Driverless automobility presents a “technological sublime” encompassing both promises and perils. The light side of the emerging transportation future lies, for instance, in the newly gained freedom from driving. The dark side of this sublime includes ethical challenges and potential harm resulting from the required socio-technical transformations of mobility. This article explores contemporary visions for the self-driving car future through the lens of the sublime and some of its theoretical variations, such as the natural, technological, (...) electrical, and digital sublime. Nissan’s IDS Concept preview clip and the Chevrolet FNR trailer serve as examples for this analysis, which aims to demythologize the visual rhetoric of the depicted awe-inspiring self-driving systems. The sublime’s inherent dialectic of inducing both pleasure and displeasure is removed in the corporate utopian visions in favor of an exalting partnership between human and machine. This strategy succeeds by setting the mobility future in the context of controlled parameters such as the trustworthy communicative vehicle, the vital and independent protagonists, and the harmless and unharmed environment. Recognizing such recurring strategies and identifying the controlled parameters which allow the sublime object to electrify, not terrify, is key for a sensible engagement with such imagined futures and their social, cultural, political, economic, environmental, and ethical implications. Such premediations of awe-inspiring technological formations and the underlying logics ask to be unpacked toward decision making that considers all potential facets of the sublime future. (shrink)

Amidst a worsening climate crisis, there is growing public discourse theorising the possible colonisation of outer space to secure a sustainable future for humanity. In the face of these escapist fantasies, political discussion on humanity's relation to the universe is notably limited and primarily frames space exploration as a dangerous Promethean endeavour. While I do not contest this claim, I argue that humanity's technological capabilities and acquired knowledge of the universe can alternatively facilitate an Earth-centred engagement with the Cosmos (...) as a sublime aesthetic experience. I frame the sublime Cosmos and its infinite expanse of dynamic material forces, as a site of resistance against Promethean visions of human mastery and colonisation. I then theorise how the sublime Cosmos can be productively engaged as a source of political imagination and spiritual elevation. Recovering a spiritual attachment to Earth is necessary, for we are irrevocably tied to this rapidly destabilising planet. (shrink)

The Sublime Today considers contemporary applications of aesthetic philosophy and earlier theories of the sublime from Longinus, Boileau, Burke, Kant, and Hegel to current literary and cultural contexts. Today, aesthetic experience itself seems to be changing, given the rise of new media and new conditions for the viewing and the reception of works of art. How might the rhetoric of the sublime be used to both describe our current situation and help formulate constructive responses to it? The (...) Sublime Today collects the work of scholars in literature, film, art, and media studies and provides a forum for investigating the contemporary relevance of the sublime, both as it has been understood historically and as it has been formulated by more recent theorists such as Jameson, Lyotard, Kristeva, and others. The volume includes essays on literary readings of the sublime in Coetze, Eggers, Lahiri, and Auster; essays on film and the visual arts in the work of François Ozon and in recent participatory art; and essays on how new technologies and media, as in media representations of 9/11, re-frame our relationship to the aesthetics of the sublime, especially as they intersect with questions of gender, the postcolonial, and the uneasy politics of terror. (shrink)

"This book integrates a thinking about dilemmas faced in the context of the clinical practice of psychoanalysis today, with contemporary social and political concerns specific to the age of the global consumer marketplace. Beginning with an analysis of the fate of the concept of sublimation in Freud’s work, and its relationship to the elaboration of the concept of the superego in 1923, the book examines how these concepts provide a lever for integrating psychoanalytic thinking with topics of urgent social concern, (...) beyond the critique of ideology. Taking up topics such as the experience of time, addiction to consumption, and the general consequences of the insinuation of digital technologies at increasingly earlier stages in human development-and thinking these through the lens of what the clinical practice of psychoanalysis teaches us about intimate human relatedness-the book addresses how a philosophically oriented approach to psychoanalysis can illuminate our response to the problems of everyday life under conditions of late capitalism. Drawing on a diverse range of authors such as Freud, Heidegger, Hans Loewald, Christopher Bollas, Lacan, Deleuze and Bernard Stiegler, it is argued that the concepts of sublimation and of the superego must be reinvented with regard to both clinical and critical discourse today if psychoanalysis is to remain relevant to the major issues we face, both individually and collectively, in the twenty-first century. The book stages a unique encounter between philosophy, critical theory and clinical practice that will be of interest to psychoanalysts, scholars of twentieth century Continental philosophy, critical social theorists and mental health practitioners"–. (shrink)

