Henning Schmidgen – författare

This book reconstructs the emergence of the phenomenon of "lost time" by engaging with two of the most significant time experts of the nineteenth century: the German physiologist Hermann von Helmholtz and the French writer Marcel Proust.Its starting point is the archival discovery of curve images that Helmholtz produced in the context of pathbreaking experiments on the temporality of the nervous system in 1851. With a "frog drawing machine," Helmholtz established the temporal gap between stimulus and response that has remained a core issue in debates between neuroscientists and philosophers.When naming the recorded phenomena, Helmholtz introduced the term temps perdu, or lost time. Proust had excellent contacts with the biomedical world of late-nineteenth-century Paris, and he was familiar with this term and physiological tracing technologies behind it. Drawing on the machine philosophy of Deleuze, Schmidgen highlights the resemblance between the machinic assemblages and rhizomatic networks within which Helmholtz and Proust pursued their respective projects.

This book reconstructs the emergence of the phenomenon of "lost time" by engaging with two of the most significant time experts of the nineteenth century: the German physiologist Hermann von Helmholtz and the French writer Marcel Proust.Its starting point is the archival discovery of curve images that Helmholtz produced in the context of pathbreaking experiments on the temporality of the nervous system in 1851. With a "frog drawing machine," Helmholtz established the temporal gap between stimulus and response that has remained a core issue in debates between neuroscientists and philosophers.When naming the recorded phenomena, Helmholtz introduced the term temps perdu, or lost time. Proust had excellent contacts with the biomedical world of late-nineteenth-century Paris, and he was familiar with this term and physiological tracing technologies behind it. Drawing on the machine philosophy of Deleuze, Schmidgen highlights the resemblance between the machinic assemblages and rhizomatic networks within which Helmholtz and Proust pursued their respective projects.

Bruno Latour stirs things up. Latour began as a lover of science and technology, co-founder of actor-network theory, and philosopher of a modernity that had "never been modern." In the meantime he is regarded not just as one of the most intelligent—and also popular—exponents of science studies but also as a major innovator of the social sciences, an exemplary wanderer who walks the line between the sciences and the humanities.This book provides the first comprehensive overview of the Latourian oeuvre, from his early anthropological studies in Abidjan (Ivory Coast), to influential books like Laboratory Life and Science in Action, and his most recent reflections on an empirical metaphysics of "modes of existence." In the course of this enquiry it becomes clear that the basic problem to which Latour's work responds is that of social tradition, the transmission of experience and knowledge. What this empirical philosopher constantly grapples with is the complex relationship of knowledge, time, and culture.

Bruno Latour stirs things up. Latour began as a lover of science and technology, co-founder of actor-network theory, and philosopher of a modernity that had "never been modern." In the meantime he is regarded not just as one of the most intelligent—and also popular—exponents of science studies but also as a major innovator of the social sciences, an exemplary wanderer who walks the line between the sciences and the humanities.This book provides the first comprehensive overview of the Latourian oeuvre, from his early anthropological studies in Abidjan (Ivory Coast), to influential books like Laboratory Life and Science in Action, and his most recent reflections on an empirical metaphysics of "modes of existence." In the course of this enquiry it becomes clear that the basic problem to which Latour's work responds is that of social tradition, the transmission of experience and knowledge. What this empirical philosopher constantly grapples with is the complex relationship of knowledge, time, and culture.

We regularly touch and handle media devices. At the same time, media devices such as body scanners, car seat pressure sensors, and smart phones scan and touch us. In Horn, Henning Schmidgen reflects on the bidirectional nature of touch and the ways in which surfaces constitute sites of mediation between interior and exterior. Schmidgen uses the concept of "horn"-whether manifested as a rhinoceros horn or a musical instrument-to stand for both natural substances and artificial objects as spaces of tactility. He enters into creative dialogue with artists, scientists, and philosophers, ranging from Salvador DalÍ, William Kentridge, and Rebecca Horn to Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the complex interplay between tactility and technological and biological surfaces. Whether analyzing how DalÍ conceived of images as tactile entities during his “rhinoceros phase” or examining the problem of tactility in Thomas Pynchon’s The Crying of Lot 49, Schmidgen reconfigures understandings of the dynamic phenomena of touch in media.

