Titlebook: Bergson and the Metaphysics of Media; Stephen Crocker Book 2013 Palgrave Macmillan, a division of Macmillan Publishers Limited 2013 film.M

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https://doi.org/10.1007/978-3-319-13999-9rete and continuous multiplicities, points and continua, or synchronous and diachronous time. On the one hand, Bergson recognizes that we have to live in bodies and machines, languages and numbers, whose ‘discrete’ qualities separate us form the flow of life — the élan vital. On the other hand, he w

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https://doi.org/10.1007/978-3-319-13999-9 techniques or the didactic messages of these films but rather on the new kinds of scenarios they explore — ‘situations which we no longer know how to react to, in spaces which we no longer know how to describe’.. Neorealism takes these ‘unanswerable situations’ as its basic raw material. Roberto Ro

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Tedy Setiawan Saputra,Ratna Roostikapeculative thought begins with the awe we feel in the sublimity of nature, or the expanse of the universe, or the impenetrability of an others’ gaze. The philosophical impulse today originates instead, Critchley argues, in a sense of failure. The promise of modern philosophy from the Enlightenment o

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Distracted and Contemplative Timepresent that appears before us now, and we regard the present as an obstacle to the realization of that second, future moment. The temporal organization of habit, as described by Bergson on the other hand, is based on a certain symmetry between the tenses. For this reason, the comparison between them can be instructive.

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Overview: What is a medium? Why is there always a middle? Can media produce ‘immediacy‘? Henri Bergson recognized mediation as the central philosophical problem of modernity. This book traces his influence on the ‘media philosophies‘ of Gilles Deleuze, Marshall McLuhan, Walter Benjamin and Michel Serres.978-1-349-45896-7978-1-137-32450-4

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Meghana A. Divakar,Megha P. Arakerins congealing into wholes that are neither simply unified nor fragmented. These are structures that Serres, like Bergson before him, calls ‘multiplicities’. In ., he gives many beautiful examples of some kinds of life that have this layered, interwoven and open quality:

chronicle

https://doi.org/10.1007/978-3-319-13999-9present that appears before us now, and we regard the present as an obstacle to the realization of that second, future moment. The temporal organization of habit, as described by Bergson on the other hand, is based on a certain symmetry between the tenses. For this reason, the comparison between them can be instructive.

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https://doi.org/10.1007/978-3-319-13999-9w thinkers have pursued this duplicitous nature of time with the intensity and descriptive powers of Bergson. His whole philosophical enterprise is built around the consideration of how time presents itself in these two different orders — a series of separate presents vs. a long continuum, or discrete vs. continuous multiplicities.