The World We Desire Is One That We Can Create and Care for Together
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Signaux Faibles Employée Que Dans Sa Manière D’Appréhender Les Nouvelles Manières De Penser, De Se Mouvoir, De S’Éduquer, D’Habiter, De Produire Et De Consommer
Penser autrement les modes de vie en 2030 2 TOME Le programme « Penser autrement les modes de vie à horizon 2030 » souligne l’émergence des tendances à l’œuvre ou supposées porteuses de changement dans un avenir de moyen-long terme (10 à 20 ans). Fruit d’une intelligence collective et porté par un groupe de prospective transdisciplinaire, il est ici restitué dans quatre volumes faisant état d’une extraordinaire effervescence créative agitant un monde entre crises et mutations. Ainsi, la verticalité de la société industrielle coexiste avec l’horizontalité de la société en réseaux, laissant transparaître une relative aptitude au changement vers une société à la fois plus participative, collaborative, Cahier faibles signaux des Cahier des autonome et solidaire. Ce programme, conduit par la Mission Prospective du Commissariat Général au Développement durable (CGDD) est innovant et inédit tant dans la méthode prospective signaux faibles employée que dans sa manière d’appréhender les nouvelles manières de penser, de se mouvoir, de s’éduquer, d’habiter, de produire et de consommer,... dont la diffusion procède grandement de l’essor des nouvelles technologies. Par sa volonté d’anticiper l’action publique, ce programme devrait permettre de mieux comprendre et ensuite d’accompagner ces changements vers un monde plus empathique et plus soutenable. Ministère de l’Écologie, du Développement durable et de l’Énergie Commissariat général au Développement durable 92055 La Défense cedex Tél. 01 40 81 21 22 Ministère de l’Écologie, du Développement durable -
The Fibreculture Journal Issue 18 2011
The Fibreculture Journal DIGITAL MEDIA + NETWORKS + TRANSDISCIPLINARY CRITIQUE Issue 18 : Trans edited by Andrew Murphie, Adrian Mackenzie and Mitchell Whitelaw The Fibreculture Journal is an Open Humanities Press Journal. The LOCKSS System has the permission to collect, preserve and serve this open access Archival Unit. The Fibreculture Journal is published under a Creative Commons, By Attribution-Non Commercial-No Derivative License. ISSN: 1449 – 1443 , Published in Sydney, Australia Fibreculture Publications/The Open Humanities Press 2011 The journal is peer reviewed as per section 4.3.4 of the Australian HERDC Specifications. About the Fibreculture Journal The Fibreculture Journal is a peer reviewed international journal, first published in 2003 to explore the issues and ideas of concern to the Fibreculture network. The Fibreculture Journal now serves wider social formations across the international community of those thinking critically about, and working with, contemporary digital and networked media. The Fibreculture Journal has an international Editorial Board and Committee. In 2008, the Fibreculture Journal became a part of the Open Humanities Press , a key initiative in the development of the Open Access journal community. The journal encourages critical and speculative interventions in the debate and discussions concern- ing a wide range of topics of interest. These include the social and cultural contexts, philosophy and politics of contemporary media technologies and events, with a special emphasis on the ongoing social, technical -
Machine Machine Pringle Stiegler Stiegler
Media Studies Pringle, Koch, Stiegler Thomas Pringle, Gertrud Koch, Bernard Stiegler Machine In today’s society of humans and machines, automation, animation, and ecosystems Machine are terms of concern. Categories of life and technology have become mixed in governmental policies and drive economic exploitation and the pathologies of everyday life. This book both curiously and critically MACHINE advances the term that underlies these new developments: machine. PRINGLE KOCH “‘The machine’ proves that whoever said that the rise of data was going to cause the end of theory could not be more wrong. The new forms of digital automation of society, the question STIEGLER of the relationship with the animated machine, and the new cybernetics of ecosystemic governance provide rich instigation to philosophy, proving that machines can and do make us think new thoughts.” — Tiziana Terranova, Naples Eastern University “A significant contribution to the understanding and politics of the becoming of machines and techno-systems in the twenty- first century.” —Yuk Hui, author of On the Existence of Digital Objects Published by the University of Minnesota Press in collaboration with meson press Cover image by Sascha Pohflepp Machine IN SEARCH OF MEDIA Götz Bachmann, Timon Beyes, Mercedes Bunz, and Wendy Hui Kyong Chun, Series Editors Pattern Discrimination Markets Communication Machine Remain Machine Thomas Pringle, Gertrud Koch, and Bernard Stiegler IN SEARCH OF MEDIA University of Minnesota Press Minneapolis London meson press In Search of Media is a joint collaboration between meson press and the University of Minnesota Press. Bibliographical Information of the German National Library The German National Library lists this publication in the Deutsche Nationalbibliografie (German National Bibliography); detailed bibliographic information is available online at portal.d-nb.de. -
