philosophical analysis of the ontological level of modern cinema. The aim of the study is to conduct a philosophical analysis of the ontological level of modern cinema; identify ontological models, variations and combinations of which provide its artistic diversity. Methods: the authors use the general scientific methods of analysis and synthesis, the phenomenological method, since they identify the sensory intentions that underlie modern cinema. The authors also use the hermeneutic method, since they reveal the hidden meanings of the film, determined by the time and conditions of its creation, as well as the semiotic approach, which makes it possible to analyze the structural-semiotic whole of the film. The scientific novelty of the study lies in the fact that the authors analyze films from philosophical aspects, and not just cultural studies, as is customary. In modern cinema, the authors look for a reflection of the “social soul”, identify those intentions that underlie modern cinema, both auteur and mass. This makes it possible to deduce a typology of film models that have not previously been applied to the analysis of the film process. Results. During the analysis, the authors developed a hedonistic-ontological typology of cinematic models, identified five generative models of cinema, four of which have a hedonistic orientation: an alimentary model that pleases the recipient by intensively stimulating his perceptual sphere; a parkour model that gives pleasure to light and unhindered movement, minimizing the severity and resistance of the environment; an arcade model that provides the viewer the pleasure of victory through virtual immersion in the ups and downs of the “action film”; a detective model that gives the viewer pleasure through the removal of cognitive uncertainty. The fifth model, tentatively called existential, should lead the viewer into a complex philosophical state of being-with-self-self, an experience of one’s own fulfillment, associated with the experience of suffering. However, due to the hedonistic orientations of modern culture, this model is not relevant in the first decades of the 21st century. Conclusions. Philosophical analysis of modern cinema has revealed that at the ontological level it is based on the philosophy of hedonism. Modern cinema delivers the following types of pleasures to the recipient: enjoyment of the flesh of the world, enjoyment of bodily freedom in motion, enjoyment of peace, cognitive enjoyment. (shrink)

In this "concise philosophy of the machine," Gerald Raunig provides a historical and critical backdrop to a concept proposed forty years ago by the French philosophers Félix Guattari and Gilles Deleuze: the machine, not as a technical device and apparatus, but as a social composition and concatenation. This conception of the machine as an arrangement of technical, bodily, intellectual, and social components subverts the opposition between man and machine, organism and mechanism, individual and community. Drawing from an unusual range (...) of films, literature, and performance--from the role of bicycles in Flann O'Brien's fiction to Vittorio de Sica's Neorealist film The Bicycle Thieves, and from Karl Marx's "Fragment on Machines" to the deus ex machina of Greek drama--Raunig arrives at an enhanced conception of the machine as a social movement, finding its most apt and concrete manifestation in the Euromayday movement, which since 2001 has become a transnational activist and discursive practice focused upon the precarious nature of labor and lives. (shrink)

The five books of Artemidorus of Ephesus’ Oneirocritica (c. second century CE) constitute the largest collection of divinatory dream-interpretations to survive from Graeco-Roman antiquity. This article examines Artemidorus’ contribution to longstanding medico-philosophical debates over the ontological and epistemic character of such dreams. As with wider Mediterranean traditions concerning premonitory dreams, Greeks and Romans popularly understood them as phenomena with origins exterior to the dreamer (e.g. a visitation of a god). Presocratic and Hippocratic thinkers, however, initiated an effort to bring at (...) least some dream events within the body as interior processes of a physical soul, a bodily turn which ultimately engendered a split in thinking about the possibility and scope of prophetic and diagnostic dreams (e.g. Hippocrates Regimen 4, Aristotle On Prophecy in Dreams, Rufus of Ephesus, and Galen). Here, I examine the way that Artemidorus meant the Oneirocritica to address seriously questions about the origins of dreams and the powers of empirical science in two, related ways. We will see that his defense of oneirocriticism as a techne unfolds along two main axes. First, Artemidorus constructs a necessary veneer of scientific credibility by mobilizing the tropes and organizational strategies characteristic of contemporary technical literature. Secondly, he anchors that authority upon a materialist account of prophetic dreams as “semiotic movements of the soul.” As Price, S. 1986. “The Future of Dreams: From Freud to Artemidorus.” Past & Present 113: 3–36 and Harris-McCoy, D. 2012. Artemidorus’ Oneirocritica: Text, Translation, and Commentary. Oxford: Oxford University Press observed, this explicit commitment to an empirical method of dream-interpretation resembles that of the Hellenistic medical ‘sect’ known as ‘Empiricists,’ who eschewed interest in theoretical etiology in favor of observation, comparison, and compilation of symptoms and outcomes. Pushing beyond similarity, I argue that Artemidorus not only deployed this method to defend empirically grounded accounts of dream-divination (cf. Cicero De div. 1), but endeavored to show that such a scientific method can be used to stabilize and corral productively the potentially infinite number of interpretations any dream-sign might bear without recourse to an underlying, causal theory. (shrink)

