In 1985, the French philosopher Jean-Francois Lyotard curated a groundbreaking exhibition called Les Immateriaux at the Centre Pompidou in Paris. The exhibition showed how telecommunication technologies were beginning to impact every aspect of life. At the same time, it was a material demonstration of what Lyotard called the postmodern condition. This book features a previously unpublished report by Jean-Francois Lyotard on the conception of Les Immateriaux and its relation to postmodernity. Reviewing the historical signifi cance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists - among them Bernard Stiegler, Sven-Olov Wallenstein, Anne-Elisabeth Sejten and Jean-Louis Boissier - analyse this important moment in the history of media and theory, and refl ect on the new material conditions brought about by digital technologies in the last 30 years."
The digital revolution fundamentally changed how cultural heritage is created, documented, analyzed, and preserved. The book focuses on this transformation’s impact. How must museums and archives meet the challenges of digitally generated cultures and how does the digital revolution influence traditional object collection, research, and education? How do digital technologies and digital art and culture affect our interaction with images? Leading international experts from various disciplines break new ground. Pioneering interdisciplinary research results collected in this book are relevant to education, curators and archivists in the arts and culture sector and in the digital humanities.
'Art, Theory and Practice in the Anthropocene' contributes to the growing literature on artistic responses to global climate change and its consequences. Designed to include multiple perspectives, it contains essays by thirteen art historians, art critics, curators, artists and educators, and offers different frameworks for talking about visual representation and the current environmental crisis. The anthology models a range of methodological approaches drawn from different disciplines, and contributes to an understanding of how artists and those writing about art construct narratives around the environment. The book is illustrated with examples of art by nearly thirty different contemporary artists.
This book applies a novel conflict-based approach to the notions of ‘idea’, ‘concept’, ‘invention’ and ‘immateriality’ in the legal regime of intellectual property rights by turning to the adversarial legal practices in which they occur. In doing so, it provides extensive ethnographies of the courts and law firms, and tackles classical questions in legal doctrine about the immaterial nature of intellectual property rights from a thoroughly new perspective.
A systematic historical survey of Chinese thought is followed by an investigation of the historical-metaphysical questions of modern technology, asking how Chinese thought might contribute to a renewed questioning of globalized technics. Heidegger's critique of modern technology and its relation to metaphysics has been widely accepted in the East. Yet the conception that there is only one—originally Greek—type of technics has been an obstacle to any original critical thinking of technology in modern Chinese thought. Yuk Hui argues for the urgency of imagining a specifically Chinese philosophy of technology capable of responding to Heidegger's challenge, while problematizing the affirmation of technics and technologies as anthropologically universal. This investigation of the historical-metaphysical question of technology, drawing on Lyotard, Simondon, and Stiegler, and introducing a history of modern Eastern philosophical thinking largely unknown to Western readers, including philosophers such as Feng Youlan, Mou Zongsan, and Keiji Nishitani, sheds new light on the obscurity of the question of technology in China. Why was technics never thematized in Chinese thought? Why has time never been a real question for Chinese philosophy? How was the traditional concept of Qi transformed in its relation to Dao as China welcomed technological modernity and westernization? In The Question Concerning Technology in China, a systematic historical survey of the major concepts of traditional Chinese thinking is followed by a startlingly original investigation of these questions, in order to ask how Chinese thought might today contribute to a renewed, cosmotechnical questioning of globalized technics.
This is just...entropy, he said, thinking that this explained everything, and he repeated the strange word a few times. 1 ? Karel Capek , “Krakatit” This “strange word” denotes one of the most basic quantities of the physics of heat phenomena, that is, of thermodynamics. Although the concept of entropy did indeed originate in thermodynamics, it later became clear that it was a more universal concept, of fundamental signi?cance for chemistry and biology, as well as physics. Although the concept of energy is usually considered more important and easier to grasp, it turns out, as we shall see, that the idea of entropy is just as substantial—and moreover not all that complicated. We can compute or measure the quantity of energy contained in this sheet of paper, and the same is true of its entropy. Furthermore, entropy has remarkable properties. Our galaxy, the solar system, and the biosphere all take their being from entropy, as a result of its transferenceto the surrounding medium. Thereis a surprisingconnectionbetween entropyandinformation,thatis,thetotalintelligencecommunicatedbyamessage. All of this is expounded in the present book, thereby conveying informationto the readeranddecreasinghis entropy;butitis uptothe readertodecidehowvaluable this information might be.