An Interview with Bernard Stiegler Interview by Judith Wambacq
‘We have to become the quasi-cause of nothing – of nihil.’ An interview with Bernard Stiegler Interview by Judith Wambacq and Bart Buseyne Translation and introduction by Daniel Ross Abstract 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. -
Stiegler and Derrida on Technics and Cultural Politics by Robert Sinnerbrink
2/17/2016 TRANSFORMATIONS Journal of Media & Culture ISSN 14443775 2009 Issue No. 17 — Bernard Stiegler and the Question of Technics Culture Industry Redux: Stiegler and Derrida on Technics and Cultural Politics By Robert Sinnerbrink [1] In the conclusion to his landmark 1996 study, Derrida and the Political, Richard Beardsworth outlines “two possible futures” for Derridean deconstruction. The first he describes as a “left-wing Derrideanism,” which would foreground “Derrida’s analysis of originary technicity,” and develop the supplementary logic of the trace “in terms of the mediations between [the] human and the technical” (Derrida and the Political 156). Such a future has been powerfully realised in the work of Bernard Stiegler, notably in his massive multi-volume work Technics and Time (1994- 2001), of which only volumes one and two have so far been translated into English. [2] The second possible future for deconstruction, what Beardsworth dubs “right-wing Derrideanism,” is perhaps more familiar. The latter, Beardsworth suggests, would pursue “Derrida’s untying of the aporia of time from both logic and technics,” and argue that it is the gift of time that remains to be thought; such a path would enact a messianic promise that requires a Derridean mobilization of religious discourse, and a “passive” orientation towards the advent of the future, of the incalculable “to-come” (Derrida and the Political 156). [3] Although Beardsworth then immediately qualifies this apparent opposition, stating that there is here, in fact, “no answer and no choice” (156), that what we have, rather, is an aporetic dynamic between the one and the other, there is nonetheless a clear sense in which his book – one that carefully situates Derrida’s thought within the history of philosophical reflection on the political from Kant and Hegel to Marx and Heidegger – affirms the “Left-Derridean” path while critically questioning its “Right-Derridean” counterpart. -
Stiegler and the Lost Spirit of Capitalism. in G. Moore and C
This is a pre-press version of Roberts, B., 2013. Memories of Inauthenticity: Stiegler and the lost spirit of capitalism. In G. Moore and C. Howells, eds. Stiegler and Technics. Edinburgh: Edinburgh University Press, pp. 225–239. Memories of inauthenticity: Stiegler and the lost spirit of capitalism The aim of this essay is to discuss Bernard Stiegler’s arguments about the condition and fate of contemporary capitalism. These arguments are formulated most succintly in For a New Critique of Political Economy but elements of this ‘new critique’ are discussed at greater length throughout Stiegler’s recent work and in particular in the series Mécréance et Discrédit (Disbelief and Discredit and De la Misère Symbolique (On Symbolic Misery). In the following discussion I have chosen to focus primarily on the third volume of the former, entitled L’Esprit perdu du capitalisme (The Lost Spirit of Capitalism), the first part of which is dedicated to a detailed critique of the Luc Boltanski and Ève Chiapello’s The New Spirit of Capitalism. There are two reasons for this focus. The first is that Boltanski and Chiapellos’s book has become an extremely influential account of contemporary capitalism; Stiegler’s arguments here help to demonstrate the problems and limitations of its approach. The second is that the contrast with Boltanski and Chiapello helps to bring out much that is genuinely novel and interesting about Stiegler’s own account of capitalism. It demonstrates in some detail the way in which his transformation of work by Derrida, Simondon and others has allowed a rearticulation of some of the concerns of the Frankfurt School. -
1.1. Circuit-Bending and DIY Culture