Abstract There is a fundamental flaw at the heart of Karl Marx's approach to the alleviation of human suffering. That flaw lies in his commitment to a conception of the person – technically, the ego – that centres on desire-satisfaction, and, deepening the problem, does so in a way that underplays the centrality to all desire-satisfaction beyond that of the most elemental bodily desires, of that element Hegel termed “recognition.” Remedying this failure gives an understanding of desire and suffering (...) that is essentially that of the Buddha. (shrink)

Abstract:There is a fundamental flaw at the heart of Karl Marx's approach to the alleviation of human suffering. That flaw lies in his commitment to a conception of the person—technically, the ego—that centers on desire/satisfaction, and, deepening the problem, does so in a way that underplays the centrality to all desire/satisfaction beyond that of the most elemental bodily desires, of that element that Hegel termed "recognition." Remedying this failure gives an understanding of desire and suffering that is essentially that (...) of the Buddha. (shrink)

What is a machine? What distinguishes a machine from a tool or a simple instrument—for example, a knife, a hammer, an ax, or a pencil? Tools are technical objects that can be seen as extending or continuing a bodily action. They augment its efficiency. To push, hit, tear, pierce, crush, grasp, or throw: tools and simple instruments allow us to do better what, to some extent, we can already do without them. They enhance our performance, make the action easier, (...) more precise, they push back the limits of what we can do. What is done with difficulty and imperfectly with our bare hands, teeth, or nails can be done better and more easily using a tool, or with the help of a stone, a leaf, a stick, or of any natural object... (shrink)

The ‘turn’ to emotion and affect in film and media studies may take its distance from earlier ways of understanding spectatorial involvement. But such approaches, whether cognitivist in intent, or inspired by phenomenology, also return to an earlier interest in bodily sensations and somatic responses when exposed to sudden motion and moving images. The essay proposes to bring Walter Benjamin into the debate, with a term central to his idea of modernity, namely ‘experience’, and to revive his distinction between (...) Erfahrung and Erlebnis. Noting certain features of excess and liminiality in contemporary cinema, and mapping them across the three distinct domains of body, time and agency, Benjamin's own attempt to locate the emotional core of the technical media is reappraised. Grounded in the peculiar variability but also interdependence of place, narration and perception, the cinema would then appear to provide Erlebnis without Erfahrung, a state formerly associated with trauma, but now the very definition of the media event. (shrink)

There are few doubts about the significance of science and technology for modern human culture and society. But as historians, we are still struggling to find appropriate descriptive terms to capture the broad processes of transformation brought about by “techno-science,” the merging of technical production and modern institutionalized science. This dissertation argues that the term “experience” may serve as such an analytic lens in the specific historical setting of German aviation research from the 1920s through 1945. I reconstruct, on the (...) one hand, the theorization of experience as a concept by the technical physicist Paul von Handel, influenced by the British astronomer Sir Arthur Eddington’s distinction between "scientific" and "everyday" experience. On the other hand, I use the term as a historian’s analytic concept to investigate practices in the context of flight experiments that I take to be constitutive of my historical actors’ experiences. These are recordings of experimental pilots’ cognitive judgements and bodily actions, some of them—such as in-flight note taking—continuous with older cultural technologies. On both of these levels of analysis, I explore the different resonances of “experience” as a term with a legacy as a central epistemological concept in the modern sciences, and as capturing the changing everyday reality in an increasingly technicized environment. My analysis of the textual theorization and simultaneous practical constitution of "techno-scientific experience" serves to read in a new light the story of the pilot and physicist Melitta Schiller-Stauffenberg. Of Jewish descent, Schiller chose to work for the Luftwaffe, the German air force, until her death in 1945 on a flight searching for her husband, Count Alexander Stauffenberg, who was imprisoned after his brother’s failed attempt to assassinate Hitler. The concept and practical reality of “experience” are key to understanding the two striking choices Schiller made as intrinsically connected: the professional choice of working simultaneously as a pilot and a physicist, and the political choice of supporting the Reich’s war effort. Schiller’s story may be understood as exemplifying the fragile identity of the experiencing and the knowing self in 20th-century techno-scientific modernity. (shrink)

