// On this page I will assemble some of the secondary material (quotations, links, references) mentioned in class.

// I’ll keep screen captures of slides at this link [deactivated].

5 thoughts on “References

  1. rraley Post author

    Bernard Stiegler, Technics and Time, I: The Fault of Epimetheus (Stanford: Stanford University Press, 1998):
    “For to make use of his hands, no longer to have paws, is to manipulate—and what hands manipulate are tools and instruments. The hand is the hand only insofar as it allows access to art, to artifice, and to tekhne” (113)

    Stiegler will be on campus to deliver a lecture, “What is ‘Modern Technics’?” on Monday, October 10 at 4:00pm in Mosher Alumni House.

  2. rraley Post author

    From Sigmund Freud, “The Uncanny“: “What interests us most in this long extract is to find that among its different shades of meaning the word ‘heimlich’’ exhibits one which is identical with its opposite, ‘unheirnlich.’ What is heimlich thus comes to be unheimlich. (Cf. the quotation from Gutzkow: ‘We call it “unheimlich”; you call it “heimlich.”’) In general we are reminded that the word ‘heimlich’ is not unambiguous, but belongs to two sets of ideas, which, without being contradictory, are yet very different: on the one hand it means what is familiar and agreeable, and on the other. what is concealed and kept out of sight. ‘Unheimlich’ is customarily used, we are told, as the contrary only of the first signification of’ heimlich,’ and not of the second. Sanders tells us nothing concerning a possible genetic connection between these two meanings of heimlich. On the other hand, we notice that Schelling says something which throws quite a new light on the concept of the Unheimlich, for which we were certainly not prepared. According to him, everything is unheimlich that ought to have remained secret and hidden but has come to light. …”

    “Jentsch has taken as a very good instance ‘doubts whether an apparently animate being is really alive; or conversely, whether a lifeless object might not be in fact animate’; and he refers in this connection to the impression made by waxwork figures, ingeniously constructed dolls and automata. To these he adds the uncanny effect of epileptic fits, and of manifestations of insanity, because these excite in the spectator the impression of automatic, mechanical processes at work behind the ‘ordinary appearance of mental activity.”


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