1.1. Circuit-bending and DIY culture Alexandre Marino Fernandez1 Fernando Iazzetta 1 Abstract This article analyses Circuit-Bending and its relation to the Do-it-yourself (DIY) culture. Circuit- bending is an experimental music practice which consists of opening up low voltage (battery powered) electronic devices (musical toys, radio devices, cd players, etc. – mostly technological waste) and of changing (bend) the way electricity flows through their circuits in order to achieve an ‘interesting’ result. After presenting the work of some artists who make use of this methodology we introduce the concept of proletarianisation by philosopher Bernard Stiegler and how such methodologies can act as de-proletarianisation tactics. Then, we present the Do-it-together (DIT) or Do-it-with-others (DIWO) discussion to bring into scene the notion of Relational Aesthetics. Keywords: Circuit-Bending; De-proletarianisation; DIY Culture; Relational Aesthetic Introduction This article relates Circuit-Bending to DIY culture focusing on the anti-consumerist, rebellious and creative aspects of this experimental practice. Generally speaking, circuit-bending consists of opening up battery powered electronic devices and of changing (bend) the way electricity flows through their circuits in order to achieve an ‘interesting’ result. One typically practices circuit-bending by removing and/or adding electronic components, connecting different circuits, or even adding organic elements to the circuit (bender’s body or even fruits and vegetables). The next step usually calls for soldering the components into the circuit or marking specific places to be touched. Finally, sometimes a case is designed for accommodating this newly created instrument. The technique was named in 1992 by Qubais Reed Ghazala, in a series of articles he wrote for Experimental Music Instrument magazine. -
Lost. in Between. Together
Lost. In Be tween. Together. Refugees. of Struggle Collective —Reader #2 with We Are Here Collective Struggle of Refugees. Lost. In Between. Together. Colophon in collaboration with New World Summit New World Academy Reader #2: [email protected] Collective Collective Struggle of Refugees. www.newworldsummit.eu Lost. In Between. Together New World Academy Editor: Research, Development, Struggle of Jonas Staal and Realization Team: in dialogue with We Are Here Şeyma Bayram (BAK), Younes Bouadi (NWS), Jan de Bruin Associate Editor: (NWS), Vincent W.J. van Gerven Refugees. Şeyma Bayram Oei (NWS), Maria Hlavajova (BAK), Robert Kluijver (NWS), Coordinator & Proof Reader: Paul Kuipers (NWS), Renée In der Gwen Parry Maur (NWS), Arjan van Meeuw- Lost. In Between. en (BAK), Kasper Oostergetel Design: (NWS), Sjoerd Oudman (NWS), Remco van Bladel, Amsterdam Gwen Parry (BAK), Merel Som- with Andrea Spikker horst (BAK), Jonas Staal (NWS), Together. and Ivo Verburg (BAK) Lithography and Printing: Drukkerij Raddraaier, Amsterdam Cover and Chapter Images: pp. 11, 12, 20, 25, 40 depict the ISBN: 978-90-77288-19-1 We Are Here tent camp on the Notweg in Amsterdam during New World Academy Reader #2 Every effort has been made to September to November 2012. obtain copyright permission for Photos: Erik Veld. All other im- images. We apologize for any ages depict life in and around the inadvertent omissions and pledge Vluchtkerk between November to correct them in future editions. 2012 and March 2013, including The texts in this reader are the preparations for the move published according to individual to the Vluchtkantoor. Photos: agreements with the authors, no Manette Ingenegeren. -
Degrowth, Commons and Convivial Technology. Many People Criticizes
Degrowth, Commons and convivial Technology. Many people criticizes both the growth and the concept of degrowth, that is why they talk about “alter-growth” (Christian Arnsperger for example) or “misgrowth” (Bernard Stiegler, for example). But, defending the degrowth, Serge Latouche use the word “a-growth”… So, words about degrowth are uncertain. It is important to notice that there is, in France but probably also everywhere, a violent debate between theorists of the degrowth and the critics of the growth. Why criticizing growth is not enough to support the degrowth? One of the main differences between the theorists of the degrowth and the eco-socialists, is not only about the “ecological interests of class” (according to an expression of Stéphane Lavignotte), but also because they have different philosophies of technology. Without going so far as to say that degrowth is a bourgeois concept, we think that it is important not to confuse degrowth with the (bourgeois) idea of a “return to nature”. The real question, the one who reconciles sustainability and equity, is to know which idea of the common, and more exactly which idea of the common industrial milieu, hides behind this concept of degrowth. In fact, at the time of galloping urbanization, our milieu is and will remain industrial. The theorists of degrowth often quote Karl Polanyi, but they forget to specify that according to him: “the congenital weakness of the XIXth century society does not come from the fact that it was industrial, but from the fact that it was a market society” (The Great Transformation, tr. fr., p. -