The prospects for a phenomenology of technology have been guided in the past decade by a split between supporters of Martin Heidegger and those who subscribe to Bernard Stiegler’s critique of Heidegger. This essay proposes that both are needed for a phenomenology of what Edward Castronova calls “synthetic worlds” (large on-line environments like Second Life and World of Warcraft). Here is a phenomenology that must take into account histories of design and technical evolution to account for the particular “fantasy of (...) disembodiment” that shapes a user’s experience of a synthetic world, forgetting the bodily engagement with hardware. (shrink)

The prospects for a phenomenology of technology have been guided in the past decade by a split between supporters of Martin Heidegger and those who subscribe to Bernard Stiegler’s critique of Heidegger. This essay proposes that both are needed for a phenomenology of what Edward Castronova calls “synthetic worlds” (large on-line environments like Second Life and World of Warcraft). Here is a phenomenology that must take into account histories of design and technical evolution to account for the particular “fantasy of (...) disembodiment” that shapes a user’s experience of a synthetic world, forgetting the bodily engagement with hardware. (shrink)

Introduction. The increasing mediation of human life by medicine necessarily raises the question of philosophical understanding the phenomenon of culture medicalization, since today the vector of growing powerful influence of medicine on forming sociocultural processes has clearly emerged. Along with the positive phenomena of the medicalization of life, the volume of “excessive” phenomena of its medicalization is growing. The purpose of the article is to clarify the philo- sophical foundations of the progressive medicaliza- tion of modern culture. Methods. The methodological (...) basis of the study is presented by dialectical, epistemological, axiologi- cal, philosophical-anthropological, and socio-phil- osophical approaches. The study is based on E. Cassirer’s transcendental philosophy, the phenom- enological transcendentalism of E. Husserl; V.S. Stepin’s concept about the system of informational social codes; and P.D. Tishchenko’s concept on the transformation of bio-power in modern culture. Scientific novelty of the research. The author outlines fundamental foundations of modern cul- ture medicalization as a result of mutually similar processes of transforming bio-power and the progress of biomedical sciences. Results. Unfolding, culture compensated for the bodily weakness of a person with the power of his technical inventions, but today they have surpassed the intellectual capabilities of their creator - the individual has to permanently adapt to the grow- ing volume of mass technogenic innovations. The historically formed human need to master the world through its “humanization” is suppressed, and, as a result, the problem of a modern indi- vidual’s request for self-realization through the creative transformation of the social environment is actualized. In this regard, one of the philosophi- cal and anthropological foundations of modern culture can be recognized as a technogenically determined desire of a person to transform his own corporeality, aimed at expanding the capabili- ties of a natural person. Biomedical sciences, as a result of biotechnological progress, turned out to be exactly the social and scientific sphere, which, building up practical activities within the framework of healthcare, considers the person to be both the subject and the object of the biosocial transforma- tion demanded by cultural evolution. Conclusions. The process of medicalization of culture occurs on the basis of two reciprocal fundamental processes: first, the strengthening of the principles of bio-power as “care for all forms of life”; secondly, the progress and technologization of scientific medicine, which in practice provides a socio-cultural demand for a modern prosperous individual. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FOR A NON-VIOLENT ACCORD: EDUCATING THE PERSON Marie-Louise Martinez Education has been criticized, no doubt justly, for the symbolic violence of its prohibitions and exclusionary rituals that mirror the violence of society (Bourdieu, etc.). But this criticism is short-sighted. When restraints are removed in teaching and education (in the family and in the school), violence wells up anew and produces at least the following two results: access to meaning (...) and knowledge is restricted; access to the law and its structure-inducing prohibitions is restricted. The result is that we foster vulnerable personalities who confuse fiction and reality, and who do not hesitate to turn their violence into acts of hostility directed toward themselves, other people, and society. A further consequence has been a certain violent non-differentiation that has tended in turn to produce a violent re-differentiation ofsociety. There is a nostalgia everywhere today for a return to discipline, to the rule oflaw, etc. One hears talk of the "sanctuary of the classroom" or again of the necessity of preserving a "symbolic cloister." We are not able, purely and simply, to feel remorse for having maintained the rule ofa violent symbolic order. One might ask in what the symbolic consists. How is it connected to teaching and education? Is there not a fundamental violence in the symbolic? Does there exist a less violent symbolic, or even a non-violent one? How might one define it and put it to work in teaching and education? Girardian theory can help us to reinterpret various contributions from a number of authors in the human sciences (Benveniste, Lacan, etc.) and from the personalist philosophy of language. I would like to propose the hypothesis that there are two stages ofthe symbolic: first, a violent symbolic accord and, second, a non-violent threshold within the symbolic, which alone can serve as an appropriate model for teaching and education. 56Marie-Louise Martinez I. The symbolic and its powers. We are not using symbolic in its specific sense as metaphorical or figurative language as it occurs in myth and poetry but in a more general sense, i.e., to refer to the totality ofthe sign and code systems employed by human beings, as that which allows for the production and deployment of significations within society. Stemming from the Greek symbolein (to throw or put together, to assemble), the symbolic is that type or order of signs that assembles. Much more than the pure language of linguistics, the symbolic is the totality ofverbal, non-verbal, and para-verbal conventions, of systems ofexchange, and ofrites. It also comprises the regulated use ofbodies and ofnature. Our definition ofthe symbolic is not idealist: more than simply the expression of ideas, it is also interaction and action, on oneself, on others, and the world. It includes technical and bodily activities to the degree that these have been codified. In this sense, the symbolic (in agreement with philosophers as diverse as Cassirer or Clifford Geertz) can be said to embrace the totality of what is called culture. But ifthe symbol throws orputs together, it is necessary to discuss what and why and how it does so. The modern science ofsigns (semiology) has shown that the sign or symbol serves to place in relation. Relying on the contemporary semiology that stems from the American philosopher Pierce, and also on the work of Francis Jacques in France, we can say that this relation, far from being a simple binary one (sign/referent or sign/signifier) is a complex relation which aligns signs with the objects to which they refer, but also with the people deploying those signs. This latter signifying relation, which is intersubjective and social, was invisible in Saussurean semiology. In itself, the symbolic is the product of a complex relation which links people among themselves and the things referred to by the agency of signs. In other words, the basis of the signifying relationship is not the dyad subject/object (relation to objects) but a triadic relation, subject/ subject/object (intersubjective and objectai). This triangular relationship, which traverses the intersubjective and the objectai, is a relationship of convention, underlined in antiquity by Plato in the Cratylus (for Hermogenes, a word... (shrink)