This book investigates how we should form ourselves in a world saturated with technologies that are profoundly intruding in the very fabric of our selfhood. How do we recognize that smart technological environments, imaging technologies and smart drugs increasingly shape who and what we are and influence who we ought to be? Tackling this issue requires going beyond the persistent and stubborn inside-outside dualism and recognizing that what we consider our "inside" self is to a great extent shaped by (...) our "outside" world. Inspired by various philosophers - especially Nietzsche, Peirce and Lacan -this book demonstrates that the values, goals and ideals that humans encounter in their environments not only shape their identities but also enable them to critically relate to their present state. The author argues against understanding technological self-formation in terms of making ourselves better, stronger, and smarter. Rather, we should conceive it in terms of technological sublimation, which redefines the very notion of human enhancement. In this respect the author introduces an alternative, more suitable theory, namely Technological Sublimation Theory (TST). Extimate Technology will be of interest to scholars and advanced students working in philosophy of technology, philosophy of the self, phenomenology, pragmatism, and history of philosophy. (shrink)

À Propos de : David E. Nye, American Technological Sublime, Cambridge, MIT Press, 1994, 362 p. L’histoire du concept de sublime est aujourd’hui bien documentée et les nombreux travaux en langue française consacrés à son étude témoignent d’une recherche active et transdisciplinaire. Or, il est remarquable que parmi ces travaux les études américaines sur le sublime restent le plus souvent absentes des bibliographies. Pourtant, l’intérêt de l’approche des American Studies est double : 1) il s’en...

We call sublime those things and experiences supposed to be the very best. But what if the best actually leads to inequality and exploitation? Williams critiques the sublime over its long history and in recent returns to sublime nature and technologies. Deploying a new critical method that draws on process philosophy, he shows how the sublime has always led to inequality. This holds true even where it underpins ideas of cosmopolitan enlightenment, and even when refined by (...) Burke, Kant, Nietzsche, Schopenhauer and Zizek. Against the unjust legacies of the traditional sublime, James Williams defends a new, anarchist sublime: multiple, self-destructive and temporary; opposed to any idea of highest value to be shared by all but always imposed on the powerless. (shrink)

The vivid, dramatic images of distant stars and galaxies taken by the Hubble Space Telescope have come to define how we visualize the cosmos. In their immediacy and vibrancy, photographs from the Hubble show what future generations of space travelers might see should they venture beyond our solar system. But their brilliant hues and precise details are not simply products of the telescope's unprecedented orbital location and technologically advanced optical system. Rather, they result from a series of deliberate decisions made (...) by the astronomers who convert raw data from the Hubble into spectacular pictures by assigning colors, adjusting contrast, and actively composing the images, balancing the desire for an aesthetically pleasing representation with the need for a scientifically valid one. In Picturing the Cosmos, Elizabeth A. Kessler examines the Hubble's deep space images, highlighting the remarkable resemblance they bear to nineteenth-century paintings and photographs of the American West and their invocation of the visual language of the sublime. Drawing on art history and the history of science, as well as interviews with astronomers who work on the Hubble Heritage Project, Kessler traces the ways that the sublime, with its inherent tension between reason and imagination, not only forms the appearance of the images, but also operates on other levels. The sublime informs the dual expression—numeric and pictorial—of digital data and underpins the relevance of the frontier for a new era of exploration performed by our instruments rather than our bodies. Through their engagement with the sublime the Hubble images are a complex act of translation that encourages an experience of the universe as simultaneously beyond humanity's grasp and within the reach of our knowledge. Strikingly illustrated with full-color images, this book reveals the scientific, aesthetic, and cultural significance of the Hubble pictures, offering a nuanced understanding of how they shape our ideas—and dreams—about the cosmos and our places within it. (shrink)

