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Translation and Objectsoffers a new and original perspective in Translation Studies, originating from the conviction that in today's world translation is pervasive. Building on the ideas of scholars who have expanded the boundaries of the discipline, this book focuses on the analysis of objects that migrants carry with them on their journey of migration.The ideas of displacement and constant movement are key throughout these pages. Migrants live translation literally, because displacement is a leitmotif for them. Translation and Objects analyzes migrant objects—such as shoes, stones, or photographs—as translation sites that function as expressions as well as sources of emotions. These displaced emotional objects, laden with meanings and sentiments, tell many stories, saying a great deal about their owners, who almost never have a voice. This book shows how meaning is displaced through the materiality, texture, smells, sensations, and forms of moving objects.Including examples of translations that have been created from a no-nlinguistic perspective and exploring linguistic issues whilst connecting them to other fields such as anthropology and sociology, Vidal sets out a broad vision of translation. This is critical reading for translation theory courses within Translation Studies, comparative literature, and cultural studies.With the exception of Chapter 3, no part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.”

This book reframes the Lacanian object a voice as a horrific register of alterity. The object gaze has received, as it does in Jacques Lacan's work, more commentary than voice. Yet recently voice has garnered interest from multiple disciplines. The book intervenes in the Slovenian school's commentary of the ‘object voice'in terms of two questions: audition and corporeality. This intervention synthesizes psychoanalysis with recent theorizing of the horror of philosophy. In this intervention the object a voice is argued to resonate in lacunae – epistemological voids that evoke horror in the subject. Biological and evolutionary perspectives on voice, genre horror film and literature, music videos, close readings of Freudian and Lacanian case studies and textual analysis of ancient philosophy texts all contribute to an elucidation of the horrors of the object a voice: Vox-Exo.

Objects generate time; time does not generate or change objects. That is the central thesis of this book by the philosopher Graham Harman and the archaeologist Christopher Witmore, who defend radical positions in their respective fields. Against a current and pervasive conviction that reality consists of an unceasing flux – a view associated in philosophy with New Materialism – object-oriented ontology asserts that objects of all varieties are the bedrock of reality from which time emerges. And against the narrative convictions of time as the course of historical events, the objects and encounters associated with archaeology push back against the very temporal delimitations which defined the field and its objects ever since its professionalization in the nineteenth century. In a study ranging from the ruins of ancient Corinth, Mycenae, and Troy to debates over time from Aristotle and al-Ash‘ari through Henri Bergson and Alfred North Whitehead, the authors draw on alternative conceptions of time as retroactive, percolating, topological, cyclical, and generational, as consisting of countercurrents or of a surface tension between objects and their own qualities. Objects Untimely invites us to reconsider the modern notion of objects as inert matter serving as a receptacle for human categories.

Why is it that many readers sense in Joseph Conrad's universe something opaque and withdrawn, a suggestive feeling of something lying behind his richly textured prose that is possibly momentous, always hidden, but never fully expressed? This unique study explores and answers this question by analysing Conrad's work through the lens of Object-Oriented Ontology, a new development in contemporary philosophy that has already been employed to illuminating effect in aesthetics and the humanities, quite apart from philosophy itself. What results from such a literary and philosophical coupling is a persuasive reading with real explanatory force, one able to shed light on what has remained hidden in Conrad till now, at the same time as it articulates a metaphysical structure of not just Conrad's world but the universe itself and the very things we are—and what we take ourselves to be.

How might we change ourselves without ending our existence? What could we become, if we had access to an advanced form of bioengineering that allowed us dramatically to alter our genome? Could we remain in existence after ceasing to be alive? What is it to be human? Might we still exist after changing ourselves into something that is not human? What is the significance of human extinction? Steven Luper addresses these questions and more in this thought-provoking study. He defends an animalist account, which says that we are organisms, but claims that we are also material objects. His book goes to the heart of the most complex questions about what we are and what we might become. Using case studies from the life sciences as well as thought experiments, Luper develops a new way of thinking about the nature of life and death, and whether and how human extinction matters.

For many outside of the scientific community, big data and the forms it takes, such as statistical lists, spreadsheets and graphs, often seem abstract and unintelligible. This book investigates how digital fabrication and traditional making approaches are being used to present data in newly engaging and interesting ways.The first part of the book introduces the basic premise of the data object and the concept of making digital data into a physical form. Contributors cover topics such as biometrics, new technology, the economics of data and open and community uses of data. The second part presents a selection of exemplar forms and contexts for the application of data-objects, such as smart surfaces, smart cities, augmented reality techniques and next generation technical interfaces that blend physical and digital elements.Making Data delivers the importance and likely future prevalence of physical representations of data. It explores the creative methods, processes, theories and cultural histories of making physical representations of information and proposes that the making of data into physical objects is the next important development in the data visualisation phenomenon.

