Wiki for Collaborative Studies of Arts, Media and Humanities. Echographies of Television has 42 ratings and 3 reviews. In this important new book, Jacques Derrida talks with BernardStiegler about the effect of telet. Echographies of Television Filmed Interviews. Jacques Derrida – Wiley. Epimetheus Bound: Stiegler on Derrida, Life, and the Technological Condition.

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Derrida then asks what it means to be concerned with the present, or to do so as a philosopher. Paperbackpages. Djross rated it really liked it May 22, As Derrida and Stiegler discuss the role of teletechnologies in modern society, the political implications of Derrida’s thought become apparent. Mikhail Emelianov rated it it was amazing Jun 06, This article may be confusing or unclear to readers.

Echographies of Television: In Search of New Lifestyles

In Echographies of TelevisionDerrida and Stiegler open up questions that are of key social and political importance. Refresh and try again. Peter Brooker – There are no discussion topics on this book yet. Please improve this article or discuss the issue on the talk page. Televison attempts to render justice.

To view an image is to engage with that technical synthesis, and implies a kind of knowledge of the apparatus by ecgographies spectator that determines the conditions of the experience of spectatorship. Be the first to ask a question about Echographies of Television. The massive changes which will follow from digitisation are a chance to develop a “culture of reception”.

The destabilisation of knowledge caused by digitalisation may induce fear, but analog photography also caused people to be afraid: If the mental image and the image-object cannot be opposed, however, they are nevertheless different, first of all because the image-object lasts while the mental image is ephemeral.

Alex rated it liked it Apr 15, Tracy Colony – – Derrrida in Phenomenology 41 1: He begins by stating that “the image in general” does not exist.


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Jul 29, Vince rated it really liked it. May 13, Ft. This is similar to the way in which the alphabetisation of writing produced changes in the synthesis of language.

Jacques Derrida & Bernard Stiegler, Echographies of Television Filmed Interviews – PhilPapers

Sign in to use this feature. Society Through the Small Screen. Account Options Sign in. Views Read Edit View history. Articles with disproportional geographic scope from August Articles lacking reliable references from August All echoggaphies lacking reliable references Wikipedia articles needing clarification from August All Wikipedia articles needing clarification Articles with multiple maintenance issues Articles containing French-language text CS1 maint: Drawing on recent events in Europe, Derrida andStiegler explore the impact of television and the internet on ourunderstanding of the state, its borders and citizenship.

Nevertheless, however, we must also recognise that even the most “live” broadcasts are produced. Stiegler suggests that what is important about this is not so much that reality is “artificially” constructed on the basis of a selection, but rather what matters are the criteria of selection.

How can we respond,responsibly, to a question when we know that the so-called”natural” conditions of expression, discussion, reflection, anddeliberation have been breached? He therefore asks Derrida if the problem today is that the selection criteria are overdetermined by the “commercial character of industry,” and thus if when Derrida speaks of a ” politics of memory ,” he is talking about regulating the effects of market pressure on the construction of actuality.

Thus when we are striving to remember the worst for example, the complicity of the French state for the treatment of Jews during World War IIwe are striving to recall the victims, but this means also to call them backnot just for the sake of a present, but for an ongoing struggle, and thus for a future.

Chapter 3 Acts of Memory: He argues that “actuality” is always a matter of “artifactuality,” involving selection, editing, performativityand thus amounting to a “fictional fashioning”.


What does it mean to speak of the present in a situation of “live” recording? The work of the spectator who puts this together in imagination as a “continuous” whole is a form of synthesis.

The fact that digitalisation makes very possible the representation of things which were never in front of a lens changes the conditions of belief, specifically the belief that photography is a matter of the return of the past in the present.

Analogico-digital technology is one such moment, in which what is undergoing an intense evolution are the conditions by which we perceive and, therefore, the conditions by which we believe. Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy. Fidelity at the Limits of Deconstmction and the Prosthesis of Faith.

The Voice Imitator: Jacques Derrida & Bernard Stiegler: Echographies of Television

But with digital technology it becomes possible not only to produce cinematic or televisual works in a new way, echogeaphies to analyse and therefore interpret these in a new way—for example, to index images, camera movements, voices, etc. There might be a discussion about this on the talk page.

Improvising before a camera, the twophilosophers are confronted by the very technologies they discussand so are forced to address all the more directly It is the history and evolution of writing that made possible the critical and logical spirit which we attribute to language, and which we have until now not attributed to the apprehension of the image.