By Ronald E Day
Ronald E. Day offers a traditionally knowledgeable severe research of the idea that and politics of knowledge within the 20th century. examining texts in Europe and the U.S., his severe interpreting strategy is going past conventional historiographical readings of communique and knowledge via attractive particular ancient texts by way of their makes an attempt to build and reshape history. After laying the basis and justifying his approach to shut interpreting for this learn, Day examines the texts of 2 pre-World conflict II documentalists, Paul Otlet and Suzanne Briet. during the paintings of Otlet and Briet, Day exhibits how documentation and knowledge have been linked to strategies of cultural development. Day additionally discusses the social growth of the conduit metaphor within the works of Warren Weaver and Norbert Wiener. He then exhibits how the paintings of up to date French multimedia theorist Pierre L?vy refracts the sooner philosophical writings of Gilles Deleuze and F?lix Guattari during the prism of the capitalist realizing of the “virtual society.” Turning again to the pre-World battle II interval, Day examines critics of the knowledge society: Martin Heidegger and Walter Benjamin. He explains Heidegger’s philosophical critique of the data culture’s version of language and fact in addition to Benjamin’s aesthetic and ancient critique of mass info and communique. Day concludes by means of considering the relation of serious conception and knowledge, quite in regard to the knowledge culture’s transformation of historical past, historiography, and historicity into confident different types of assumed and represented wisdom.
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Extra resources for The Modern Invention of Information: Discourse, History, and Power
Such a device “would become the liberator of each person, its operation being controlled by each person himself, and the things [in their representations] being placed in a convenient order for each person[‘s] understanding” (390–91). Otlet’s vision thus culminates with a unification of informational multiplicity in an aesthetically representational form delivered through what we might today see as a “multimedia” computer. Otlet’s envisioned technological device involves an aesthetic that claims to be able to bring the facts of the world to all people in the comfort of their own dwellings.
Not surprisingly, as the first chapter of Qu’est-ce que la documentation? closes, Briet’s argument for a systemic relation between human technique and mechanical technology takes a further step into the future. For Briet, the analogical and systemic relationships between human technique and technology that support her cultural claims for documentation open up to a “new humanism” based on these relationships. ” Briet reads the preparation of future culture and society in terms of those techniques of 32 European Documentation selection, combination, and standardization that lie at the heart of bibliographic control.
Within the culture of “science” on the scale of “the global,” standardization is an integral part of global cultural production. Documentation, which is always first concerned with standardization and linkage, is therefore not only a vehicle for science but also an exemplary symbol of science and the scientific age in modernity. In the drive to globalize the world via the forces of technical standardization, cultural standardization, and information science and technology, 34 European Documentation education plays a special role for Briet, both domestically and in foreign policy.