To scholars of ancient philosophy, theoria denotes abstract thinking, with both Plato and Aristotle employing the term to signify philosophical contemplation. Yet it is surprising for some to find an earlier, traditional meaning referring to travel to festivals and shrines. In an attempt to dissolve the problem of equivocal reference, Julie Ward's book seeks to illuminate the nature of traditional theoria as ancient festival-attendance as well as the philosophical account developed in Plato and Aristotle. First, she examines the traditional use referring to periodic festivals, including their complex social and political arrangements, then she considers the subsequent use by Plato and Aristotle. Broadly speaking, she discerns a common thread running throughout both uses: namely, the notion of having a visual experience of the sacred or divine. Thus her book aims to illuminate the nature of philosophical theoria described by Plato and Aristotle in light of traditional, festival theoria.

Science fiction is filled with spacecraft. On Earth, actual rockets explode over Texas while others make their way to Mars. But what are spacecraft, and just what can they teach us about imagination, ecology, democracy, and the nature of objects? Why do certain spacecraft stand out in popular culture?If ever there were a spacecraft that could be detached from its context, sold as toys, turned into Disney rides, parodied, and flit around in everyone's head-the Millennium Falcon would be it. Springing from this infamous Star Wars vehicle, Spacecraft takes readers on an intergalactic journey through science fiction and speculative philosophy, revealing real-world political and ecological lessons along the way. In this book Timothy Morton shows how spacecraft are never mere flights of fancy.

After Discourse is an interdisciplinary response to the recent trend away from linguistic and textual approaches and towards things and their affects.The new millennium brought about serious changes to the intellectual landscape. Favoured approaches associated with the linguistic and the textual turn lost some of their currency, and were followed by a new curiosity and concern for things and their natures. Gathering contributions from archaeology, heritage studies, history, geography, literature and philosophy, After Discourse offers a range of reflections on what things are, how we become affected by them, and the ethical concerns they give rise to. Through a varied constellation of case studies, it explores ways of dealing with matters which fall outside, become othered from, or simply cannot be grasped through perspectives derived solely from language and discourse.After Discourse provides challenging new perspectives for scholars and students interested in other-than-textual encounters between people and the objects with which we share the world.

Timothy Morton acuñó el término'hiperobjeto'para referirse a las cosas que se distribuyen masivamente en tiempo y espacio en relación con los humanos. Un agujero negro, un campo petrolero, la biosfera o el sistema solar, todos los materiales nucleares de la Tierra, son hiperobjetos. Un hiperobjeto podría ser un producto de manufactura humana de larga duración, como el poliestireno, o también la suma de toda la maquinaria chirriante del capitalismo. Los hiperobjetos son'hiper'en relación con alguna otra entidad, más allá de que esté producida o no por los seres humanos. Tienen muchas características en común: son viscosos,'no-locales', involucran una temporalidad radicalmente distinta de las temporalidades a escala humana a las que estamos acostumbrados. Ocupan una fase espacial de alta dimensionalidad que los vuelve invisibles a los humanos durante ciertos períodos de tiempo. Los hiperobjetos ya han tenido un impacto significativo en el espacio humano psíquico y social. Son directamente responsables de lo que Morton llama'El fin del mundo', volviendo obsoletas tanto la mirada apocalíptica sobre la crisis ambiental, como su negación. Los hiperobjetos ya han inaugurado una nueva fase humana de hipocresía, debilidad e inconsistencia. Tales términos tienen una resonancia específica en este libro que los explora en profundidad.

Describes a new, systematic process philosophy of science and technology focused on the agency and mobility of objects.

Bringing Graham Harman's philosophy into direct confrontation with contemporary architectural theory in new and creative ways, Is There an Object-Oriented Architecture? provides a dialogue between Harman and six of the world's leading architectural thinkers, Adam Sharr, Lorens Holm, Jonathan Hale, Peg Rawes, Patrick Lynch and Peter Carl. Harman's object-oriented philosophy is one that sees the universe as a carnival of equal “objects” with no hierarchy between humans and nonhumans. In his model, unicorns, triangles, bicycles, neutrons, and humans are all things with enduring essences that outlast their partial transformations. It is a strikingly democratic vision of the universe that knocks humans off their ontological pedestal as arbiters of what is real. It also radically challenges the very precepts of architectural theory, the structure of which remains stubbornly human-centric as it seeks to give form to the human being's place at the centre of the cosmos. In this new book, each thinker develops the implications of Harman's philosophy for the future of architecture by entering into a direct exchange with the philosopher and his thinking, both questioning him and questioning with him.

