25 See Bernard Stiegler, La Technique Et Le Temps: 3. The success of the program industries in channeling attention according to the needs of industrial capital for ever-renewed consumption tends to monopolize the time required for this process of formation. The final chapter of Technics and Time 2 discusses the phonogram as a recording technology that is the first to exactly duplicate the experience of temporal duration. So sad that Bernard Stiegler had to look death in the eye and lost. La valeur esprit contre le populisme industriel. Modeled on the form of interface found in digital editing software, Timelines enables a shot by shot analysis of a film, providing the means for the statistical tracking of various characteristics such as image shot attributes (duration, camera angle and scale, color and lighting values), character appearances, and larger structural elements such as narrative segments and other sequential determinations. Ethical and political decisions about what is valuable or damaging in the cultural heritage are required in developing these criteria. The social and technical conditions in which Kant outlined the goal of promoting the passage to a state of “majority” – exiting from a “minority” condition of ignorance, dependence, and passivity – for an increasing part of the population, are no longer the same. The History of Sexuality. These paintings cite a series of Hollywood propaganda films from the World War Two years that portray in a positive light Stalin's Soviet Union as the USA's ally against Nazi Germany. From this selection, under the pressure of the economic need for speed, the “industrial fabrication of the present” is made on an increasingly global scale (2009a: 134). volume 2 : la leçon de Greta Thunberg Bernard StieglerLes liens qui libèrent, 2020, Qu’appelle-t-on panser ? The stakes for Stiegler are the maintenance of the latter in a manner still recognizable as the basis of existing cultural or political programs. Bernard Stiegler Bernard Stiegler (1952 - ), Frans filosoof en publicist, die zich vooral interesseert in techniekfilosofische vraagstukken. Dasein lives a (dis)oriented negotiation of mortality, one which unfolds in a dynamic of reciprocal individual and collective individuation, the medium of which is technics.2 In Being and Time he opens up the possibility of a radical thinking of human technicity in the account of the already there as co-constitutive of Dasein's sense of itself as historical. Stiegler is well aware of this, developing a distinction rather than an opposition to Derrida's thought of technics as supplement. These objects of desire are projections, existing only on a “plane of consistence” on the basis of factical existence, whether they be ideas like justice, the perfect political organization, a romantic partner, the toy that will give the most enjoyment, and so forth. 12/02/2020, Réécouter Bernard Stiegler (2/5) : Errer, penser et bifurquer, LE Indeed, Stiegler deconstructs deconstruction “itself,” at least inasmuch as this term refers to Derrida's own writings on the nature of différance. Il est mort le 6 août 2020. B. STIEGLER: PORTFOLIO VIDEOS COMICS Powered by Create your own unique website with customizable templates. Physiologie du mensonge : cela se voit-il lorsque l'on ment ? D'abord par son parcours et son entrée dans la philosophie particulièrement révélateurs de la naissance et du développement d'une pensée originale et fertile; Bernard Stiegler cause of death. The elaboration of Stiegler's relation to Derrida is especially valuable (and lucid) in this regard, given that this frame is the most influential one (for very good reasons) in the initial Anglophone reception of Stiegler's work. Hy was ook die stigter in 2005 van die politieke en kulturele groep, Ars Industrialis, en die stigter van die filosofiese skool pharmakon.fr, wat in Épineuil-le-Fleuriel gesetel is. The myth recounts how when the gods decided to create living creatures the Titans Prometheus and his twin brother Epimetheus were given the job of equipping the different creatures with suitable powers (dunameis). ©2019 Duke University Press. Ideas, values, goals, indeed all objects of desire are produced through this process of sublimation, and always on the basis and the condition of the technocultural factical existence in which one comes to live. To Husserl's primary and secondary retention, both interior to consciousness and defining the difference between present perception and the recollection of past presents, Stiegler insists on the prosthetic but no less crucial tertiary retention borne by exterior artifactuality. If Karl Marx was the first major thinker in the West to call for the analysis of technology as an autonomous, motor force of human development (Stiegler 1998: 2), Stiegler argues that Marxism (Adorno, Marcuse, Habermas) has not been able to think the compositional dynamic of human–technical becoming, resorting to a teleological dialectic based on nature/culture and human/technics oppositions (1998: 10–13). As David Wills has pointed out, Stiegler's thinking of the prosthetic nature of human being is in keeping with Derrida's formulation of the logic of supplementarity in Of Grammatology (Wills 2006). The artwork commissioned for this issue is by New York-based Russian