Philosophic attention shifted after Hegel from Kant's emphasis on sensibility to criticism and analyses of the fine arts. The arts themselves seemed as ample as nature; a disciplined science could devote as much energy to one as the other. But then the arts began to splinter because of new technologies: photography displaced figurative painting; hearing recorded music reduced the interest in learning to play it. The firm interiority that Hegel assumed was undermined by the speed, mechanization, and distractions of modern (...) life. We inherit two problems: restore quality and conviction in the arts; cultivate the interiority--the sensibility--that is a condition for judgment in every domain. What is sensibility's role in experiences of every sort, but especially those provoked when art is made and enjoyed? (shrink)

The chapter deals with three species, the axolotl, Proteus anguinus, and Vampyroteuthis Infernalis, their habitats, and man’s relations with these animals, whose habitats are very different from that of man, but which at the same time inhabit the same planet on which we live together in interdependence. The author examines the human approach to these animals, which ranges from fear of the unknown, of the “power of Nature” and theoretical admiration, to the exercise of human dominance, whether in the form (...) of heroic stories or biopower with regenerative medicine. All these attitudes were very current in the past times and many still are today. The author reflects on the question of how to conceptualize the relations between entities in non-anthropocentric terms. She questions the possible posthumanist perspective that leads to understanding functional living and nonliving systems as interconnected machines. Some species live in habitats in which man cannot live. For this reason, some animals remained uncomprehensible to humans, which blossomed human imagination. With the decline of mythical thought, human objective to conqest the world has increased. Considered as being alienated from the physical and mental world of man and consequently representing a domain that resists human subjugation, this generated fearsome relationship of man towards the unknown. In addition, in the modern era, humans approached the world with instrumental rationality oriented towards utilitarian goals. Accordingly, man’s relationship to other species and to the environment became anthropocentric and often based on unequal power relations. How has human understanding of the world and of other species changed today, when we have evidence of the ecological interconnectivity of all species and their habitats at our disposal? (shrink)

Cybernetic Bacteria is an ongoing transdisciplinary investigation that brings together art, philosophy, microbiology and digital technology to examine the relationship of the emerging science of bacterial communication to our own digital communications networks, looking in particular at ‘packet data’ and bacterial quorum sensing. The project seeks to compare philosophical notions of the sublime with a kind of bacterial sublime, demonstrating the greater complexity of the interactions taking place at a microscopic level, when compared to human communication technologies such (...) as the World Wide Web (with particular focus on scale-free networks). The first artwork in the series employed a clear plastic tube of liquid agar jelly planted into earth to allow the soil bacteria beneath to grow upwards and become visible. A total of 100 µL of Homoserine Lactone, a hormone used by bacteria for quorum sensing (a form of bacterial communication), was then added by the artist as part of a performance lecture, with her in effect saying: ‘I’m here’ to the bacteria below. The microbes that have been communicated to then pass the signal on to their neighbours and so on. In theory this enables the signal to travel around the planet. However, the main issue with this work is one of Hermeneutics; the bacteria, which receive the communication, will not identify the artist as human – simply as another (albeit very large) bacterium. The project has subsequently evolved into a multiple screen digital artwork showing network traffic taking place in real time (web traffic, RFID and Bluetooth), a film of bacterial communication in progress (using two strains of genetically modified bacteria) and an interactive conceptualisation of the data from both sources generated using artificial life. The project continues. (shrink)

Why should a box of soap pads or an urinal be a cause for reflection? Avant-garde art knows how to answer better than classical and romantic art. What makes art prophetic is not a mysterious inspiration, but the creative answer to emergencies coming from technology and incorporated into objects. What are the pen and the pen drive for? They are there to make plans and renegotiate contracts. Technology does not disappear: we are not dealing with the dematerialization or sublimation of (...) an artwork that becomes pure spirit. Technology is transformed, bringing to the fore the link between artwork and reproducibility as well as between artwork and contract. Contemporary art highlights a character proper to the artworks of all times and types: a document dimension. Indeed, this dimension is not a break with the essence of traditional art: the latter postulates cooperation (and therefore an implicit contract) between author and user. (shrink)

