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We regularly touch and handle media devices. At the same time,
media devices such as body scanners, car seat pressure sensors, and
smart phones scan and touch us. In Horn, Henning Schmidgen reflects
on the bidirectional nature of touch and the ways in which surfaces
constitute sites of mediation between interior and exterior.
Schmidgen uses the concept of "horn"-whether manifested as a
rhinoceros horn or a musical instrument-to stand for both natural
substances and artificial objects as spaces of tactility. He enters
into creative dialogue with artists, scientists, and philosophers,
ranging from Salvador Dali, William Kentridge, and Rebecca Horn to
Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the
complex interplay between tactility and technological and
biological surfaces. Whether analyzing how Dali conceived of images
as tactile entities during his "rhinoceros phase" or examining the
problem of tactility in Thomas Pynchon's The Crying of Lot 49,
Schmidgen reconfigures understandings of the dynamic phenomena of
touch in media.
We regularly touch and handle media devices. At the same time,
media devices such as body scanners, car seat pressure sensors, and
smart phones scan and touch us. In Horn, Henning Schmidgen reflects
on the bidirectional nature of touch and the ways in which surfaces
constitute sites of mediation between interior and exterior.
Schmidgen uses the concept of "horn"-whether manifested as a
rhinoceros horn or a musical instrument-to stand for both natural
substances and artificial objects as spaces of tactility. He enters
into creative dialogue with artists, scientists, and philosophers,
ranging from Salvador Dali, William Kentridge, and Rebecca Horn to
Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the
complex interplay between tactility and technological and
biological surfaces. Whether analyzing how Dali conceived of images
as tactile entities during his "rhinoceros phase" or examining the
problem of tactility in Thomas Pynchon's The Crying of Lot 49,
Schmidgen reconfigures understandings of the dynamic phenomena of
touch in media.
Bruno Latour stirs things up. Latour began as a lover of science
and technology, co-founder of actor-network theory, and philosopher
of a modernity that had "never been modern." In the meantime he is
regarded not just as one of the most intelligent and also popular
exponents of science studies but also as a major innovator of the
social sciences, an exemplary wanderer who walks the line between
the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.Bruno Latour stirs things up. Latour began as a
lover of science and technology, co-founder of actor-network
theory, and philosopher of a modernity that had "never been
modern." In the meantime he is regarded not just as one of the most
intelligent and also popular exponents of science studies but also
as a major innovator of the social sciences, an exemplary wanderer
who walks the line between the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.Bruno Latour stirs things up. Latour began as a
lover of science and technology, co-founder of actor-network
theory, and philosopher of a modernity that had "never been
modern." In the meantime he is regarded not just as one of the most
intelligent and also popular exponents of science studies but also
as a major innovator of the social sciences, an exemplary wanderer
who walks the line between the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.Bruno Latour stirs things up. Latour began as a
lover of science and technology, co-founder of actor-network
theory, and philosopher of a modernity that had "never been
modern." In the meantime he is regarded not just as one of the most
intelligent and also popular exponents of science studies but also
as a major innovator of the social sciences, an exemplary wanderer
who walks the line between the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.
This book reconstructs the emergence of the phenomenon of "lost
time" by engaging with two of the most significant time experts of
the nineteenth century: the German physiologist Hermann von
Helmholtz and the French writer Marcel Proust.
Its starting point is the archival discovery of curve images that
Helmholtz produced in the context of pathbreaking experiments on
the temporality of the nervous system in 1851. With a "frog drawing
machine," Helmholtz established the temporal gap between stimulus
and response that has remained a core issue in debates between
neuroscientists and philosophers.
When naming the recorded phenomena, Helmholtz introduced the term
temps perdu, or lost time. Proust had excellent contacts with the
biomedical world of late-nineteenth-century Paris, and he was
familiar with this term and physiological tracing technologies
behind it. Drawing on the machine philosophy of Deleuze, Schmidgen
highlights the resemblance between the machinic assemblages and
rhizomatic networks within which Helmholtz and Proust pursued their
respective projects.