artist, Yevgeniy Fiks. Bernard StieglerLes Liens qui libèrent, 2016. Drawing on Barthes' classic “ontological” analyses of photography (Barthes 1993), Stiegler thematizes photographic technology in Technics and Time 2 as the industrially produced recapturing of the past (Stiegler 2009a: 42). The knapped flint or the hammer preserves the memory of the gestures which produced it. Through a complex consideration of what might today be characterized as the two major tendencies in “post-humanist” theory – reconceiving human being in relation to animal and other biological being, and thinking the paradoxical centrality yet autonomy of technology to human being and becoming – Simondon sought to reformulate framings of human history, culture, and politics. This is a necessary project for a philosopher setting out with the aim of “inaugurating a new attitude” about technology among the collectives of philosophers, students of philosophy, and those they will go on to teach, interact with, argue, debate, and otherwise transform in their own individuating transactions. Some he armed with weapons, while to the unarmed he gave some other faculty and so contrived means for their preservation” (1998: 186). What is particularly significant for Stiegler is how this exteriorizes and makes discrete the experience of the viewing subject as a viewing of its past (which Barthes tell us is implicit in the viewing of every photograph of what has been), on a scale that reforms the mediation of the experience of individual and collective becoming. Réécouter Bruno Latour : "Ce virus est là pour nous préparer à l'épreuve suivante, le nouveau régime climatique", Bruno Latour : "Ce virus est là pour nous préparer à l'épreuve suivante, le nouveau régime climatique". These affiliations – from the ancient Greek philia, love – condition individual desire in relation to longer-term rhythms of the collective's becoming. This “way” was precisely projected as adoptable, because the American industrial system demanded such an adoption of the mass of new immigrants required as labor power in the early decades of the twentieth century.3. - … Bernard Stiegler est très certainement l'un des intellectuels les plus marquants dans le monde depuis les années 90. Staring Bernard Stiegler and ThinkerView. The pleasure principle/reality principle negotiation which constitutes the process of sublimation at the heart of becoming a socialized human being – which negotiation Stiegler translates into the synchronizing/diachronizing dynamic composing the process of individuation – gives way to a desublimation that “liberates” the dangerous potential of the pulsions. He focuses on Stiegler's re-reading of Marx and Freud through the overarching theme of technicity. The finite, fragmentary, secondary memory of individual consciousness is always already supplemented by the external record accessible through all forms of objective “memory”: cinematogram, photogram, phonogram, writing, painting, sculpture, but also monuments and objects generally, inasmuch as they testify to me about a past that I have not necessarily lived myself. Bifurquer Bernard StieglerLes liens qui libèrent, 2020, Qu'appelle-t-on panser ? Interpretation is always a question of selecting what aspects and elements of the phenomena are important to pay attention to according to what criteria. Prendre Soin 1: De la jeunesse et des générations (Taking Care 1: Of Youth and the Generations) is the most developed articulation of this alternate program. Bernard Stiegler was born on April 1, 1952 in Villebon-sur-Yvette, Essonne, France. People do not simply use tools, or misconceive (or be deceived about) their use; they become (different) in and through the technicities which condition their very existence. Crucial aspects of Stiegler's encounters with Husserl, Heidegger, Derrida, and Virilio on the themes of technics, time, and their interrelation are examined and evaluated. What amounts to a tendency toward a technological determinist position is discernible, he argues, in Stiegler's selective adoption of Marxist political economy and Freudian accounts of desire and the unconscious. Consequently the early – arguably more post-humanist – Heidegger is a greater resource for Stiegler than his later writings on technology. The Platonic gesture of identifying techne with material, and therefore transient, beings which change and pass away, combined with the philosopher's suspicion of the sophistic manipulation of techniques of oratory and writing, banishes techniques and technical artifactuality to the inessential realm of appearance and the “accidental” (Stiegler 1998: 1). The critical reception of Stiegler's work has been relatively limited to date given the delay in the publication of English translations of his first major series, Technics and Time. Il est l'auteur de nombreux ouvrages, dont Etats de choc : bêtise et savoir au XXIe siècle  (Mille et une nuits) et coauteur, avec Denis Kambouchner et Philippe Meirieu, de L'école, le numérique et la société qui vient  (Mille et une nuits). That the key questions of human being and becoming must be thought through technicity is Stiegler's principal claim in Technics and Time 1. 