In the twenty-first century, there has been a resurgence of ecologically conscious art among artists using new technologies. Like Eco-art, this recent movement, which might be called Eco-media, is interdisciplinary. Eco-media is heavily influenced by developments in environmental science, in particular developments in remote imaging and other kinds of remote Earth sensing (for example, the widespread use of satellite imaging and GPS) and developments in computer modelling (for example, detailed global models of climate that not only model the physics of (...) the Earth and solar system, but also explore the chemistry and biology of the Earth). This article will discuss developments in media art related to the computerized interpretation of complex data sets describing and modelling the natural world. It will explore work that has historically straddled artistic and scientific development, specifically Marey's work in the nineteenth century in photography and motion pictures and give examples of artists who are working in the area in-between art and science today. It will also discuss connections between this work and the historical Romantic sublime and the political dimension of this work as advocating for the preservation of the natural world, and give examples of some of the author's artworks in this area. (shrink)

Name der Zeitschrift: Jahrbuch für Wissenschaft und Ethik Jahrgang: 20 Heft: 1 Seiten: 293-302.

Name der Zeitschrift: Jahrbuch für Wissenschaft und Ethik Jahrgang: 20 Heft: 1 Seiten: 237-240.

1936 was a watershed year for computability. Debates among Gödel, Church and others over the correct analysis of the intuitive concept “human effectively computable”, an analysis at the heart of the Incompleteness Theorems, the Entscheidungsproblem, the question of what a finite computation is, and most urgently—for Gödel—the generality of the Incompleteness Theorems, were definitively set to rest with the appearance, in that year, of the Turing Machine. The question I explore here is, do the mathematical facts exhaust what is to (...) be said about the thinking behind the “confluence of ideas in 1936”? I will argue for a cultural role in Gödel’s, and, by extension, the larger logical community’s absorption of Turing’s 1936 model. As scaffolding I employ a conceptual framework due to the critic Leo Marx of the technological sublime; I also make use of the distinction within the technological sublime due to Caroline Jones, between its iconic and performative modes—a distinction operating within the conceptual art of the 1960s, but serving the history of computability equally well. (shrink)

This paper describes the relationship between technics and desire in light of Bernard Stiegler’s new critique of political economy. The starting point for the analysis is Stiegler’s critique of the reinterpretation of Freud’s legacy by Herbert Marcuse in Eros and Civilization. The context of the analysis is the ongoing mutation of consumer capitalism into computational capitalism—one in which automated calculation systems are used to control all forms of mental and affective human activity. Digital automatization, I argue, encourages a different view (...) of what Marcuse called “the automatization of the superego.” It also requires us to rethink to what extent desire is conditioned techno-logically beyond the limits of Marcuse’s critique of Freud, capitalism and technology. The article pays special attention to Stiegler’s reinterpretation of the theory of sublimation in relation to contemporary capitalism and its technological infrastructure (from television to digital platforms). It is also an attempt to include the question concerning technology in psychoanalytic thinking. (shrink)

Table of contents -- Preface -- Editor's introduction: hermínio martins and the technocene -- The technocene: on bodies, minds, and markets -- Technology sublime: paths to the post-human -- Perpetual augmentation: from eugenics to human genetic capitalism -- The body vanishes! momenta of discarnation in technoscience today -- When universities become body-shops -- A select bibliography of hermínio martin's works.

This article considers the potential intersections of object-oriented ontology and science fiction studies by focusing on a particular type of science-fictional artifact, the category of ‘Big Dumb Objects.’ Big Dumb Objects is a terminology used—often quite playfully—to describe things or structures that are simultaneously massive in size and enigmatic in purpose: they stretch the imagination through both the technical aspects of their construction and the obscurity of their purpose. First used to designate the subjects of several science fiction novels written (...) in the 1970s, Big Dumb Objects (often called BDOs) have been understood in terms of science fiction’s enduring interest in the technological sublime and the transcendental. While object-oriented ontology has often turned to science fiction and weird fiction for inspiration in rethinking the possibilities inherent in things and their relations, it has not considered the implications of BDOs for a theory of the object more broadly. The goal of this article is to consider how extreme size and representations of scale in science fiction can help expand an understanding of the object along lines that are similar to those pursued by object-oriented ontology, especially Timothy Morton’s notion of hyperobjects. (shrink)

