aldous massie E-books

Der späte Husserl spricht von dem "Ur-Ich" als dem Ich, das der transzendentalen Intersubjektivität in einem gewissen Sinne vorangeht. Dies besagt aber nicht, dass es ein solipsistisches Ich wäre. Der Terminus "Ur-Ich" zeigt vielmehr die Ursprünglichkeit einer asymmetrischen und irreversiblen Relation zwischen Ich und Anderem zugespitzt an. Die vorliegende Untersuchung befragt das Ich, das sich selbst in einzigartiger Weise gegeben ist.

within the Interface Envelope, James Ash develops a chain of techniques to appreciate how electronic interfaces paintings to form the spatial and temporal notion of avid gamers. Drawing upon examples from videogame layout and paintings from post-phenomenology, speculative realism, new materialism and media conception, Ash argues that interfaces create envelopes, or localised foldings of house time, round which physically and perceptual capacities are organised for the categorical creation of financial revenue. enhancing and constructing Bernard Stiegler's account of psychopower and Warren Neidich's account of neuropower, Ash argues the purpose of interface designers and publishers is the creation of envelope strength. Envelope strength refers back to the ways in which interfaces in video games are designed to extend clients perceptual and ordinary capacities to experience distinction. reading a number examples from particular videogames, Ash identities a chain of logics which are key to generating envelope strength and indicates how those logics have intensified over the past thirty years. In flip, Ash means that the logics of interface envelopes in videogames are spreading to different varieties of interface. In doing so existence turns into enveloped because the environments humans inhabit changing into more and more loaded with electronic interfaces. instead of easily damaging, Ash develops a sequence of responses to the aptitude problematics of interface envelopes and envelope energy and emphasizes their pharmacological nature.

Arguing that latest audience go through a character's mind rather than searching through his or her eyes or psychological panorama, this publication methods twenty-first-century globalized cinema in the course of the proposal of the "neuro-image." Pisters explains why this idea has emerged now, and she or he elaborates its threefold nature via study from 3 domains—Deleuzian (schizoanalytic) philosophy, electronic networked reveal tradition, and neuroscientific learn. those domain names go back within the book's tripartite constitution. half One, at the mind as "neuroscreen," indicates wealthy connections among movie idea, psychological affliction, and cognitive neuroscience. half explores neuro-images from a philosophical point of view, paying shut realization to their ontological, epistemological, and aesthetic dimensions. Political and moral features of the neuro-image are mentioned partially 3. subject matters lined alongside the best way contain the omnipresence of surveillance, the blurring of the fake and the genuine and the affective powers of the neo-baroque, and using neuro-images in politics, historic reminiscence, and war.