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Content

Ethico-Philosophical Reflection on Overly Self-Confident or Even Arrogant Humanism Applied to a Possible History-oriented Rationality of the Library and Librarianship / Suominen, Vesa (S.321-338) - Culture Clash or Transformation? Some Thoughts Concerning the Onslaught of Market economy on the Internet and its Retaliation / Hausmanninger, Thomas (S.341-358) - Magicians and Guerrillas: Transforming Time and Space / Lodge, Juliet (et al.) (.359-371) - Gramsci, Golem, Google: A Marxist Dialog with Rafael Capurro's Intercultural Information Ethics / Schneider, Marco (S.373-383) - From Culture Industry to Information Society: How Horkheimer and Adorno's Conception of the Culture Industry Can Help Us Examine Information Overload in the Capitalist Information Society / Spier, Shaked (S.385-396) - Ethical and Legal Use of Information by University Students: The Core Content of a Training Program / Fernández-Molina, Juan-Carlos (et al.) (S.399-412) - Reflections on Rafael Capurro's Thoughts in Education and Research of Information Science in Brazil / Pinheiro, Lena Vania (S.413-425) - Content Selection in Undergraduate LIS Education / Zins, Chaim (et al.) (S.427-453) - The Train Has Left the Station: Chronicles of the African Network for Information Ethics and the African Centre of Excellence for Information Ethics / Fischer, Rachel (et al.) (S.455-467).

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Date

2. 1.2005 18:22:25

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Date

22. 7.2009 9:24:59

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Date

20. 1.2015 18:30:22

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Date

14. 1.2020 11:15:22

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Footnote

Rez. in: JASIST 56(2005) no.10, S.1126-1128 (P.K. Nayar): "How Images Think is an exercise both in philosophical meditation and critical theorizing about media, images, affects, and cognition. Burnett combines the insights of neuroscience with theories of cognition and the computer sciences. He argues that contemporary metaphors - biological or mechanical - about either cognition, images, or computer intelligence severely limit our understanding of the image. He suggests in his introduction that "image" refers to the "complex set of interactions that constitute everyday life in image-worlds" (p. xviii). For Burnett the fact that increasing amounts of intelligence are being programmed into technologies and devices that use images as their main form of interaction and communication-computers, for instance-suggests that images are interfaces, structuring interaction, people, and the environment they share. New technologies are not simply extensions of human abilities and needs-they literally enlarge cultural and social preconceptions of the relationship between body and mind. The flow of information today is part of a continuum, with exceptional events standing as punctuation marks. This flow connects a variety of sources, some of which are continuous - available 24 hours - or "live" and radically alters issues of memory and history. Television and the Internet, notes Burnett, are not simply a simulated world-they are the world, and the distinctions between "natural" and "non-natural" have disappeared. Increasingly, we immerse ourselves in the image, as if we are there. We rarely become conscious of the fact that we are watching images of events-for all perceptioe, cognitive, and interpretive purposes, the image is the event for us. The proximity and distance of viewer from/with the viewed has altered so significantly that the screen is us. However, this is not to suggest that we are simply passive consumers of images. As Burnett points out, painstakingly, issues of creativity are involved in the process of visualization-viewwes generate what they see in the images. This involves the historical moment of viewing-such as viewing images of the WTC bombings-and the act of re-imagining. As Burnett puts it, "the questions about what is pictured and what is real have to do with vantage points [of the viewer] and not necessarily what is in the image" (p. 26). In his second chapter Burnett moves an to a discussion of "imagescapes." Analyzing the analogue-digital programming of images, Burnett uses the concept of "reverie" to describe the viewing experience. The reverie is a "giving in" to the viewing experience, a "state" in which conscious ("I am sitting down an this sofa to watch TV") and unconscious (pleasure, pain, anxiety) processes interact. Meaning emerges in the not-always easy or "clean" process of hybridization. This "enhances" the thinking process beyond the boundaries of either image or subject. Hybridization is the space of intelligence, exchange, and communication.

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Date

22. 3.2009 18:13:27