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By Bernard Stiegler
Within the first volumes of Technics and Time, Bernard Stiegler labored conscientiously via Heidegger's and Husserl's dating to technics and expertise. the following, in quantity 3, he turns his cognizance to the prolematic courting to technics he unearths in Kant's Critique of natural Reason, fairly within the types of the Transcendental Deduction. Stiegler relates this problematical 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 ebook makes a speciality of the connection among those topics and the "culture industry"— as outlined via 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 in all likelihood catastrophic.
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Extra info for Technics and Time, 3: Cinematic Time and the Question of Malaise (Meridian: Crossing Aesthetics)
Sample text
I can also see “myself ” as an other; I can film “myself,” project “myself,” graft “myself” onto myself, see “myself” as a tutor, as a support, a screen: writing, for example. That is, to “objectify,” “exteriorize,” express” myself: to “tertiarize” myself. And it is a montage, already cinema. Television In the second half of the twentieth century, cinematic time overflowed into television. In 1954, 1% of French households had a television set. 1%. 4%. 1%. 5%. ” The twentieth century, born of cinema, in the end manifested the astonishing domination of consciousness by audiovisual temporal objects broadcast over hundreds of channels and countless programs constructing a new social time, a new temporal orientation, in the area economists have named “the programming industry,” reminding us of what in 1947 Horkheimer and Adorno called the Kulturindustrie.
1%. 4%. 1%. 5%. ” The twentieth century, born of cinema, in the end manifested the astonishing domination of consciousness by audiovisual temporal objects broadcast over hundreds of channels and countless programs constructing a new social time, a new temporal orientation, in the area economists have named “the programming industry,” reminding us of what in 1947 Horkheimer and Adorno called the Kulturindustrie. Just as the cinema inherits photographic techniques and aligns itself with photography, televisual techniques add to cinema certain specific characteristics that produce an identifiable televisual effect.
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. And finally, failure to properly distinguish the two primary syntheses Cinematic Consciousness is also a failure even to recognize the indispensable “substratum” of the third—which the Critique of Pure Reason in its fashion, however, as we will see (see the section entitled “Apperception’s Crutches”), still asserts as necessary.