Holograms have been in the public eye for over a half-century, but their influences have deeper cultural roots. No other visual experience is quite like interacting with holograms; no other cultural product melds the technological sublime with magic and optimism in quite the same way. As holograms have evolved, they have left their audiences alternately fascinated, bemused, inspired or indifferent. From expressions of high science to countercultural art to consumersecurity, holograms have represented modernity, magic and materialism. Their most (...) pervasive impact has been to galvanise hopeful technological dreams. Engineers, artists, hippies and hobbyists have played with, and dreamed about, holograms. This book explores how holograms found a place in distinct cultural settings. It is aimed at readers attracted to pop culture, visual studies and cultural history, scholars concerned with media history, fine art and material studies and, most of all, cross-disciplinary audiences intrigued about how this ubiquitous but still-mysterious visual medium grew up in our midst and became entangled in our culture. This book explores the technical attractions and cultural uses of the hologram, how they were shaped by what came before them, and how they have matured to shape our notional futures. Today, holograms are in our pockets (as identity documents) and in our minds (as gaming fantasies and faux hologram performers). Why arent they more often in front of our eyes? (shrink)

It is commonly assumed that a virtual life would be less meaningful (perhaps even meaningless). As virtual reality technologies develop and become more integrated into our everyday lives, this poses a challenge for those that care about meaning in life. In this chapter, it is argued that the common assumption about meaninglessness and virtuality is mistaken. After clarifying the distinction between two different visions of virtual reality, four arguments are presented for thinking that meaning is possible in virtual reality. Following (...) this, four objections are discussed and rebutted. The chapter concludes that we can be cautiously optimistic about the possibility of meaning in virtual worlds. (shrink)

A relatively common approach in game studies understands gameworlds as constituting an existential situation for the player. Taking that stance, which is rooted in the European philosophical tradition of Existentialism, in this chapter we investigate the relationships and similarities between our existence within and without gameworlds. To do so, we first provide a review of existing literature in ‘existential ludology’ - work in game studies which considers our engagement with gameworlds from an existential perspective. In the second part of the (...) chapter, we then engage with some of the most notable ideas of the Norwegian philosopher Peter Wessel Zapffe. Zapffe understood human life as inherently meaningless and identified four ways in which human beings typically protect themselves from the existential panic that accompanies the awareness of that meaninglessness: isolation, anchoring, distraction, and sublimation. These four categories are used as the foundation for an examination of gameworlds as technologies for repressing existential panic. (shrink)

The extended dual-aspect monism framework of consciousness, based on neuroscience, consists of five components: (1) dual-aspect primal entities; (2) neural-Darwinism: co-evolution and co-development of subjective experiences (SEs) and associated neural-nets from the mental aspect (that carries the SEs/proto-experiences (PEs) in superposed and unexpressed form) and the material aspect (mass, charge, spin and space-time) of fundamental entities (elementary particles), respectively and co-tuning via sensorimotor interaction; (3) matching and selection processes: interaction of two modes, namely, (a) the non-tilde mode that is the (...) material and mental aspect of cognition (memory and attention) related feedback signals in a neural-network, which is the cognitive nearest past approaching towards present; and (b) the tilde mode that is the material and mental aspect of the feed forward signals due to external environmental input and internal endogenous input, which is the nearest future approaching towards present and is a entropy-reversed representation of non-tilde mode; (4) the segregation and integration of information, and (5) the necessary ingredients of SEs (such as wakefulness, attention, re-entry, working memory, stimulus at or above threshold level, and neural-net PEs). This framework leads to structural and functional coherence between the mind and the brain, bridges the explanatory gap (the gap between SEs and their neural-correlates), and leads to our mundane subjective experiences. This extended dual-aspect monism (eDAM) framework (Vimal, 2008, 2010, 2013, 2015a, 2015b) could be the fundamental basis of various religions and philosophies. This is a Western perspective. On the other hand, Eastern perspectives emphasize the practical methods for achieving altered experience at samadhi state. An important corollary of these methods (such as yogic method) is the sublimation of negative aspects of seven groups of self-protective energy system (desire, anger, ego, greed, attachment, jealousy, and selfish-love) into their positive aspects. Their negative aspects create war and suffering, whereas their positive aspects advance science and technology, family values, peace, and happiness. Here, the Western perspective framework is extended to include the concepts of the sublimation process to encompass Eastern perspectives. The four elements (war, suffering, peace, and happiness) are ubiquitous in both space and time because they are essential contributors to the variations for natural selection in our evolutionary system. The sublimation process optimizes the system: minimizes war and suffering, maximizes peace and happiness, and enhances family values and individual progress. This is consistent with both Eastern and Western perspectives. (shrink)

