L'impératif numérique
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Une invitation, pour les sceptiques et tous ceux qui croient en l’utilité des sciences humaines et sociales, à faire davantage l’expérience de notre environnement numérique...
L'impératif numérique
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Une invitation, pour les sceptiques et tous ceux qui croient en l’utilité des sciences humaines et sociales, à faire davantage l’expérience de notre environnement numérique...
Qu'est-ce que le numérique ?
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Le numérique est un mot qui est passé rapidement dans notre vocabulaire. Mais que désigne-t-il à proprement parler? Comment comprendre et définir cet objet, ce phénomène qui semble destiné à transformer notre quotidien? Les dictionnaires restent un peu perplexes devant le numérique; leurs définitions ne renvoient souvent qu’à l’aspect étymologique et technique – un(...)
Qu'est-ce que le numérique ?
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Le numérique est un mot qui est passé rapidement dans notre vocabulaire. Mais que désigne-t-il à proprement parler? Comment comprendre et définir cet objet, ce phénomène qui semble destiné à transformer notre quotidien? Les dictionnaires restent un peu perplexes devant le numérique; leurs définitions ne renvoient souvent qu’à l’aspect étymologique et technique – un secteur associé au calcul, au nombre –, et surtout aux dispositifs opposés à l’analogique. Dans notre usage, le numérique désigne bien autre chose. C’est pourquoi la question de sa définition mérite d’être posée, car elle soulève une difficulté particulière. Une difficulté à la fois épistémologique, institutionnelle et sociale, voire économique et politique, mais qui permet précisément de cerner la complexité du numérique dans son déploiement actuel.
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Les deux intellectuels débattent de leur vision du numérique et de ses impacts positifs ou négatifs sur le monde à venir. Si pour M. Maffesoli, les nouvelles technologies ne constituent qu'une étape dans la structuration de la société, elles représentent l'avenir de l'homme aux yeux de l'artiste et philosophe canadien H. Fischer.
avril 2016
La postmodernité à l'heure du numérique : regards croisés sur notre époque
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Les deux intellectuels débattent de leur vision du numérique et de ses impacts positifs ou négatifs sur le monde à venir. Si pour M. Maffesoli, les nouvelles technologies ne constituent qu'une étape dans la structuration de la société, elles représentent l'avenir de l'homme aux yeux de l'artiste et philosophe canadien H. Fischer.
livres
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Earth Moves, Bernard Cache's first major work, conceptualizes a series of architectural images as vehicles for two important developments. First, he offers a new understanding of the architectural image itself. Following Gilles Deleuze and Henri Bergson, he develops an account of the image that is nonrepresentational and constructive—images as constituents of a primary,(...)
Earth moves: the furnishing of territories
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Earth Moves, Bernard Cache's first major work, conceptualizes a series of architectural images as vehicles for two important developments. First, he offers a new understanding of the architectural image itself. Following Gilles Deleuze and Henri Bergson, he develops an account of the image that is nonrepresentational and constructive—images as constituents of a primary, image world, of which subjectivity itself is a special kind of image. Second, Cache redefines architecture beyond building proper to include cinematic, pictoral, and other framings. Complementary to this classification, Cache offers what is to date the only Deleuzean architectural development of the "fold," a form and concept that has become important over the last few years. For Cache, as for Deleuze, what is significant about the fold is that it provides a way to rethink the relationship between interior and exterior, between past and present, and between architecture and the urban.
livres
janvier 1995
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and(...)
novembre 2006, London / Cambridge
The archive: Documents of contemporary art
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In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive--no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself. This volume surveys the full diversity of our transformed theoretical and critical notions of the archive--as idea and as physical presence--from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.
Espaces de savoir
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois(...)
novembre 2016
Espaces de savoir
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Dans le paradigme de complexité qui est le nôtre, les contextes institutionnels dans lesquels s'exerce le savoir doivent dorénavant ouvrir sur un environnement général qui le réclame, dans l'idée d'un continuum devenu nécessaire entre les situations humaines et le savoir. C'est à cette problématique contemporaine que le présent ouvrage réfléchit. Il résulte de trois années de travail dans le cadre d'un projet réunissant cinq contributeurs de quatre universités québécoises ainsi qu'une artiste du milieu littéraire. L'équipe s'est intéressée à faire émerger et à développer des stratégies de spatialisation permettant d'accéder de manière inédite à des environnements de savoir ainsi qu'à générer et à organiser de manière singulière de tels environnements. Il s'agit ici d'ouvrir un champ de recherche artistique sur la question de la spatialisation du savoir, dans le cadre des mises en situation individuelles et créatives dont l'efficacité et la validité répondent ainsi à des impératifs très différents de ceux commandés par des critères de multitude et d'universalité.
