This is the first volume about the Italian philosophy of technology written in English and including novel and translated contributions. The volume presents original research on emerging topics in the field, as well as an overview of the most distinguished Italian approaches to the philosophy of technology. While offering both historical and political perspectives and the contributions of the philosophy of law, philosophy of science, and aesthetics, Italian Philosophy of Technology promotes a novel view on the intersection between continental and analytic traditions in the philosophy of technology.
The volume advances research in the philosophy of technology by introducing contributors who have an acute sense of how to get beyond or reframe the epistemic, ontological and normative limitations that currently limit the fields of philosophy of technology and science and technology studies.
This is the first volume about the Italian philosophy of technology written in English and including novel and translated contributions. The volume presents original research on emerging topics in the field, as well as an overview of the most distinguished Italian approaches to the philosophy of technology. While offering both historical and political perspectives and the contributions of the philosophy of law, philosophy of science, and aesthetics, Italian Philosophy of Technology promotes a novel view on the intersection between continental and analytic traditions in the philosophy of technology.
Gathering the contributions of eleven contemporary Italian women thinkers who share a philosophical practice, Contemporary Italian Women Philosophers embraces a general interrelationality, fluidity, and overlapping of concepts for a border-crossing that affects what it means to be subjects that are embodied and participants in the life of their communities, thereby shaping a sense of belonging. Common threads are revealed through the exploration of radically diverse themes (the body, subjectivity, power, freedom, equality, liberation, the emotions, symbolism and metaphors, maternity, reproduction, responsibility, the political, the economic) and approaches (autobiographical styles, personal narratives, rootedness in the everyday, advancement of relationality, empathic responsibility, passions, and commitment to the flourishing of the polis). In their differences, these previously unpublished essays give the reader a glimpse of the fecund and articulated philosophical work of women in the Italian context—a context which has not been and still is not always benign toward women's distinctive originality and creativity.
This book offers a critical introduction to the core technologies underlying the Internet from a humanistic perspective. It provides a cultural critique of computing technologies, by exploring the history of computing and examining issues related to writing, representing, archiving and searching. The book raises awareness of, and calls for, the digital humanities to address the challenges posed by the linguistic and cultural divides in computing, the clash between communication and control, and the biases inherent in networked technologies. A common problem with publications in the Digital Humanities is the dominance of the Anglo-American perspective. While seeking to take a broader view, the book attempts to show how cultural bias can become an obstacle to innovation both in the methodology and practice of the Digital Humanities. Its central point is that no technological instrument is culturally unbiased, and that all too often the geography that underlies technology coincides with the social and economic interests of its producers. The alternative proposed in the book is one of a world in which variation, contamination and decentralization are essential instruments for the production and transmission of digital knowledge. It is thus necessary not only to have spaces where DH scholars can interact (such as international conferences, THATCamps, forums and mailing lists), but also a genuine sharing of technological know-how and experience. "This is a truly exceptional work on the subject of the digital....Students and scholars new to the field of digital humanities will find in this book a gentle introduction to the field, which I cannot but think would be good and perhaps even inspirational for them....Its history of the development of machines and programs and communities bent on using computers to advance science and research merely sets the stage for an insightful analysis of the role of the digital in the way both scholars and everyday people communicate and conceive of themselves and "others" in written forms - from treatises to credit card transactions." Peter Shillingsburg The Digital Humanist is not simply a translation of the Italian book L'umanista digitale (il Mulino 2010), but a new version tailored to an international audience through the improvement and expansion of the sections on social, cultural and ethical problems of the most widely used methodologies, resources and applications. TABLE OF CONTENTS // Preface: Digital Humanities at a Political Turn? by Geoffrey Rockwell / PART I: The Socio-Historical Roots - Chap. 1: Technology and the Humanities: A History of Interaction - Chap. 2: Internet, or The Humanistic Machine / PART II: Theoretical and Practical Dimensions - Chap. 3: Writing and Content Production - Chap. 4: Representing and Archiving - Chap. 5: Searching and Organizing / Conclusions: DH in a Global Perspective
The Renaissance was not just a rebirth of the mind. It was also a new dawn for the machine. When we celebrate the achievements of the Renaissance, we instinctively refer, above all, to its artistic and literary masterpieces. During the fifteenth and sixteenth centuries, however, the Italian peninsula was the stage of a no-less-impressive revival of technical knowledge and practice. In this rich and lavishly illustrated volume, Paolo Galluzzi guides readers through a singularly inventive period, capturing the fusion of artistry and engineering that spurred some of the Renaissance’s greatest technological breakthroughs. Galluzzi traces the emergence of a new and important historical figure: the artist-engineer. In the medieval world, innovators remained anonymous. By the height of the fifteenth century, artist-engineers like Leonardo da Vinci were sought after by powerful patrons, generously remunerated, and exhibited in royal and noble courts. In an age that witnessed continuous wars, the robust expansion of trade and industry, and intense urbanization, these practitioners—with their multiple skills refined in the laboratory that was the Renaissance workshop—became catalysts for change. Renaissance masters were not only astoundingly creative but also championed a new concept of learning, characterized by observation, technical know-how, growing mathematical competence, and prowess at the draftsman’s table. The Italian Renaissance of Machines enriches our appreciation for Taccola, Giovanni Fontana, and other masters of the quattrocento and reveals how da Vinci’s ambitious achievements paved the way for Galileo’s revolutionary mathematical science of mechanics.