20/11/2018, Réécouter L'Idée culture de Bernard Stiegler, LE (Report) by "New Formations"; Ethnic, cultural, racial issues Aesthetics Analysis Individuation Individuation (Psychology) Philosophers Works It may not be redistributed or altered. This leads towards a loss of the grounds of social and communal association in favor of industrial prerogatives for sustaining increases in production (and profit) through regulating consumption. Le Temps du Cinéma et la Question du Mal-être. From Simondon, Stiegler adopts, among many other insights, an understanding of the systemic, autonomous nature of technical development, its ability to result in a new “associated milieu” of its own becoming (1998: 78), and the description of the “evolution” of technical ensembles of elements as a process of “individuation” (Simondon 2007). Le philosophe Bernard Stiegler est mort jeudi 6 août 2020. All Rights Reserved. An interview with Stiegler exploring these themes follows this introduction. This is what engenders disaffection in the individual and “disindividuation” as the breakdown of social and cultural processes. The compositional dynamic of mind and exterior, mnemotechnical forms is not adequately addressed in Foucault's preference to think the discursive regulation of bodies as bio-economic resources for capital. The origin of the human here is (in) a default of origin: “there will have been nothing at the origin but the fault, a fault that is nothing but the de-fault of origin or the origin as de-fault” (1998: 188). Extending his adoption of Simondon's work on individuation toward a more explicit cultural critique – for him this is what Simondon himself was unable to achieve despite the value of his account of technical individuation – Stiegler elaborates in these series a diagnosis of the malfunctioning of the dynamic of psychic and collective individuation. Stiegler's point is that, while it is in general nothing new that a pre-selection operates via technical means in factically given contexts to condition the individual's experience of events, the production under these conditions of the experience and consequently the memory of events for the goal of producing surplus value for a global capitalist system is new. Concepts drawn from Virilio such as “lighttime” and the “false day” of realtime media and communications are significant for Stiegler's account of the contemporary technical milieu even if his critical engagement with Virilio is limited. Bernard Stiegler : Etat d'urgence, géopolitique, Médias, Gilets Jaunes [EN DIRECT] Added by a partner about 1 year ago. In Technics and Time 1: The Fault of Epimetheus Stiegler launches a rigorous reexamination of the Western philosophical tradition. 19/08/2020, Technique, attention, entropie : 3 concepts chers à Bernard Stiegler, mort ce jeudi, LE It then examines the activist dimension of Stiegler's later writing projects in the context of his work at the Pompidou Centre's Institut de Recherche et d'Innovation of which he is the founding director, and with Ars Industrialis, the association he co-founded to promote a renewed public sphere engagement with key questions of contemporary technocultural becoming. In Technics and Time 2: Disorientation, photography, the time-based recording first instantiated in gramophone technology (but to become so central to modernity as cinema), and digital communications and media are discussed. This correlation is an economic one based on the speed which is definitive of information as such; old information is not, in economic or technical terms, information any more. Op bol.com vind je alle boeken van Bernard Stiegler, waaronder het nieuwste boek van Bernard Stiegler. The management and marketing strategies of hyper capital are possible only on this basis. HE HAS PUBLISHED WORK ON FILM, NEW MEDIA, GAMES, AND CRITICAL THEORIES OF TECHNOLOGY IN ANTHOLOGIES AND JOURNALS INCLUDING ANGELAKI, THEORY, CULTURE & SOCIETY, AND FILM-PHILOSOPHY. Reiterating his earlier accounts of the value and strategic importance of Stiegler's intervention into the thinking of the political in the contemporary context of globalized economy and technoculture, Beardsworth nonetheless identifies what he sees as limits in Stiegler's evaluation of the key dynamics of the contemporary crises of politics and society. Memorial site for Bernard Stiegler who died at age 68. 11/02/2020, Réécouter Bernard Stiegler, la philosophie et la vie (1/5) : Du plomb dans l'âme, LE Technicity is in question in this passage in a way that Derrida's thought of technical supplementarity tends not to address.1. And if the time of the I is certainly not the time of the we, it takes place within the time of the we, which is itself conditioned by the time of the Is of which it is composed. Bernard Stiegler heads the Department of Cultural Development at the Pompidou Center in Paris and is co-founder of the political group Ars Industrialis. 03/01/2021, Les données en SHS : quelle politique ? Used here by Stiegler in Kantian terms, imagination names the mind's capacity for accommodating and processing experience according to the interpretative schemas already laid down in the understanding. In La Technique et Le Temps 3. He develops some reflections on the significance and merits of Stiegler's criticism of Foucault's influential notion of bio-power for neglecting what Stiegler sees as the crucial dimension of globally mediated “psycho-power.”