Technics and Time, 3: Cinematic Time and the Question of by Bernard Stiegler

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By Bernard Stiegler

Within the first volumes of Technics and Time, Bernard Stiegler labored rigorously via Heidegger's and Husserl's courting to technics and expertise. right here, in quantity 3, he turns his cognizance to the prolematic dating to technics he reveals in Kant's Critique of natural Reason, fairly within the models of the Transcendental Deduction. Stiegler relates this challenging to the "cinematic nature" of time, which precedes cinema itself yet reaches an apotheosis in it because the exteriorization process of schema, via tertiary retentions and their mechanisms. The booklet specializes in the connection among those subject matters and the "culture industry"— as outlined through Adorno and Horkheimer—that has supplanted the tutorial associations on which actual cultural participation relies. This displacement, Stiegler says, has produced a malaise from which present worldwide tradition suffers. the result's most likely catastrophic.

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Product Details
Hardcover: 315 pages
Publisher: Nijhoff, 1976 (Photomechanical reprint of: 3rd printing, 1971 [first: 1964])
Language: English
ISBN-10: 9024702488
Printed publication Dimensions: 6. 1 x zero. eight x nine. 2 inches

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Technics and Time, 3: Cinematic Time and the Question of Malaise (Meridian: Crossing Aesthetics)

Within the first volumes of Technics and Time, Bernard Stiegler labored rigorously via Heidegger's and Husserl's courting to technics and know-how. right here, in quantity 3, he turns his awareness to the prolematic dating to technics he reveals in Kant's Critique of natural cause, really within the types of the Transcendental Deduction.

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Additional resources for Technics and Time, 3: Cinematic Time and the Question of Malaise (Meridian: Crossing Aesthetics)

Sample text

What Kant does not manage to think, nor thus obviously to explain clearly in A (any more than in B—though B “resolves” the problem by regressing to A in order to eliminate the contradiction), is the difference between primary and secondary retentions through which Husserl will later think more thoroughly, but that Kant perpetually confuses as syntheses of apprehension and reproduction. 3. if there is an “industrial schematism,” it is because the schematics are originarily, in their very structure, industrializable: they are functions of tertiary retention; that is, of technics, technology, and, today, industry.

We will see in the next chapter that this impossibility of distinguishing, this undecidability, also haunts Kant in the Critique of Pure Reason. In Chapter 3 we will find that this indistinction is the fundamental condition for constituting a We—and that it nonetheless must be distinguished. 15 “The immortality of the soul” is the screen—confusing perception and imagination, doxa and epistēmē, sensible and intelligible, which must Cinematic Time  always be distinguished without ever being placed in opposition—onto which that structure will then be projected and dissimulated: as projection screen “the immortality of the soul” is the opening of a great “film,” metaphysics, introducing the extravagant Socrates, played by Plato.

How not to shudder before such a psychotic, at the catastrophe that has unfolded when we see Blanche taken away forever from her “sanctuary” with Stella and Stanley? How not to feel insane ourselves, carried along by this exemplar of the great, mad American destiny—that never fails at the same time to sell us, through making us laugh and cry in the face of our own fate, the American Way of Life? America, America! Repetition and the Unconscious All of this is possible only because the structure of consciousness is thoroughly cinematographic, assuming that we can call “cinematographic” what unfolds through a montage of temporal objects—objects constituted through their movement.

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