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Archives are collections of records that are preserved for historical, cultural and evidentiary purposes. As such, archives are considered as sites of a past, places that contain traces of a collective memory of a nation, a people or a group. Digital archives have changed from stable entities into flexible systems, at times referred to with the term ‘Living Archives’. In(...)
Lost and living (in) archives collectively shaping new memories
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Archives are collections of records that are preserved for historical, cultural and evidentiary purposes. As such, archives are considered as sites of a past, places that contain traces of a collective memory of a nation, a people or a group. Digital archives have changed from stable entities into flexible systems, at times referred to with the term ‘Living Archives’. In which ways has this change affected our relationship to the past? Will the erased, forgotten and neglected be redeemed, and new memories be allowed? Will the fictional versus factual mode of archiving offer the democracy that the public domain implies, or is it another way for public instruments of power to operate? Lost and Living (in) Archives shows that archives are not simply a recording, a reflection, or an image of an event, but that THEY shape the event itself and thus influence the past, present and future.
In the swarm
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Digital communication and social media have taken over our lives. In this contrarian reflection on digitized life, Byung-Chul Han counters the cheerleaders for Twitter revolutions and Facebook activism by arguing that digital communication is in fact responsible for the disintegration of community and public space and is slowly eroding any possibility for real political(...)
In the swarm
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Digital communication and social media have taken over our lives. In this contrarian reflection on digitized life, Byung-Chul Han counters the cheerleaders for Twitter revolutions and Facebook activism by arguing that digital communication is in fact responsible for the disintegration of community and public space and is slowly eroding any possibility for real political action and meaningful political discourse. In the predigital, analog era, by the time an angry letter to the editor had been composed, mailed, and received, the immediate agitation had passed. Today, digital communication enables instantaneous, impulsive reaction, meant to express and stir up outrage on the spot. “The shitstorm,” writes Han, ”represents an authentic phenomenon of digital communication.” Meanwhile, the public, the senders and receivers of these communications have become a digital swarm—not a mass, or a crowd, or Negri and Hardt’s antiquated notion of a “multitude,” but a set of isolated individuals incapable of forming a “we,” incapable of calling dominant power relations into question, incapable of formulating a future because of an obsession with the present. The digital swarm is a fragmented entity that can focus on individual persons only in order to make them an object of scandal. Han, one of the most widely read philosophers in Europe today, describes a society in which information has overrun thought, in which the same algorithms are employed by Facebook, the stock market, and the intelligence services. Democracy is under threat because digital communication has made freedom and control indistinguishable. Big Brother has been succeeded by Big Data.
The stuff of bits
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In this publication, Paul Dourish examines the specific materialities that certain digital objects exhibit. He presents four case studies: emulation, the creation of a “virtual” computer inside another; digital spreadsheets and their role in organizational practice; relational databases and the issue of “the databaseable”; and the evolution of digital networking and the(...)
The stuff of bits
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In this publication, Paul Dourish examines the specific materialities that certain digital objects exhibit. He presents four case studies: emulation, the creation of a “virtual” computer inside another; digital spreadsheets and their role in organizational practice; relational databases and the issue of “the databaseable”; and the evolution of digital networking and the representational entailments of network protocols. These case studies demonstrate how a materialist account can offer an entry point to broader concerns - questions of power, policy, and polity in the realm of the digital.
Programmed inequality: how Britain discarded women technologists and lost its edge in computing
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In 1944, Britain led the world in electronic computing. By 1974, the British computer industry was all but extinct. What happened in the intervening thirty years holds lessons for all postindustrial superpowers. As Britain struggled to use technology to retain its global power, the nation’s inability to manage its technical labor force hobbled its transition into the(...)
Programmed inequality: how Britain discarded women technologists and lost its edge in computing
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In 1944, Britain led the world in electronic computing. By 1974, the British computer industry was all but extinct. What happened in the intervening thirty years holds lessons for all postindustrial superpowers. As Britain struggled to use technology to retain its global power, the nation’s inability to manage its technical labor force hobbled its transition into the information age. In "Programmed inequality", Marie Hicks explores the story of labor feminization and gendered technocracy that undercut British efforts to computerize. That failure sprang from the government’s systematic neglect of its largest trained technical workforce simply because they were women. Women were a hidden engine of growth in high technology from World War II to the 1960s. As computing experienced a gender flip, becoming male-identified in the 1960s and 1970s, labor problems grew into structural ones and gender discrimination caused the nation’s largest computer user—the civil service and sprawling public sector—to make decisions that were disastrous for the British computer industry and the nation as a whole.