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Digital technology has transformed the way that we visualise the natural world, the art we create and the stories we tell about our environments. Exploring contemporary digital art and literature through an ecocritical lens, Digital Vision and the Ecological Aesthetic (1968-2018) demonstrates the many ways in which critical ideas of the sublime, the pastoral and the picturesque have been renewed and shaped (...) in digital media, from electronic literature to music and the visual arts. The book goes on to explore the ecological implications of these new forms of cultural representation in the digital age and in so doing makes a profound contribution to our understanding of digital art practice in the 21st century. (shrink)

This essay examines various contemporary artistic responses to climate change. These responses encompass multiple media and diverse philosophical and emotional forms, from grief and resignation to resistance, hope, and poignant celebration of spiritual value and natural beauty. Rejecting much of the terminology of current theory, the author considers the artworks in relation to interrelated and arguably unjustly discredited aesthetic and theological categories, namely, the sublime and the beautiful as well as the via negativa, the latter adapted from Thomas Aquinas (...) by theologian Matthew Fox. Art's power is seen largely as the ability to “humanize” the science by rendering it emotionally, psychologically, and spiritually relatable to individuals. The broken relationship between humanity and nature seems related to the need for a renewed religious sense of integration with, and belonging to, the cosmos. Art might play a pivotal role in bringing this about. (shrink)

This interview with the philosopher Bernard Stiegler was conducted in Paris on 28 January 2015, and first appeared in Dutch translation in the journal De uil van Minerva. The conversation begins by discussing the fundamental place occupied by the concept of ‘technics’ in Stiegler’s work, and how the ‘constitutivity’ of technics does and does not relate to Kant and Husserl. Stiegler is then asked about his relationship with Deleuze, and he responds by focusing on the concept of quasi-causality, but also (...) by arguing that there is a certain trajectory in Deleuze’s thought, situating his own philosophy in relation to its various moments. Stiegler is then asked to respond to the Charlie Hebdo terrorist attacks carried out three weeks prior to the interview. After making a couple of precautionary remarks, Stiegler relates such occurrences to the problem of what he calls ‘spiritual poverty’, to the intensification of ‘negative sublimation’ that can occur when there is a disconnection between the generations, and more generally to the growth of nihilism. All of these phenomena relate to the exploitation of technology by a virulent capitalism that irrationally believes that only the market is rational. After consideration of the complex historical relationship between Islam and modernization, and of both of these to Nietzsche’s ‘death of God’, and after recalling the destructive role played by the West in the rise of fundamentalism and jihadism, Stiegler concludes by reflecting on the fact that, ultimately, ‘intellectuals’ have failed to use technologies in ways that produce alternatives to consumerism. (shrink)

How to integrate artificial intelligence technologies in the functioning and structures of our society has become a concern of contemporary politics and public debates. In this paper, we investigate national AI strategies as a peculiar form of co-shaping this development, a hybrid of policy and discourse that offers imaginaries, allocates resources, and sets rules. Conceptually, the paper is informed by sociotechnical imaginaries, the sociology of expectations, myths, and the sublime. Empirically we analyze AI policy documents of four key players (...) in the field, namely China, the United States, France, and Germany. The results show that the narrative construction of AI strategies is strikingly similar: they all establish AI as an inevitable and massively disrupting technological development by building on rhetorical devices such as a grand legacy and international competition. Having established this inevitable, yet uncertain, AI future, national leaders proclaim leadership intervention and articulate opportunities and distinct national pathways. While this narrative construction is quite uniform, the respective AI imaginaries are remarkably different, reflecting the vast cultural, political, and economic differences of the countries under study. As governments endow these imaginary pathways with massive resources and investments, they contribute to coproducing the installment of these futures and, thus, yield a performative lock-in function. (shrink)