This book brings together over 25 years of Arindam Chakrabarti's original research in philosophy on issues of epistemology, metaphysics, and philosophy of mind.Organized under the three basic concepts of a thing out there in the world, the self who perceives it, and other subjects or selves, his work revolves around a set of realism links. Examining connections between metaphysical stances toward the world, selves, and universals, Chakrabarti engages with classical Indian and modern Western philosophical approaches to a number of live topics including the refutation of idealism; the question of the definability of truth, and the possibility of truths existing unknown to anyone; the existence of non-conceptual perception; and our knowledge of other minds. He additionally makes forays into fundamental questions regarding death, darkness, absence, and nothingness.Along with conceptual clarification and progress towards alternative solutions to these substantial philosophical problems, Chakrabarti demonstrates the advantage of doing philosophy in a cosmopolitan fashion. Beginning with an analysis of the concept of a thing, and ending with an analysis of the concept of nothing, Realisms Interlinked offers a preview of a future metaphysics, epistemology, and philosophy of mind without borders.

A trenchant analysis of the dark side of regulatory life-making today In their seemingly relentless pursuit of life, do contemporary U.S. “biocultures”—where biomedicine extends beyond the formal institutions of the clinic, hospital, and lab to everyday cultural practices—also engage in a deadly endeavor? Challenging us to question their implications, Deadly Biocultures shows that efforts to “make live” are accompanied by the twin operation of “let die”: they validate and enhance lives seen as economically viable, self-sustaining, productive, and oriented toward the future and optimism while reinforcing inequitable distributions of life based on race, class, gender, and dis/ability. Affirming life can obscure death, create deadly conditions, and even kill.Deadly Biocultures examines the affirmation to hope, target, thrive, secure, and green in the respective biocultures of cancer, race-based health, fatness, aging, and the afterlife. Its chapters focus on specific practices, technologies, or techniques that ostensibly affirm life and suggest life's inextricable links to capital but that also engender a politics of death and erasure. The authors ultimately ask: what alternative social forms and individual practices might be mapped onto or intersect with biomedicine for more equitable biofutures?

In Eliminativism, Objects, and Persons, Jiri Benovsky defends the view that he doesn't exist. In this book, he also defends the view that this book itself doesn't exist. But this did not prevent him to write the book, and although in Benovsky's view you don't exist either, this does not prevent you to read it. Benovsky defends a brand of non-exceptionalist eliminativism. Some eliminativists, typically focusing on ordinary material objects such as chairs and hammers, make exceptions, for instance for blue whales (that is, living beings) or for persons (that is, conscious organisms). Benovsky takes one by one all types of allegedly existing objects like chairs, whales, and persons and shows that from the metaphysical point of view they are more trouble than they are worth—we are much better off without them. He thus defends an eliminativist view about ordinary objects as well as the'no-Self'view, where he explores connections between metaphysics, phenomenology, and Buddhist thought. He then also considers the case of aesthetic objects, focusing on musical works and photographs, and shows that the claim of their non-existence solves the many problems that arise when one tries to find an appropriate ontological category for them, and that such an eliminativist view is more natural than what we might have thought. The arguments provided here are always topic-specific: each type of entity is given its own type of treatment, thus proving a varied and solid foundation for a generalized, non-exceptionalist, full-blown eliminativist worldview.

This book presents 12 original essays on historical and contemporary philosophical discussions of judgment. The central issues explored in this volume can be separated into two groups namely, those concerning the act and object of judgment. What kind of act is judgment? How is it related to a range of other mental acts, states, and dispositions? Where and how does assertive force enter in? Is there a distinct category of negative judgments, or are these simply judgments whose objects are negative? Concerning the object of judgment: How many objects are there of a given judgment? One, as on the dual relation theory of Frege and Moore? Or many as in Russell's later multiple relation theory? If there is a single object, is it a proposition? And if so, is it a force-neutral, abstract entity that might equally figure as the object of a range of intentional attitudes? Or is it somehow constitutively tied to the act itself? These and related questions are approached from a variety of historical and contemporary perspectives. This book sheds new light on current controversies by drawing on the details of the distinct intellectual contexts in which previous philosophers'positions about the nature of judgment were formulated. In turn, new directions in present-day research promise to raise novel interpretive prospects and challenges in the history of philosophy.

