It is still perhaps not widely appreciated that in 1905 Einstein used his postulate concerning the ‘constancy’ of the light-speed in the ‘resting’ frame, in conjunction with the principle of relativity, to derive numerical light-speed invariance. Now a ‘weak’ version of the relativity principle (or, alternatively, appeal to the Michelson—Morley experiment) leads from Einstein's light postulate to a condition that we call universal light-speed constancy. which is weaker than light-speed invariance. It follows from earlier independent investigations (Robertson [1949]; Steigler (...) [1952]; Tzanakis and Kyritsis [1984]) that this condition is none the less sufficient to derive the Lorentz transformations up to a scale factor, given the well-known kinematic principle of ‘reciprocity’. In this paper, we follow Robertson and explore the kinematics consistent with universal light-speed constancy without imposing reciprocity, and we recover the Lorentz transformations by further appeal only to the weak relativity principle and spatial isotropy. (shrink)

These 17 essays covers all aspects of Bernard Stiegler's work, from poststructuralism, anthropology and psychoanalysis to his work on the politics of memory, 'libidinal economy', technoscience and aesthetics, keeping a focus on his key theory of technics throughout. Stiegler brings together key concepts from Plato, Freud, Derrida and Simondon to argue that the human is 'invented' through technics rather than a product of purely biological evolution. Stiegler is a thinker at the forefront of our contemporary concerns with consumerism, technology, inter-generational (...) division, political apathy and economic crisis. His ambitious project is to go beyond these sources of social distress to uncover and examine precisely 'what makes life worth living'. Contributors include: Stephen Barker, University of California Irvine and translator of Steigler; Richard Beardsworth, American University of Paris and translator of Stiegler; Miguel de Beistegui; University of Warwick; Marc Crepon, Ecole normale superieure and co-founder of Stiegler's think tank, Ars Industrialis and Daniel Ross, co-director of 'The Ister', the award-winning film on Heidegger, and translator of Stiegler. (shrink)

From the end of the seventeenth century to now well into the 21st, John Locke’s theory of personal identity has been foundational in the field of philosophy and psychology. Here we suggest that there are two fundamental threads intertwined in Lockean identity, the flux of perception-thought-action (i.e. continuity of consciousness) and memory. Using Maurice Merleau-Ponty, Paul Ricoeur, and Bernard Steigler as guides we will see that these threads constitute a phenomenological self (l’ésprit), a lived experience of our identity that (...) is not only perhaps the most essential component of our humanity, but also the most threatened in today’s ongoing, commercial convergence of the real and the virtual in the “Age of Disruption”. (shrink)

continent. 1.2 (2011): 92-93. A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to produce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations (...) of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned inside­out through complexes of short­circuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snap­shots of electronic signals dancing through the camera's circuits, manually rerouted, written directly to the on­board memory device. Rather than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. With the digital photo, this light, from out of the night, no longer comes entirely from the day, it doesn't come from a past day that would simply have become night (like the photons emenating from Baudelaire's face.) It comes from Hades, from the realm of the dead, from underground: it is an electric light, set free by materials from deep within the belly of the earth. And electronic, that is to say, a decomposed light. Digitization breaks the chain, it introduces manipulation even into the spectrum, and by the same token, it makes phantoms and phantasms indistinct. Photons become pixels that are in turn reduced zeroes and ones on which discrete calculations can be performed. Essentially indubitable when it was analog (whatever its accidental manipulability), the this was has become essentially doubtful when it is digital (it is nonmanipulation that becomes accidental). —Bernard Steigler, The Discrete Image There are so many ways to take something apart. Deconstruction, differentiation, dissection, dissolution. A whole slew of concepts and processes towards atomization which aim, eventually, to evoke or locate an essence of some kind, in material science as in philosophy. In picking things apart, what is it we attempt to do? To simplify? To comprehend? To confront? To disprove? With Stearns’ DCP Series we see that destructive scrutiny can sometimes bring about new forms. To create this series of images, Stearns applies circuit bending techniques to modern photography—his fingers and stray wires cutting across the camera’s circuitry at the moment of registration. As with Moholy­Nagy’s vinyl records and Nam June Paik’s cathode ray TVs, Stearns deconstructs the technological inscription of his era. In so doing, the function of the digital camera is revealed, but its transduction inverted: A recorder becomes a synthesizer, the scientist an artist. In a single, simple gesture, these works example a media archeology of the present. We resist the urge to call these photographs. —Jamie Allen. (shrink)

La métamorphose numérique des savoirs et de l'enseignement constitue un enjeu majeur du 21e siècle et se place au premier rang des priorités des universités et des organismes de recherche. De nouvelles conditions de publication, de certification et d'éditorialisation se mettent en place. Des règles et des méthodes pédagogiques inédites forment un processus dynamique qui doit pousser les institutions académiques, l'industrie et le monde économique à coopérer au-delà de la modernisation de la pédagogie ou du développement de compétences nouvelles. Mais (...) beaucoup d'initiatives apparaissent comme des tendances en vogue sujettes à tous les vents et contrevents médiatiques, et vite dépassées par la dernière nouveauté, à l'exemple des MOOC déjà remplacés par les SPOC. Bernard Steigler a fait appel aux meilleurs spécialistes mondiaux pour démontrer que ce n'est pas seulement la pédagogie qui est bouleversée mais ce sont les savoirs eux-mêmes, depuis la recherche de pointe jusqu'aux formes les plus élémentaires de l'enseignement. L'ouvrage dresse un panorama complet des technologies réflexives et contributives, analyse en profondeur le principe de gouvernementalité algorithmique considéré désormais comme "régime de vérité" et "tournant computationnel" de la société hyperindustrielle. Il propose une méthodologie novatrice de gestion de débats et de communautés, construite sur un autre modèle que celui des réseaux sociaux actuels. Cet ouvrage de référence pose les bases d'une nouvelle industrie éditoriale numérique et audiovisuelle. (shrink)

The last few years have seen the emergence of a more political, ‘post-Derridean’ generation, critical of the impotent messianism of the politics of deconstruction. As Žižek would have it: ‘Derrida's notion of ‘deconstruction as ethics’ seems to rely on a utopian hope which sustains the spectre of ‘infinite justice’, forever postponed, always to come’ (Žižek 2008: 225). The promise of redemption, it follows, would reside in an insubstantial promissory value, in the writing of irredeemable cheques that, if cashed in, could (...) only ever lead to default. With its ethos of play and over-investment in an empty promise, deconstruction starts to look symptomatic of the now-bankrupt age of excess. Does the current financial crisis not entail a crisis of Derrida? This reading contrives to elide what is genuinely political in Derrida, and thereby fails to recognise the deconstruction of economic theodicy implicit in his work. Jean-Luc Nancy has argued that the concept of sacrifice is irreducibly linked to the short-circuiting of the political. We see in Derrida, however, that sacrifice is at the heart of politics, a response to undecidability that is precisely opposed to the fantasy of economics without sacrifice. Furthermore, sacrificial politics is the condition of possibility of the promise, which is constructed and contingent, rather than a priori. If there is a problem with this, it is that Derrida does not sufficiently entertain the prospect of the promise becoming so distant as to be effectively meaningless. Drawing on Bernard Stiegler, this article argues for an expansion of Derrida's account, to show not only that politics is sacrifice, but moreover that the promise of redemption cannot live on in the absence of sacrifice. (shrink)