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The relationship between technicity and scientificity is often overlooked or avoided despite being a determining factor for establishing interdisciplinarity. By focusing on this relationship and highlighting a number of its ramifications, this book sheds light on the hidden or skewed stakes that condition a wide array of scientific projects. The authors present different approaches based on their own professional experience, focusing on the technique–science relationship in domains as diverse as brain mapping, the decipherment of Mycenaean writing and the design process. Each chapter presents varying and often opposing epistemological conclusions to provide the reader with a wide breadth of examples in different fields. Although the scope of this book is far from exhaustive, it serves as a starting point for the necessary and long-overdue clarification of the relationship between these neighboring, yet disjointed, sectors.
This book poses a simple question: how is this architecture possible? To respond, it will embark on a captivating journey through many singular architectural concepts. The entasis of Doric columns, Ulysses and desert islands will outline an architectural act that moves beyond representation. A ferryman who stutters will present two different types of architectural minds. A stilus and a theory of signs will reconsider the ways architects can develop a particular kind of intuition, while architectural technicities will bring forth a membranic and territorial understanding of architecture. Finally, as a melody that sings itself, a larval architecture will be introduced, bringing space and time together. Assisting this endeavour, the thought of philosophers like Gilles Deleuze, Felix Guattari, Gilbert Simondon and Raymond Ruyer will meet the latest developments in fields like affect theory, cognitive sciences, environmental studies and neuroanthropology. Eventually, by the end of this book, the readers – from architecture students and researchers to academics and practitioners with an interest in theory – will have been exposed to a comprehensive and original philosophy of architecture and the built environment.
Part of the Technologies: Studies in Culture and Theory series. Through a critical analysis of the widely accepted notion that technology speeds everything up, this book argues that there are only ever differences in speed. The question for us is how can such differences be represented?
This urgent and provocative study explores contemporary Shakespeare performance to bring a sense of theatre as technology into view. Rather than merely using technologies, the theatre's distinctively intermedial character is essential to its complex technicity; the changing function of gesture and costume, of written documents in the making of performance, of light and sound, and of the interplay of live and recorded acting complicate the sense of theatre as a medium. In a series of probing discussions, Worthen interrogates the interaction of live and mediated acting onstage, the impact of written media from the handwritten scroll to the small-screen app in acting as a technē, the work of Original Practices as an interactive modern theatre technology, the economies of theatrical immersion, and the consequences of an emerging algorithmic theatre, providing a richly theoretical reading of the stakes of theatre as an always-emerging technology.
Written in 1938/9, Mindfulness (translated from the German Besinnung) is Martin Heidegger's second major being-historical treatise. Here, Heidegger develops some of his key concepts and themes including truth, nothingness, enownment, art and Be-ing and discusses the Greeks, Nietzsche and Hegel at length. In addition to the main text, the text also includes two further important essays, 'A Retrospective Look at the Pathway' (1937/8) and 'The Wish and the Will (On Preserving What is Attempted)' (1937/8), in which Heidegger surveys his unpublished works and discusses his relationship to Catholic and Protestant Christianity and reflects on his life's path. This is a major translation of a key text from one of the most important thinkers of the 20th century, now available in the Bloomsbury Revelations Series.
Interior Technicity: Unplugged and/ or Switched On invites reflection on how interiors have always been augmenting entities and how they continue to be so—in other words, extending, facilitating and consolidating bodies within socio-cultural environments. Rather than seeing an interior as an 'inside' in opposition to a world beyond, it asks what modes of 'folding inward' have equipped and enabled the spatial environment? Technicity—the world of tools and technical objects that extend and mediate memory, as Bernard Steigler (1998) describes it—has never been what inside-ness, in its sheltering of life, keeps at bay; mediation is from the start technical, indexed to inscribing practices rich in temporal and embodied implications. By this reading, interiors have always been augmented and augmenting (in the sense of the Latin"augmentare": to increase, enlarge, or enrich). This IDEA Journal issue considers this mode of 'folding inward' as a condition of an interior'sspecificity. Whether it be a small structure such as a tramping hut or a tiny house, a large complex interior environment such as an airport or shopping mall, handmade with local materials such as Samoan fale, or the result of manufacturing processes assembling artificial and prefabricated elements as in the case of a spacecraft, boat or train, interiors are augmented, mediated, generated or embellished by technologies. The effect of these technologies is not neutral; one's experience of an interior is significantly influenced by the affective resonance of its technologies.
This is the first book-length work by Heribert Boeder to appear in English. The essays brought together here, several of which are to be found only in this volume, bear witness to a new perspective on metaphysics, modernity, and so-called postmodernity. The "seditiousness" of Boeder's undertaking lies in his twofold intention: to explicate what has been thought in metaphysics, modernity, and postmodernity as self-contained, rational totalities--as history, world, and speech, respectively--and by means of those explications to recover dwelling as it has been made visible in the "configurations of wisdom" (for example, in Homer, Paul, and Holderlin). He approaches each of these totalities by way of Heidegger's thought, which marks the limit of modernity and as such is pivotal to Boeder's enterprise.
This collection of writings explores the theory and praxis of technicity in contemporary thought. From the ground-breaking explorations of such figures as Freud, Heidegger, Deleuze/Guattari and Derrida to the work of more recent theorists like Bernard Stiegler, Friedrich Kittler and Katherine Hayles, it is becoming possible to speak of a new "technological turn" in contemporary continental theory. Yet despite the plethora of work in the field there has not been any sustained attempt to think through the larger philosophical, cultural and political implications of the new technologies. In this collection, a group of internationally-known figures within the fields of philosophy, linguistics and cultural studies come together to consider the meaning of "technicity" at the beginning of the 21st century.
In The Interface Envelope, James Ash develops a series of concepts to understand how digital interfaces work to shape the spatial and temporal perception of players. Drawing upon examples from videogame design and work from post-phenomenology, speculative realism, new materialism and media theory, Ash argues that interfaces create envelopes, or localised foldings of space time, around which bodily and perceptual capacities are organised for the explicit production of economic profit. Modifying and developing Bernard Stiegler's account of psychopower and Warren Neidich's account of neuropower, Ash argues the aim of interface designers and publishers is the production of envelope power. Envelope power refers to the ways that interfaces in games are designed to increase users perceptual and habitual capacities to sense difference. Examining a range of examples from specific videogames, Ash identities a series of logics that are key to producing envelope power and shows how these logics have intensified over the last thirty years. In turn, Ash suggests that the logics of interface envelopes in videogames are spreading to other types of interface. In doing so life becomes enveloped as the environments people inhabit becoming increasingly loaded with digital interfaces. Rather than simply negative, Ash develops a series of responses to the potential problematics of interface envelopes and envelope power and emphasizes their pharmacological nature.
The philosopher, visual artist, and dancer Erin Manning explores the concept of the "more than human" in the context of movement, perception, and experience.