Is it the soul of a new/lost machine?

This paper is a throwback to The Soul of a New Machine by Tracy Kidder (Kidder, 1981b). Bruno Latour 1987, upon examining Tracy Kidder's story, observes that the heroic tale of engineers who worked on Eagle, a 32-bit minicomputer, was actually inspired by a machine! Over the years, however, this Latourian viewpoint seems to have been ignored. This paper thus examines how Kidder's story was received over the past three decades by the academic and non-academic communities. It exposes how various reviews of the story reinforce one's assumptions about how one approaches narratives about technology. A total of 228 reviews/analyses/commentaries about the story were analysed in a qualitative undertaking that also led the enquiry into a detailed analyses of the story's historico-cultural agency. The findings indicate that non-academic reviews focused largely on heroism, whereas in the academy, the story was approached in light of the prevailing academic discourses in management theory per any given decade of the book's journey; the story then became The Soul of a Lost Machine

Whewell\'s Wager: The Continuing Dialogue of Metaphysics and Physics in Science

In his library at Trinity College, Cambridge University, around the year I860, William Whewell (1794-1866) engages in conversation with a company of thinkers on the province of metaphysics and physics, to form a comprehensive scientific belief. In attendance with him are Lord Francis Bacon (1561-1626), Sir Robert Boyle (1627-1691 ), Sir Isaac Newton (1642-1727) , John Henry Cardinal Newman (1801-1890), Professor Alfred North Whitehead (1861-1947), and Pope John Paul II (b. 1920). Whewell proposes a wager: Is there a possible remedy to be found for the schism between the metaphysical and the physical elements of science

Everyman with fangs: The acceptance of the modern vampire

The vampire, an enduring demon from the European middle ages has through the course of the 20th century undergone a journey of transformation. The journey of the beast describes a circle, starting and ending with the depiction of the vampire as a soulless, evil killing machine. From the Middle Ages, moving into the 18th century the vampire slowly becomes more sophisticated, becoming first Varney, then Dracula, then in the last quarter of the 20th century as the accepted and understood Vampires Louis and Lestat. From there the vampire is found in television, theatre and cinema in such films as Fright Night, Blade, and The Lost Boys. Finally with the appearance of Buffy the Vampire Slayer, the vampire becomes once again everyman with fangs and the circular journey began in the European Middle Ages has been completed

At the Margins of the World: The Nature of Limits in Terrence Malick’s The Thin Red Line

Terrence Malick’s The Thin Red Line (1998) is an anti-war film which can be read as an Orphic narrative meditating on the relationship between humans and “nature.” Many scholarly readings of the film have been attracted by analyzes that explore the influences of Cavell and Heidegger on Malick (Critchley, Furstenau and MacCavoy, Sinnerbrink). Kaja Silverman’s recent opus, Flesh of My Flesh (2009), contains a chapter titled “All Things Shining.” She elegantly examines how Malick’s film explores the theme of “finitude.” She argues that, ontologically speaking, human existence gains a more intense “glow” when humans are made aware of their mortality. The present becomes paramount. But like Orpheus, the present seeks to make amends with the past. Taking Silverman’s analysis one step further involves exploring finitude through the film’s many animal, arboreal and geological images. Nature can be read as a “margin” that more fully enhances the film’s exploration of connection and finitude. To this end, the opening chapter of Jacques Derrida’s Margins of Philosophy (1986) is invaluable. Entitled “Tympan,” Derrida’s introductory essay introduces a wealth of ecological metaphors. These stimulate an interaction between Silverman’s model of finitude, Derrida’s surprising ecologies at the margin and Malick’s quest for what shines in all beings

‘Borne again in repetition’ : reincarnation, afterlives, and cultural memory in Amitav Ghosh’s The Calcutta Chromosome

The present article reads the social and cultural afterlives of a particular marginalised group in colonial Calcutta in Amitav Ghosh’s fourth novel The Calcutta Chromosome, and seeks to examine how these reconstructions of afterlives are linked with the ancient Indian philosophy of rebirth and reincarnation. This study seeks to understand the significance of body and ghost in reconstructing the afterlives and analyse the role of cultural memory throughout that process.peer-reviewe

Solaris, directed by Andrei Tarkovsky - Psychological and philosophical aspects

About the main psychological and philosophical aspects detached from the film Solaris directed by Andrei Tarkovski, as well as the cinema techniques used by the director to convey his messages to the spectator. In the "Introduction" I briefly present the relevant elements of Tarkovski's biography and an overview of Stanislav Lem's Solaris novel and the film Solaris directed by Andrei Tarkovsky. In "Cinema Technique" I talk about the specific rhythm of the scenes, the radical movement triggered by Tarkovsky in modern cinema, the role of symbolic and iconic elements, and affinities with the fantastic area of Russian literature. In Psychological Aspects I analyze the issue of communication in a human society of the future considered by Tarkovsky as rigid, the obsession of the house, and the personal evolution of Kris, Hari, and the relationships between them. In Philosophical Aspects, the film is analyzed through the philosophy of the mind (Cartesian dualism, reductionism and functionalism), the problem of personal identity, the theory of heterotopic spaces developed by Michel Foucault, and the semantic interpretations that can be deduced from the film. It also analyzes the issue of personal identity through Locke's philosophy. "Conclusions" show the general ideas of this essay, namely that Man's attempts to classify and maintain forms of interaction with unknown entities will always be condemned to failure and will reflect a major mistake in the panoptic world in which we live. In this framework of analysis of the philosophy of mind, functionalism seems to be the most intuitive. Solaris is, however, a movie that begins as a search for answers and comes to provide these answers with a whole range of different questions. CONTENTS: Abstract Introduction 1 Cinema technique 2 Psychological Aspects 3 Philosophical aspects Conclusions Bibliography Notes DOI: 10.13140/RG.2.2.28635.8272