The metaphysics of ordinary objects is an increasingly vibrant field of study for philosophers. This volume gathers insights from a number of leading authors, who together tackle the central issues in contemporary debates about the subject. Their essays engage with topics including composition, persistence, perception, categories, images, artifacts, truthmakers, metaontology, and the relationship between the manifest and scientific images. Exploring the nature of everyday things, the contributors situate their arguments and the latest research against the background of the field's development. Moreover, many essays propose new ideas and approaches, looking ahead to the future of the metaphysical study of ordinary objects. Featuring numerous clearly explained examples and with thoughtful links drawn to other, related disciplines such as pragmatism, this wide-ranging volume fills a major gap in the literature and will be important for scholars working in metaphysics.

What is an object? How do we look at them? Why do they matter?This collection presents a lively, timely discussion of natural and artifactual objects, considering the relationship between them from a range of philosophical perspectives, including the philosophy of biology, the metaphysics of space and the philosophy of perception. Beginning from the starting point that natural objects are bona fide, endowed with some natural border between themselves and everything else, while artifactual objects depend on the observation of tacit conventions and may include the ordinary objects of everyday life, this volume explores, contextualises and interrogates objects. Contributors discuss a variety of objects including physical, scientific and mental ones, as well as things that appear to question the limits of object-hood, including holes, Quinean'posits'and language. The very first collection to address this growing topic within analytic philosophy, Natural and Artifactual Objects in Contemporary Metaphysics represents a highly original work, showcasing some of the most important and influential philosophers working in Europe today.

Push a button and turn on the television; tap a button and get a ride; click a button and “like” something. The touch of a finger can set an appliance, a car, or a system in motion, even if the user doesn't understand the underlying mechanisms or algorithms. How did buttons become so ubiquitous? Why do people love them, loathe them, and fear them? In Power Button, Rachel Plotnick traces the origins of today's push-button society by examining how buttons have been made, distributed, used, rejected, and refashioned throughout history. Focusing on the period between 1880 and 1925, when “technologies of the hand” proliferated (including typewriters, telegraphs, and fingerprinting), Plotnick describes the ways that button pushing became a means for digital command, which promised effortless, discreet, and fool-proof control. Emphasizing the doubly digital nature of button pushing—as an act of the finger and a binary activity (on/off, up/down)—Plotnick suggests that the tenets of precomputational digital command anticipate contemporary ideas of computer users.Plotnick discusses the uses of early push buttons to call servants, and the growing tensions between those who work with their hands and those who command with their fingers; automation as “automagic,” enabling command at a distance; instant gratification, and the victory of light over darkness; and early twentieth-century imaginings of a future push-button culture. Push buttons, Plotnick tells us, have demonstrated remarkable staying power, despite efforts to cast button pushers as lazy, privileged, and even dangerous.

From the former director of the Museum of Arts and Design in New York, a timely and passionate case for the role of the well-designed object in the digital age. Curator and scholar Glenn Adamson opens Fewer, Better Things by contrasting his beloved childhood teddy bear to the smartphones and digital tablets children have today. He laments that many children and adults are losing touch with the material objects that have nurtured human development for thousands of years. The objects are still here, but we seem to care less and know less about them. In his presentations to groups, he often asks an audience member what he or she knows about the chair the person is sitting in. Few people know much more than whether it's made of wood, plastic, or metal. If we know little about how things are made, it's hard to remain connected to the world around us. Fewer, Better Things explores the history of craft in its many forms, explaining how raw materials, tools, design, and technique come together to produce beauty and utility in handmade or manufactured items. Whether describing the implements used in a traditional Japanese tea ceremony, the use of woodworking tools, or the use of new fabrication technologies, Adamson writes expertly and lovingly about the aesthetics of objects, and the care and attention that goes into producing them. Reading this wise and elegant book is a truly transformative experience.

This book focuses on the main constituent of the Bild theory of sentences in Wittgenstein's Tractatus: the term ‘object'. One of the things that attracts the reader of the Tractatus is that while there is use of the notion ‘object', the notion is not specified. This book explains: (a) why the term ‘object'in the Tractatus is unclear; (b) what difficulties and problems result because of this lack of clarity in the Tractatus; (c) why the term ‘object'might be left unclear on purpose; and (d) how the paradoxical Tractatus continues functioning in a certain way. Having in mind all of the above, this book introduces the idea of a movement from a theory of language towards a kind of mysticism. It will appeal to scholars interested in the philosophy of language and more specifically in Wittgenstein's Tractatus.