We regularly touch and handle media devices. At the same time, media devices such as body scanners, car seat pressure sensors, and smart phones scan and touch us. In Horn, Henning Schmidgen reflects on the bidirectional nature of touch and the ways in which surfaces constitute sites of mediation between interior and exterior. Schmidgen uses the concept of "horn"-whether manifested as a rhinoceros horn or a musical instrument-to stand for both natural substances and artificial objects as spaces of tactility. He enters into creative dialogue with artists, scientists, and philosophers, ranging from Salvador DalÍ, William Kentridge, and Rebecca Horn to Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the complex interplay between tactility and technological and biological surfaces. Whether analyzing how DalÍ conceived of images as tactile entities during his “rhinoceros phase” or examining the problem of tactility in Thomas Pynchon’s The Crying of Lot 49, Schmidgen reconfigures understandings of the dynamic phenomena of touch in media.

We regularly touch and handle media devices. At the same time, media devices such as body scanners, car seat pressure sensors, and smart phones scan and touch us. In Horn, Henning Schmidgen reflects on the bidirectional nature of touch and the ways in which surfaces constitute sites of mediation between interior and exterior. Schmidgen uses the concept of "horn"—whether manifested as a rhinoceros horn or a musical instrument—to stand for both natural substances and artificial objects as spaces of tactility. He enters into creative dialogue with artists, scientists, and philosophers, ranging from Salvador Dalí, William Kentridge, and Rebecca Horn to Sigmund Freud, Walter Benjamin, and Marshall McLuhan, who plumb the complex interplay between tactility and technological and biological surfaces. Whether analyzing how Dalí conceived of images as tactile entities during his “rhinoceros phase” or examining the problem of tactility in Thomas Pynchon’s The Crying of Lot 49, Schmidgen reconfigures understandings of the dynamic phenomena of touch in media.

Wie schnell fühlt und denkt der Mensch? Wie lange dauert es, bis eine Schmerzempfindung vom Fuß bis ins Gehirn transportiert wird? Wie viel Zeit braucht ein visueller Eindruck, um bewusst wahrgenommen zu werden? Hermann von Helmholtz hat die Beantwortung dieser Fragen im 19. Jahrhundert auf eine neue Grundlage gestellt. 1850 gelang es Helmholtz zum ersten Mal, die Fortpflanzungsgeschwindigkeit der Nervenreizung zu messen. Damit legte er die Basis für die experimentelle Erforschung des Zeiterlebens, wie sie bis heute in Neuropsychologie, Hirnforschung und Kognitionsforschung betrieben wird. Zugleich schuf Helmholtz ein neues Bild des Denkens, das die relative Langsamkeit kognitiver Prozesse zeigt und Aufmerksamkeit auf die Unterbrechungen, Intervalle und Zwischenzeiten im menschlichen Fühlen und Denken lenkt. Dieser Band erlaubt es, Helmholtz bei der Laborarbeit über die Schulter zu gucken. Er enthält sämtliche Beiträge, die Helmholtz derPsychophysiologie der Zeit gewidmet hat.

Wie schnell fühlt und denkt der Mensch? Wie lange dauert es, bis eine Schmerzempfindung vom Fuß bis ins Gehirn transportiert wird? Wie viel Zeit braucht ein visueller Eindruck, um bewusst wahrgenommen zu werden?

 

Hermann von Helmholtz hat die Beantwortung dieser Fragen im 19. Jahrhundert auf eine neue Grundlage gestellt. 1850 gelang es Helmholtz zum ersten Mal, die Fortpflanzungsgeschwindigkeit der Nervenreizung zu messen. Damit legte er die Basis für die experimentelle Erforschung des Zeiterlebens, wie sie bis heute in Neuropsychologie, Hirnforschung und Kognitionsforschung betrieben wird. Zugleich schuf Helmholtz ein neues Bild des Denkens, das die relative Langsamkeit kognitiver Prozesse zeigt und Aufmerksamkeit auf die Unterbrechungen, Intervalle und Zwischenzeiten im menschlichen Fühlen und Denken lenkt.

 

Dieser Band erlaubt es, Helmholtz bei der Laborarbeit über die Schulter zu gucken. Er enthält sämtliche Beiträge, die Helmholtz derPsychophysiologie der Zeit gewidmet hat.