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2
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Mutual Enlightenment: Recent Phenomenology in Cognitive Science
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See, amongst others, Shaun Gallagher, 'Mutual Enlightenment: Recent Phenomenology in Cognitive Science', Journal of Consciousness Studies, 4:3 (1997), pp. 195-214;
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(1997)
Journal of Consciousness Studies
, vol.4
, Issue.3
, pp. 195-214
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Gallagher, S.1
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3
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0004116061
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trans. Stephen Muecke Minneapolis: University of Minnesota Press
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José Gil, Metamorphoses of the Body, trans. Stephen Muecke (Minneapolis: University of Minnesota Press, 1998);
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(1998)
Metamorphoses of the Body
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Gil, J.1
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10
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0004240463
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trans. Richard Beardsworth and George Collins Stanford, CA: Stanford University Press
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Bernard Stiegler, Technics and Time 1. The Fault of Epimetheus, trans. Richard Beardsworth and George Collins (Stanford, CA: Stanford University Press, 1998), p. 247.
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(1998)
Technics and Time 1. the Fault of Epimetheus
, pp. 247
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Stiegler, B.1
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14
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0003458749
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Paris: Aubier
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The term, 'transduction' comes from Gilbert Simondon's work (see Simondon, Du monde d'existence des objets techniques (Paris: Aubier, 1989)), where it means that two entities are constituted by the relation between them, not by themselves individually, so that the existence of one is entirely dependent on the existence of the other.
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(1989)
Du monde d'existence des objets techniques
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Simondon1
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19
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33749661999
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Barthes's Punctum
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Note here, Michael Fried's point in an essay on Camera Lucida, where he points to photographers for whom the pose is not involved (the subject absorbed features instead). Fried also notes that the punctum is a pure result of the photograph, not a result of the intension of the photographer. Thus, although the punctum could be said to engage the subjectivity of the spectator it is, in one sense, an entirely objective trait. See Michael Fried, 'Barthes's Punctum', Critical Inquiry, 31:3 (2005), p. 548-55. I believe that it would be difficult, in the context of his theory of technics, for Stiegler to respond to Fried's points because the latter pertain to the content of the photo (its symbolic import) while Stiegler insists almost exclusively on the way a photo is produced, irrespective of content.
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(2005)
Critical Inquiry
, vol.31
, Issue.3
, pp. 548-55
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Fried, M.1
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22
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0010742753
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La Nature des pronoms
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Paris: Gallimard, 'TEL'
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Émile Benveniste, 'La Nature des pronoms', in Problèmes de linguistique générale, 2 vols (Paris: Gallimard, 'TEL', 1966), I, pp. 251-57.
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(1966)
Problèmes de Linguistique Générale
, vol.2
, Issue.1
, pp. 251-57
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Benveniste, E.1
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23
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0001858490
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The Nature of Pronouns
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(Coral Gables, Florida: University of Miami Press,)
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In English as 'The Nature of Pronouns', in Problems in General Linguistics, trans. Mary Elizabeth Meek (Coral Gables, Florida: University of Miami Press, 1971), pp. 217-22.
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(1971)
Problems in General Linguistics
, pp. 217-22
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Meek, M.E.1
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24
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Time of Affect, or Bearing Witness to Life
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595
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Mark Hansen, 'Time of Affect, or Bearing Witness to Life', Critical Inquiry, 30:3 (2004), pp. 584-626 (p. 595).
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(2004)
Critical Inquiry
, vol.30
, Issue.3
, pp. 584-626
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Hansen, M.1
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25
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61349136767
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Technology or the Discourse of Speed
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ed. Marquard Smith and Joanne Morra Cambridge, MA: MIT Press
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See David Wills, 'Technology or the Discourse of Speed', in The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future, ed. Marquard Smith and Joanne Morra (Cambridge, MA: MIT Press, 2006), pp. 237-63.
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(2006)
The Prosthetic Impulse: From A Posthuman Present to A Biocultural Future
, pp. 237-263
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Wills, D.1
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29
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0004158559
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trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press)
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Gilles Deleuze, Cinema 2: The Time Image, trans. Hugh Tomlinson and Robert Galeta (Minneapolis: University of Minnesota Press, 1989), p. 83.
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(1989)
Cinema 2: The Time Image
, pp. 83
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Gilles Deleuze1
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30
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61249176159
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Mark Hansen's critique of Deleuze in 'The Time of Affect' centres on the idea, proposed by Deleuze in Cinema 2 (p. 210), that the brain is in intimate proximity with the rhythm of images presented on the screen, so that the screen and brain become isomorphic.
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Cinema
, vol.2
, pp. 210
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Deleuze1
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31
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79952252321
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But, argues Hansen, is this not a one-way street, given that, for Deleuze, the rhythm comes entirely from the (external) screen and not from (internal) bodily processes? By contrast, video artists, such as Bill Viola, emphasize the bodily origin of affect and rhythm (see Hansen, 'The Time of Affect', p. 593). My argument, which cannot be developed here, would be that it is not a question of one side or the other, but of the dissolution of (the idea of) mediation.
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The Time of Affect
, pp. 593
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Hansen1
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