Our experience of objects (and consequently our theorizing about them) is very rich. We perceive objects as possessing individuation conditions. They appear to have boundaries in space and time, for example, and they appear to move independently of a background of other objects or a landscape. In Ontology Without Boundaries Jody Azzouni undertakes an analysis of our concept of object, and shows what about that notion is truly due to the world and what about it is a projection onto the world of our senses and thinking. Location and individuation conditions are our product: there is no echo of them in the world. Features, the ways that objects seem to be, aren't projections. Azzouni shows how the resulting austere metaphysics tames a host of ancient philosophical problems about constitution ('Ship of Theseus,''Sorities'), as well as contemporary puzzles about reductionism. In addition, it's shown that the same sorts of individuation conditions for properties, which philosophers use to distinguish between various kinds of odd abstracta-universals, tropes, and so on, are also projections. Accompanying our notion of an object is a background logic that makes cogent ontological debate about anything from Platonic objects to Bigfoot. Contemporary views about this background logic ('quantifier variance') make ontological debate incoherent. Azzouni shows how a neutral interpretation of quantifiers and quantifier domains makes sense of both philosophical and pre-philosophical ontological debates. Azzouni also shows how the same apparatus makes sense of our speaking about a host of items--Mickey Mouse, unicorns, Martians--that nearly all of us deny exist. It's allowed by what Azzouni shows about the background logic of our ontological debates, as well as the semantics of the language of those debates that we can disagree over the existence of things, like unicorns, without that background logic and semantics forcing ontological commitments onto speakers that they don't have.

The publication of Form and Object: A Treatise on Things by Tristan Garcia, Prix de Flore-winning novelist, philosopher, essayist, and screenwriter is a genuine event in the history of philosophy. Situating this event within classical, modern and contemporary dialectical space, Jon Cogburn evaluates Garcia's metaphysics, differential ontology, and militant anti-reductionism through a series of seemingly incompatible oppositions: substance/process, analysis/dialectic, simple/whole and discovery/creation. ogburn also includes a critical assessment of the consequences of Garcia's philosophy, the various unresolved problems in his treatise and the future prospects of speculative metaphysics.

Bildmodelle sind seit jeher in wahrnehmungs- bzw. bewusstseinstheoretische Untersuchungen eingegangen; die kantische Gegenstandskonstitutionstheorie ist bisher jedoch nicht in den Fokus einer bildtheoretisch ausgerichteten Studie geraten. Die Rekonstruktion eines ›versteckten‹ Bildes, die in dieser Studie gelingt, beleuchtet insofern einen bisher übersehenen Aspekt der kantischen Theorie des Aufbaus der gegenständlichen Welt in der Kritik der reinen Vernunft. Kernstück des Buches ist der Aufweis, dass die kantische Theorie eine mediale Instanz beinhaltet, die den Ort einer Bildoberfläche einnimmt und eine strukturelle Affinität zu ihr aufweist: die Anschauungsmannigfaltigkeit. Indem die Anschauungsmannigfaltigkeit mithilfe von Stilkategorien der formalen Ästhetik stilistisch analysiert und anschließend in die Nähe zu konkreten Bildoberflächen gesetzt wird, tritt das ›versteckte‹ Bild gleichsam anschaulich hervor. Mit ihrem innovativen Brückenschlag zwischen Kant-Interpretation und bild- und kunsttheoretischer Untersuchung stellt die Studie sowohl einen systematischen Beitrag zur Kant-Forschung als auch einen Beitrag zur aktuellen bildtheoretischen Debatte dar.

This book offers a comprehensive critique of the Kantian principle that ‘objects conform to our cognition'from the perspective of a Copernican world–view which stands diametrically opposed to Kant's because founded on the principle that our cognition conforms to objects. Concerning both Kant's ontological denial in respect of space and time and his equivalence thesis in respect of ‘experience'and ‘objectivity', Ryall argues that Kant's transcendental idealism signally fails to account for the one thing that is essential for Copernicus and the only thing that would validate a comparison between his and Kant's critical philosophy, namely the subject as ‘revolving object'. It is only by presupposing – in a transcendentally realistic sense – that human beings exist as physical things in themselves, therefore, that the ‘observer motion'of Copernican theory is vindicated and the distorted nature of our empirical observations explained. In broadly accessible prose and by directly challenging the arguments of many stalwart defenders of Kant including Norman Kemp Smith, Henry E. Allison and Michael Friedman, Ryall's book will be of interest to both scholars and students of Kant's philosophy alike.