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A philosophy of new media that defines the digitalimage as the process by which the body filters information tocreate images.
Who is the human in media philosophy? Although media philosophers have argued since the twentieth century that media are fundamental to being human, this question has not been explicitly asked and answered in the field. Armond R. Towns demonstrates that humanity in media philosophy has implicitly referred to a social Darwinian understanding of the human as a Western, white, male, capitalist figure. Building on concepts from Black studies and cultural studies, Towns develops an insightful critique of this dominant conception of the human in media philosophy and introduces a foundation for Black media philosophy. Delving into the narratives of the Underground Railroad, the politics of the Black Panther Party, and the digitization of Michael Brown’s killing, On Black Media Philosophy deftly illustrates that media are not only important for Western Humanity but central to alternative Black epistemologies and other ways of being human.
Taking the principle of the 'disappearance of the medium' into new territory, this book questions the pervasive influence of the principle that the 'medium is the message'. Bold and expansive, this book argues that we have for too long focused on the technical specificities of media, when we should have been focusing on what it is that mediums do, that is, on their 'content' rather than their formal and technical qualities. With a re-reading of McLuhan, this volume offers a study of the conflicting views of technics as a medium in Bernard Stiegler's work as well as an investigation into the extent to which Michel Serres' work on communication sheds light on the nature of medium. Engaging also with the concept of Object-Oriented Ontology (OOO), and the notion of probabilistic objects in quantum physics and climate change, he explores the way in which measurement is perceived to 'create' reality. Concluding with a fascinating study of the implications of consciousness as a medium, this book ultimately reconsiders and offers a deeper understanding of what we mean by the term 'media': it is that which comes 'between' and which facilitates the transmission of content, essentially a creator of possibilities, yet never present as such in the light of its success as a vehicle for meaning.
Medium, Messenger, Transmission uses the figure of the messenger as a key metaphor for the function of all transmission media.
“An ambitious re-writing—a re-synthesis, even—of concepts of media and culture . . . It is nothing less than an attempt at a history of Being.” —Los Angeles Review of Books When we speak of clouds these days, it is as likely that we mean data clouds or network clouds as cumulus or stratus. In their sharing of the term, both kinds of clouds reveal an essential truth: that the natural world and the technological world are not so distinct. In The Marvelous Clouds, John Durham Peters argues that though we often think of media as environments, the reverse is just as true—environments are media. Peters defines media expansively as elements that compose the human world. Drawing from ideas implicit in media philosophy, Peters argues that media are more than carriers of messages: they are the very infrastructures combining nature and culture that allow human life to thrive. Through an encyclopedic array of examples from the oceans to the skies, The Marvelous Clouds reveals the long prehistory of so-called new media. Digital media, Peters argues, are an extension of early practices tied to the establishment of civilization such as mastering fire, building calendars, reading the stars, creating language, and establishing religions. New media do not take us into uncharted waters, but rather confront us with the deepest and oldest questions of society and ecology: how to manage the relations people have with themselves, others, and the natural world. A wide-ranging meditation on the many means we have employed to cope with the struggles of existence—from navigation to farming, meteorology to Google—The Marvelous Clouds shows how media lie at the very heart of our interactions with the world around us.
A Short History of Modern Philosophy is a lucid, challenging and up-to-date survey of the philosophers and philosophies from the founding father of modern philosophy, René Descartes, to the most important and famous philosopher of the twentieth century, Ludwig Wittgenstein. Roger Scruton has been widely praised for his success in making the history of modern philosophy cogent and intelligible to anyone wishing to understand this fascinating subject. In this new edition, he has responded to the explosion of interest in the history of philosophy by substantially rewriting the book, taking account of recent debates and scholarship.
"Sheer pleasure. . . . Wonderfully entertaining."--Chicago Sun-Times Acclaimed by Norman Mailer more than twenty years ago as "possibly the only American writer of genius," William S. Burroughs has produced a body of work unique in our time. In these scintillating essays, he writes wittily and wisely about himself, his interests, his influences, his friends and foes. He offers candid and not always flattering assessments of such diverse writers as Ernest Hemingway, F. Scott Fitzgerald, Joseph Conrad, Graham Greene, Jack Kerouac, Allen Ginsberg, Samuel Beckett, and Marcel Proust. He ruminates on science and the often dubious paths into which it seems intent on leading us, whether into outer or inner space. He reviews his reviewers, explains his famous "cut-up" method, and discusses the role coincidence has played in his life and work. As satirist and parodist, William Burroughs has no peer, as these varied works, written over three decades, amply reveal.
A wide-ranging and accessible study of cinema as an art form, discussing traditional photographic films, digital cinema, and videogames.
In The Artist-Philosopher and New Philosophy, Smith argues that Western Metaphysics has indeed come to what Heidegger describes as “an end.” That is hardly to say philosophy as such is over or soon to disappear; rather, its purpose as a medium of cultural change and as a generator of history has run its course. He thus calls for a New Philosophy, conceptualized by the artist-philosopher who “makes” or “poeticizes” New Philosophy, spanning literary and theoretical discourses and operating across art in all its forms and across culture in all its locations. To this end, Smith proposes the establishment of schools and social networks that advance the training and development of artist-philosophers, as well as global digital networks that are themselves designed toward this “ever-becoming community.”
Is it possible to incite a turn towards Media Philosophy, a field that accounts for the autonomy of media, for machine agency and for the new modalities of thought and subjectivity that these enable, rather than dwelling on representations, audiences and extensions of the self? In the wake of the field-defining work done by Friedrich Kittler, this important collection of essays takes a philosophical approach to the end of the media era in the traditional sense and outlines the implications of a turn that sees media become concepts of the middle, of connection, and of multitude—across diverse disciplines and theoretical perspectives. An expert panel of contributors, working at the cutting edge of media theory, analyze the German thinker's legacy and the possibilities his thought can unfold for media theory. This book examines the present and future condition of mediation, within the wider context of media studies in a digital age.