Bruno Latour stirs things up. Latour began as a lover of science
and technology, co-founder of actor-network theory, and philosopher
of a modernity that had "never been modern." In the meantime he is
regarded not just as one of the most intelligent and also popular
exponents of science studies but also as a major innovator of the
social sciences, an exemplary wanderer who walks the line between
the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.Bruno Latour stirs things up. Latour began as a
lover of science and technology, co-founder of actor-network
theory, and philosopher of a modernity that had "never been
modern." In the meantime he is regarded not just as one of the most
intelligent and also popular exponents of science studies but also
as a major innovator of the social sciences, an exemplary wanderer
who walks the line between the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.Bruno Latour stirs things up. Latour began as a
lover of science and technology, co-founder of actor-network
theory, and philosopher of a modernity that had "never been
modern." In the meantime he is regarded not just as one of the most
intelligent and also popular exponents of science studies but also
as a major innovator of the social sciences, an exemplary wanderer
who walks the line between the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.Bruno Latour stirs things up. Latour began as a
lover of science and technology, co-founder of actor-network
theory, and philosopher of a modernity that had "never been
modern." In the meantime he is regarded not just as one of the most
intelligent and also popular exponents of science studies but also
as a major innovator of the social sciences, an exemplary wanderer
who walks the line between the sciences and the humanities.
This book provides the first comprehensive overview of the
Latourian oeuvre, from his early anthropological studies in Abidjan
(Ivory Coast), to influential books like Laboratory Life and
Science in Action, and his most recent reflections on an empirical
metaphysics of "modes of existence." In the course of this enquiry
it becomes clear that the basic problem to which Latour's work
responds is that of social tradition, the transmission of
experience and knowledge. What this empirical philosopher
constantly grapples with is the complex relationship of knowledge,
time, and culture.
Wie schnell fuhlt und denkt der Mensch? Wie lange dauert es, bis
eine Schmerzempfindung vom Fuss bis ins Gehirn transportiert wird?
Wie viel Zeit braucht ein visueller Eindruck, um bewusst
wahrgenommen zu werden? Hermann von Helmholtz hat die Beantwortung
dieser Fragen im 19. Jahrhundert auf eine neue Grundlage gestellt.
1850 gelang es Helmholtz zum ersten Mal, die
Fortpflanzungsgeschwindigkeit der Nervenreizung zu messen. Damit
legte er die Basis fur die experimentelle Erforschung des
Zeiterlebens, wie sie bis heute in Neuropsychologie, Hirnforschung
und Kognitionsforschung betrieben wird. Zugleich schuf Helmholtz
ein neues Bild des Denkens, das die relative Langsamkeit kognitiver
Prozesse zeigt und Aufmerksamkeit auf die Unterbrechungen,
Intervalle und Zwischenzeiten im menschlichen Fuhlen und Denken
lenkt. Dieser Band erlaubt es, Helmholtz bei der Laborarbeit uber
die Schulter zu gucken. Er enthalt samtliche Beitrage, die
Helmholtz der Psychophysiologie der Zeit gewidmet hat.
This book reconstructs the emergence of the phenomenon of "lost
time" by engaging with two of the most significant time experts of
the nineteenth century: the German physiologist Hermann von
Helmholtz and the French writer Marcel Proust.
Its starting point is the archival discovery of curve images that
Helmholtz produced in the context of pathbreaking experiments on
the temporality of the nervous system in 1851. With a "frog drawing
machine," Helmholtz established the temporal gap between stimulus
and response that has remained a core issue in debates between
neuroscientists and philosophers.
When naming the recorded phenomena, Helmholtz introduced the term
temps perdu, or lost time. Proust had excellent contacts with the
biomedical world of late-nineteenth-century Paris, and he was
familiar with this term and physiological tracing technologies
behind it. Drawing on the machine philosophy of Deleuze, Schmidgen
highlights the resemblance between the machinic assemblages and
rhizomatic networks within which Helmholtz and Proust pursued their
respective projects.
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Klassiker Der Psychologie - Die Bedeutenden Werke: Entstehung, Inhalt Und Wirkung (German, Hardcover, 2nd 2., Erweiterte Und Uberarbeitete Auflage ed.)
Helmut E. Luck, Katrin Gaiser, Achim Eschbach, Viktor Sarris, Douwe Draaisma, …
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