Excerpt from L'Art de Sentir Et de Juger en Matière de Goût Nous 'zivons' employé trois especes de papier _à la réimpres'sion de ce livre; ce qui forme trois éditions. La premiere, de luxe et tirée àtrès petit nombre sur du papier Velin.' About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, (...) preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In this essay, I examine the genealogy of the numeral transformation of emotions from its earliest beginnings in the late nineteenth century. My main thesis is that the historical encounter between emotion and number should not be viewed solely as a particular instantiation of more general trends in the development of objectifying, quantifying, or trust-building technologies. Rather, emotion-as-number provided an alternative medium for the circulation and expression of emotions in a culture that emphasized restraint. It also empowered the experimenter to (...) produce forbidden emotions inside the modern laboratory; it participated in the construction of a uniquely scientific - in contradistinction to a poetic or feminized - emotion; and it attenuated the tensions that arose when "sublime" emotion was animalized in a Darwinian universe. In making this argument, I wish, among other things, to challenge recent claims concerning the repression of emotion in modern public culture. Emotion, I argue, was not restraint in post-Victorian culture, but rather communicated through a new medium - the number. (shrink)

Let's touch base -- Relocalizing the global -- Without the world or within -- Sharing responsibility: farewell to the sublime -- From lands to disputed territories -- Innovation not hype -- Secular at last -- In search of a diplomatic middle ground -- Appendix.

Ever since the eighteenth century, when Kant opened the floodgates of subjectivism in aesthetics, common men and philosophers alike have despaired of finding a basis for judgments about beauty. This book provides a comprehensive theory that encompasses beauty in art and nature, as well as intellectual, utilitarian, and moral beauty. The author argues that the beauty of objects can be reduced to the beauty of properties of those objects, which in turn can be understood in terms of "properties of qualitative (...) degree." The theory, developed first with respect to color, is then extended to include all sensory and non-sensory qualities. The author shows how the theory explicates and resolves disagreements about what is beautiful and discusses its relevance to the traditional notions of harmony and sublimity. His is an objectivist theory of beauty, and it enables him, in conclusion, to demonstrate why we enjoy perceiving beauty. Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Books reviewed in this article:Peter Kivy, The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical GeniusKirk Pillow, Sublime Understanding: Aesthetic Reflection in Kant and HegelWilliam Irwin, Intentionalist Interpretation: A Philosophical Explanation and DefenseAllen Carlson, Aesthetics and the Environment: The Appreciation of Nature, Art, and ArchitectureElizabeth Grosz, Architecture from the OutsideDavid Leatherbarrow, Uncommon Ground: Architecture, Technology, and TopographyCaroline Joan S. Picart, Thomas Mann and Friedrich Nietzsche: Eroticism, Death, Music, and LaughterCaroline Joan S. Picart, Resentment and the (...) “Feminine” in Nietzsche's Politico–Aesthetics. (shrink)

This article addresses “Creativity after Computation” by looking into the concept of artificial imagination, namely the machine’s ability to produce images that challenge artmaking and surprise human beings with the aid of machine learning algorithms. What is at stake is not only art and creativity but also the tension between the determination of machines and the freedom of human beings. This opposition restages Kant’s third antinomy in the contemporary technological condition. By referring to the debate on the question of (...) imagination in Kant, Heidegger, and Stiegler, the article suggests that imagination is always already artificial and that it is more productive to develop an organology of artificial imagination. It clarifies the notion of artificial imagination and offers an organological reading through a reinterpretation of Leibniz’s monadology, Kant’s sublime, and Schiller’s aesthetic education against the backdrop of recursive algorithms. (shrink)

Andreas Gursky is the darling of philosophers and art theorists of all kinds of traditions and denominations. He has been used as a prime example of the return of the sublime in contemporary art, as a trailblazer in the use of the digital manipulation of images in order to represent something abstract and even as a philosopher of perception who makes some subtle point about the nature of visual experience. All of these arguments are based on some or another (...) technological innovation Gursky uses: the size of his photos, their postproduction (often digital) manipulation and their unusually high resolution. The aim of this paper is to shift the emphasis from these arguments on the significance of the new technology in Gursky’s oeuvre to a much more important role technology plays in his works, namely, in their aesthetics. (shrink)