What are pure geometric forms? In what sense are there an infinite number of points on a line? What is the relationship between empirically correct statements about real bodily figures (or movements) and the ideal truths of a pure mathematical geometry (also in space-time)? Starting from Kant and Wittgenstein, the book demonstrates how our dealings with figures and symbols is to be understood beyond the technical mastery of forms of calculation and proof.

In an age where developments in biotechnology offer new possibilities for overcoming disease at a breathtaking rate, there is a certain timeliness in recalling C S Lewis’s farsighted depiction of “the magician’s bargain”, “that process whereby man surrenders object after object, and finally himself, to nature in return for power”.1 Lewis’s reflections on the implications of science’s quest for mastery over nature, outlined in his renowned essay The Abolition of Man, highlight the coercive tendencies of this yearning for control. In (...) practice, he argues, “power over nature turns out to be a power exercised by some men over other men with nature as its instrument”, and ironically proves not to be a power that humanity can wield for its chosen ends, but rather one that enslaves its pursuers to their appetite for domination . In seeking, through technical control, to transcend our bodily limits we embrace a technocratic mindset that, if adopted unconditionally, will lead us to regard our given identity as raw material to be “improved” by mechanical means.This collection of essays aims to give fresh voice to this warning in the face of the very latest in biotechnological innovations. In the words of the editors, it is intended as a “wake up call,” informing readers of the exciting possibilities for health care in the future, and equipping them with the concepts with which to appraise them from a Christian perspective. Like C S Lewis, the contributors are keen to dispel any suggestion that …. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing is to (...) improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)