INTERVIEW with BERNARD STIEGLER Ern Society
Krisis Journal for contemporary philosophy One the other hand, however, Stiegler’s philosophical enterprise can also be seen as a continuation of the project of critical theory, of its social cri- PIETER LEMMENS tique, its critique of political economy and its critique of the culture in- dustry. This can be identified as the ‘Marxist’ strand of his work. Most ‘THIS SYSTEM DOES NOT PRODUCE PLEASURE ANYMORE’ remarkably, it is on the basis of his techno-critical project that Stiegler provides a sociopolitical critique of contemporary capitalist and postmod- AN INTERVIEW WITH BERNARD STIEGLER ern society. This society suffers from what he calls a state of generalized proletarianization. Krisis, 2011, Issue 1 Proletarianization, Stiegler argues with Gilbert Simondon and Karl Marx, www.krisis.eu consists essentially in the loss of knowledge and know-how (savoir-faire) in individuals and collectives. Whereas nineteenth-century capitalism proletarianized workers by delegating their knowledge and know-how to machines, reducing them to labor power, twentieth-century capitalism has proletarianized consumers by depriving them of their own ways of life and massively replacing them with preformatted and standardized ‘life- Although the French philosopher Bernard Stiegler (1952) is still largely styles’ fabricated and marketed on a worldwide scale by global corpora- unknown in the Netherlands, he is without doubt one of the most impor- tions exclusively driven by profit. In today’s service economies, consumers tant continental thinkers of today. His voluminous and rapidly expanding are ‘discharged’ of the burden as well as the responsibility of shaping their œuvre is gaining increased attention within academia and his three vol- own lives and are reduced to units of buying power controlled by market- ume magnum opus Technics and Time has become available recently in ing techniques. -
A Systems Based Analysis of Creativity, Community and Narrative Formation
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Spaces after modernity: a systems based analysis of creativity, community and narrative formation Bella Wheeler University of Sussex A thesis submitted for the degree of Doctor of Philosophy in Social Work and Social Care April 2017 2 DECLARATION I hereby declare that this thesis has not been and will not be submitted in whole or in part to another University for the award of any other degree. Signature.................................................................................... Date………………………………………………………………….. 3 This thesis is dedicated with love to my daughter Cara and to the memory of my brother Ollie 4 Contents Acknowledgements ....................................................................................................................... 8 Chapter One: Introduction and context...................................................................................... 10 1.1 Rationale .......................................................................................................................... -
A Counter Guide to Free Labour in the Arts 2
SURVIVING INTERNSHIPS A COUNTER GUIDE TO FREE LABOUR IN THE ARTS 2 The Guide This guide has been produced by the Carrot Work- ers‘ Collective in London. It attempts to explore and debunk some commonly held myths around creative careers and provide some survival tools for those cur- rently working in the creative sector. This guide asks: is unpaid interning essential for a job in the creative sector? Does interning and free labour automatically lead to paid work? Do those who work in the creative industry actually do creative work? Why do we often think that cultural work isn‘t ‘real work‘, and therefore that cultural workers don‘t deserve the same rights as everyone else? The contents of the guide are based on real life experiences of cultural workers in London who tell it like it really is, sharing the fears and desires that motivate their work, their experiences of disap- pointment and survival, and also, importantly, suggest- ing how we could organise our work otherwise. Who are we? The Carrot Workers‘ Collective is a London-based group of cultural workers, interns, teachers and researchers who regularly meet to think and work together around the conditions of free labour in con- temporary society. We aim to understand the impact of free labour on material conditions, subjectivity, life expectations and desires. Why ‘The Carrot‘? The Carrot represents the promise of paid work, meaningful experience, success and stability which in the cultural sector, more often than not, is never actu- ally realised. More generally ‘the carrot‘ signifies the hope that we might organise our work around ‘creativ- ity‘ rather than drudgery; an aspiration that is used to prompt, cajole and sometimes blackmail workers into long-term and recurring periods of free and precari- ous labour.