Conventional wisdom holds that the murder rate has plummeted since the Middle Ages; humankind is growing more peaceful and enlightened; man is shortly to be much improved -- better genes, better neural circuits, better biochemistry; and we are approaching a technological singularity that will usher in utopia. Human Nature eviscerates these and other doctrines of a contemporary nihilism masquerading as science. In this wide-ranging work polymath David Berlinski draws upon history, mathematics, logic, and literature to retrain our gaze on (...) an old truth many are eager to forget: there is and will be about the human condition beauty, nobility, and moments of sublime insight, yes, but also ignorance and depravity. Men are not about to become like gods. (shrink)

Kant's account of the experience of the sublime in nature and the incommensurability of its bases in the two European traditions of philosophy that feed into modern cognitive psychology, the holism of Leibniz and the analytic reductionism of Locke, are used to develop a new theory of human nature in terms of developmental interactions between initially separate cognitive domains. More recent illustrations of this separation/interaction are found in debates over 'emergence' in modern science and theories of consciousness. Shifting from (...) competitive epistemologies to a resulting ontology of human nature, the cognitive development of mind through childhood can itself be understood as multiple but necessarily incomplete fusions between person knowing and a thing/tool knowing , based here on a Vygotskian model of their reciprocal internalizations, and leading into our ostensibly differentiated and humanly unique multiple adult intelligences. A consequence is that human consciousness, while based on these selective and necessarily partial domain integrations, as in the separate directionalities of spirituality and science/technology, is fundamentally and permanently unbalanced. Kant's sublime and Rudolf Otto's related analysis of numinous-uncanny feeling exemplify the inner dynamism of this intrinsic unbalance, constituting the species specific form of the perpetual orientation to novelty that drives us forward toward the very best and very worst of the human condition. (shrink)

The natural or biological world often provides models of the simplicity, elegance and complex interactivity that we seek to impart to our technologies, buildings and artworks. Within discussions of form, materials or functionality, we look to the world of insects, animals, plants and even our own bodies for solutions and innovation. Though we may work with the organisms themselves, the first step usually involves a rupture of context, a mutation of interdependent being into a discrete object, a model for the (...) extraction of desired characteristics. The reality of embedded wild growth, with its complexity and interrelation, has often been described in terms of infestation or of ‘nature taking over,’ a challenge to our dominance of the world. However, a closer study of this interpenetration of uncontrolled nature within spaces around us reveals our immediate surroundings to be both wilder and more alive than we often presume them to be. (shrink)

German philosopher G. W. F. Hegel problematized the term “aesthetics” in his writings on art. This article attempts to capture the tension between Hegel's theory of art and philosophy of art and its impact on the subsequent theorization of art in the twentieth century as consumer or emancipatory. Music, poetry and plastic arts seem to resonate differently with philosophers such as Plato, Aristotle, Kant, Hegel and Adorno. Plato considered music soothing to the soul. In Aristotle, one could trace the oblique (...) beginnings of the tension between a theory of art and a philosophy of art as he questioned the role of art in philosophy. While Kant's approach is more formal and deals with concepts such as beauty, sublime, genius, and the status of aesthetic objects, Hegel grapples with the rational and emotional aspects of works of art which determine whether art is free or under the thralldom of nature. Both Kant and Hegel distinguished artistic from natural beauty. Critical theorists such as Adorno were also influenced by Hegel. Adorno's analysis of concepts such as mimesis forms an important part of his critique of culture industry. Adorno was also emphatic that classical art could only exist as a product of an epoch. Yet in its dialectical form, art serves as a critique of ideology. Progressively, from the nineteenth to the twentieth century, what began as a crevice between a philosophy of art and a theory of art became a chasm. Thus, begins a contentious relationship between art as a pursuit in itself and art for consumption, that is, art as an integral aspect of consumer culture. The new phenomenon of AI art also poses interesting questions about the paradigmatic shift in dynamics between human element and technology. This article would also attempt to trace how art continues to defy reification, while in the process being consumed constantly, recreating and reinventing itself. (shrink)