What is technology? Why does it have such power in our lives? Why does it seemingly progress of its own accord, and without regard to social or environmental well-being? The quest for the essence of technology is an old one, with roots in the pre-Socratic philosophy of ancient Greece. It was then that certain thinkers first joined the ideas of technê and logos into a single worldview. The Greeks saw it as a kind of world-force, present in both the works of men and in nature itself. It was the very creative power of the cosmos. In the 20th century, German thinkers like Dessauer, Juenger, and Heidegger sought the metaphysical basis of technology, with varying success. French theologian Jacques Ellul argued persuasively that technology was an autonomous force of nature that determined all aspects of human existence, but he neglected the metaphysical underpinnings. Recent writers in the philosophy of technology have generally eschewed metaphysics altogether, preferring to concentrate on constructivist models or pragmatic analyses. In the present work, Skrbina returns to a classic metaphysical approach, seeking not so much an essence of technology but rather a deep and penetrating analysis of the entire technological phenomenon. Drawing on the Greeks, he argues for a teleological metaphysics in which increasing order in the universe is itself defined as a technological process. On this reading, all of reality constitutes a technical sphere, a "pantechnikon," of universal scope. This work — the first-ever book-length treatment of the topic — breaks new ground by providing an in-depth and critical study of the metaphysics of technology, as well as drawing out the practical consequences. Technology poses significant risks to humanity and the planet, risks that can be mitigated through a detailed philosophical analysis.
Bringing together new writing by some of the field’s most compelling voices from the United States and Europe, this is the first book to examine Italy--as a territory of both matter and imagination--through the lens of the environmental humanities. The contributors offer a wide spectrum of approaches--including ecocriticism, film studies, environmental history and sociology, eco-art, and animal and landscape studies--to move past cliché and reimagine Italy as a hybrid, plural, eloquent place. Among the topics investigated are post-seismic rubble and the stratifying geosocial layers of the Anthropocene, the landscape connections in the work of writers such as Calvino and Buzzati, the contaminated fields of the ecomafia’s trafficking, Slow Food’s gastronomy of liberation, poetic birds and historic forests, resident parasites, and nonhuman creatures. At a time when the tension between the local and the global requires that we reconsider our multiple roots and porous place-identities, Italy and the Environmental Humanities builds a creative critical discourse and offers a series of new voices that will enrich not just nationally oriented discussions, but the entire debate on environmental culture. Contributors: Marco Armiero, Royal Institute of Technology at Stockholm * Franco Arminio, Writer, poet, and filmmaker * Patrick Barron, University of Massachusetts * Damiano Benvegnù, Dartmouth College and the Oxford Center for Animal Ethics * Viktor Berberi, University of Minnesota, Morris * Rosi Braidotti, Utrecht University * Luca Bugnone, University of Turin * Enrico Cesaretti, University of Virginia *Almo Farina, University of Urbino * Sophia Maxine Farmer, University of Wisconsin-Madison * Serena Ferrando, Colby College * Tiziano Fratus, Writer, poet, and tree-seeker * Matteo Gilebbi, Duke University * Andrea Hajek, University of Warwick * Marcus Hall, University of Zurich * Serenella Iovino, University of Turin * Andrea Lerda, freelance curator * Roberto Marchesini, Study Center of Posthuman Philosophy in Bologna * Marco Moro, Editor-in-Chief of Edizioni Ambiente, Milan * Elena Past, Wayne State University * Carlo Petrini, Founder of International Slow Food Movement * Ilaria Tabusso Marcyan, Miami University (Ohio)* Monica Seger, College of William and Mary * Pasquale Verdicchio, University of California, San Diego
The influential Italian thinker offers three essays in the political philosophy of language. Multitude between Innovation and Negation by Paolo Virno translated by James Cascaito. The publication of Paolo Virno's first book in English, Grammar of the Multitude, by Semiotext(e) in 2004 was an event within the field of radical political thought and introduced post-'68 currents in Italy to American readers. Multitude between Innovation and Negation, written several years later, offers three essays that take the reader on a journey through the political philosophy of language. “Wit and Innovative Action” explores the ambivalence inevitably arising when the semiotic and the semantic, grammar and experience, rule and regularity, and right and fact intersect. Virno unravels the infinite potential and wonders of everyday linguistic praxis and ambiguity. Wit, he argues, is a public performance, and its modus operandi characterizes human action in a state of emergency; it is a reaction, an articulate response, and a possible solution to a state of crisis. “Mirror Neurons, Linguistic Negation, and Mutual Recognition” examines the relationship of language and intersubjective empathy: without language, would human beings be able to recognize other members of their species? And finally, in “Multitude and Evil,” Virno challenges the distinction between the state of nature and civil society and argues for a political institution that resembles language in its ability to be at once nature and history. Few thinkers take the risks required by innovation. Like a philosophical entrepreneur, Virno is engaged in no less than rewriting the dictionary of political theory, an urgent and ambitious project when language, caught in a permanent state of emergency impossible to sustain, desperately needs to articulate and enact new practices of freedom for the multitude. Paolo Virno is the author of several books, including A Grammar of the Multitude (Semiotext(e), 2004).