. The immediacy of the global media event and its corresponding loss of spatiality (of distance, specificity, difference), exacerbated by its increasing pervasiveness, tend to erode the capacity of individuals to memorize, process, and anticipate experience in a coherent, significant fashion. PDF | On Jan 1, 1999, P. C. Lemmens published Bernard Stiegler | Find, read and cite all the research you need on ResearchGate The question of the difference between theory and practice, however, is one with which Stiegler has been preoccupied since before he embarked upon the Technics and Time venture. This extraordinary reflection on what is an unusual pathway to philosophical training and practice makes very clear that for Stiegler the importance of the relation between philosophy and the everyday, reflection and action, has never been in question. He gives an account, not unlike that of Wills, of Stiegler's thematization of the speed of technical objects and technical evolution at the center of his analysis of technical temporalization. (2009b: 3). Bernard Stiegler's work on the intimate relations between the human and the technical have made him one of the most important voices to have emerged in French philosophy in the last decade. He argues that desire must be under stood in terms of its “originary technicity” inasmuch as it is always deflected onto an exterior object, arising from an originary default always supplemented by culturally, that is technically, conditioned objects (Stiegler 2006b: 12). DESIGNING COMMUNITY - teaser avec Igor Galligo, Bernard Stiegler, Pierre-Damien Huyghe, Taoufik Vallipuram. Ian James's “Bernard Stiegler and the Time of Technics” provides a perceptive commentary on the substantial philosophical and critical platform that Stiegler erects in the Technics and Time series. from noödesign. Bernard Stiegler age. I claimed that for the purpose of Stiegler's argument it does not matter that television for the most part is not “live.” It is well known that liveness is almost always a simulacrum, eminently deconstructible in its preprocessing of images and sounds, its mixing of direct and delayed or stock footage, all its anchoring and mediating techniques, and so on. It is this which Stiegler insists has not been adequately thought in most critical accounts of technology and culture. He situates his work in relation to the problematization of the conventional spectrum of left and right political positions and talks about how his more recent publishing and public activities proceed from his account of the necessity to invent a viable cultural program for inter-generational reengagement with the technical milieu beyond the widespread disenchantment with social and political processes. He forgets the “rhetorical speed” that conditions technical becoming itself (2006: 257). Stiegler sees contemporary audiovisual technological media, however, as both source of threat to democracy – in their capacity as telecratic organs of political power – and as locus of potentially new forms of “social bond and civil peace.”. Hij pleegde een reeks bankovervallen, waar- voor hij vijf jaar dwangarbeid verrichtte, van 1978 tot 1983. Au-delà de l’Entropocène volume 1 : l’immense régression, Pour une nouvelle critique de l'économie politique, Réenchanter le monde. Stiegler will introduce his account of digital technologies by characterizing the contemporary era as one in which the tendency toward the industrialization of memory approaches – if always asymptotically – its conclusion in the monopolizing of the symbolic production regulating cultural, political, and social life by specialist discourses and techniques. But for Stiegler there is no point in proposing an account which would be the truth of television with the assumption that this would somehow open people's eyes to its real significance and potential as a technology and lead to a correct deployment of it. 11/11/2017, Réécouter Bernard Stiegler : "Je réfléchis au rapport entre la technique et le mal", LE This dynamic threatens to undermine the very credit that enables the system to continue functioning. Epimetheus, whose name means “forgetting,” “forgetfulness,” and also “idiot,” begged his brother to take over the task. The bridge is constructed through the enduring attention paid by Stiegler to the processes linking the artifactual exterior systems and the works they produce to the ongoing development of the interior, individual and shared, collective becoming of human being. See the contributions by Beardsworth and James in this issue for more detailed discussions of Stiegler's relation to Derrida. The tool, the technique – and in this view both language and material objects are co-implied, com-posed in human being – are always memories whose deployment is always in anticipation of an outcome. Dans la disruption : comment ne pas devenir fou ? There are, however, substantial responses to his project in some Anglophone disciplinary contexts. For Stiegler, Heidegger fails to follow his own analysis to the realization that technical objects are indispensable to the human experience of time. This sociality is the framework of a becoming: the group, and the individual in that group, never cease to seek out their path. For Stiegler, the challenge today is to compose a more durable milieu of becoming through critical and creative inflections of technicity's predominant tendencies. La Technique et Le Temps 3. These are a post-human engagement with the technical object as autonomous element whose evolutionary dynamic exceeds (or precedes) a human-centered articulation, and one that returns compulsively to mourn the loss of a full human essence nonetheless understood as having never been constituted. A primary aim of these is the fostering of user agency in the adoption of new media technologies. I will introduce Stiegler's work for this issue of Cultural Politics by characterizing the principal theoretical coordinates of this engagement with technology and assessing its relevance for critical explorations between culture and the political. Free Online Library: The forgetting of aesthetics: individuation, technology, and aesthetics in the work of Bernard Stiegler. It is a movement toward the redoubling of the dual synthesis of the pre dominant adoptions of the systems comprising our technical milieu that Stiegler pursues (Stiegler 2009a: 95). Bernard Stiegler works systematically ... eventually studying philosophy in correspondence with Gérard Granel who was an important influence on a ... Stiegler, B. It is a core claim of Stiegler's work that the “who” and the “what” must not be thought in oppositional terms (Stiegler 1998: 177–8). With the founding of Ars Industrialis, the move to Flammarion as the publisher of several new books (beginning with La Télécratie contre la démocratie: Lettre ouverte aux représentants politiques (Telecracy Against Democracy: An Open Letter to Politicians)) and Stiegler's emergence as a “public intellectual” in French mainstream media, there is a deliberate movement toward different audiences and interlocutors in Stiegler's publishing and other involvements from around 2005. La technique et le temps. In particular it wants to draw out the significance of Stiegler's thinking of the transductive interrelationship of culture and politics through his work on technicity. As a medium or milieu of human existence, temporality is constituted out of this anticipatory projection from a past recollected on the basis of technical facticity. All else is just “chatter,” he says (2009b: 7): That man, as Aristotle says, is a political animal means that I am not human except insofar as I belong to a social group. This environmental idiomatics of toxicity and pollutants resembles that of Neil Postman in Technopoly: The Surrender of Culture to Technology (1992) and in research around media ecologies inspired by Postman. Cinema is the key multiplier of this phase, one which is discussed here but taken up in more detail in Technics and Time 3. This is not without a critical element; in New Philosophy for New Media Hansen contests Stiegler's “neo-Husserlian” account of cinematic perception as too narrowly centered on human memory (Hansen 2004: 255–7). In the lecture, published soon afterwards as Passer à l'Acte (subsequently published in English in Acting Out), Stiegler “confessed” that he began his philosophical investigations while spending several years in the French prison system for committing a serious crime (Stiegler 2009b: 11). Bernard Stiegler survivors. Proche de Jacques Derrida, il développe une pensée de la technique comme remède et comme poison. Bernard Stiegler suicide. Instead of realizing this possibility, Heidegger reverts to a more metaphysical thinking of the movement of “historizing in general” that represents for him a more constitutive, originary horizon of human becoming against and beyond a backdrop of technically constrained, inauthentic existence (Stiegler 1998: 288). Il appelle à s'approprier la technologie afin de pouvoir la transformer, comme dans cet entretien des Chemins de la philosophie. Stiegler will go on to argue in Technics and Time 3, against Kant, that these schemas are not transcendental, but historically and therefore factically conditioned (Stiegler 2001a: 78). The balance between the “synchronizing” tendency of the collective and the “diachronizing” capacity of the individual element to adopt and reinvent the synchrony is upset by the massive effort of marketing to regulate desires in the interests of the amortization of investment. Tragic because these are irrevocable circumstances and, unlike in the Christian account of the fall from grace, not a human failing – a failing precisely to live up to their innate immortality – but a condition of human createdness, that is, mortality. (4.) The tragic circumstances in which the human being finds itself as mortal and inessential are given a back-story in this myth. This condition is one of an essential “prostheticity” in which human being is lacking in essence, that is, is a “being-in-default” of an essence (Stiegler 1998: 188). Arguably it is Ulrik Ekman's critique of the Technics and Time series, published among the set of essays addressing Stiegler's work in a recent issue of Parallax that offers the most comprehensive consideration of his rethinking of technology (Ekman 2007). 24 ‘faite pour garder la mémoire’ : Stiegler, Philosopher Par Accident, op. More recently, Stiegler and other IRI participants have couched this in terms of a renovation of the nineteenth-century notion of the amateur (Puig 2008–2009).