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Abstract
We are living in a globalizing world, characterized by constant and rapid innovation. As we are inclined to go with this flow and its accompanying discourse of mobility, there is a danger that we overlook the persistence of cultural traditions. However, this paper argues that important differences exist between pre-modern, modern and post-modern traditions with regard to the form mobility takes. After a short discussion of the role information and communication technologies play in post-modern traditions, it is argued that these technologies transform our world, and not only our electronic files, into a global database and, as a consequence, generate a mobile stream of post-historic phenomena. In the conclusion some implications of the presented "database ontology" for the arts and aesthetic theory are discussed.
Key Words
cultural traditions, information and communication technologies, mobility, pre-modern, modern and post-modern traditions, post-history
Jos de Mul. Transhumanisme - de convergentie van evolutie, humanisme en informatietechnologie. Tydskrif vir Geesteswetenskappe. Vol. 45, no. 2, 159-176.
Jos de Mul. Delirium en catharsis in de romanwereld van W.F. Hermans. In: De Gids. (November 2005), 997-1011.
Jos de Mul. Publish and perish! Tijdschrift voor Filosofie. Jaargang 68, 2005, 417-434.
Jos de Mul. From Odyssey to cyberpunk. Literary exploration of space vs. spatial exploration of literature. XPONIKA AIΣΘHTIKHΣ/ Annales d'esthetique / Annals for Aesthetics, Vol.42, 2004: 111-127.
Jos de Mul. Hegel, Heidegger, Adorno and the Ends of Art. In: Dialogue and Universalism, Vol.XIII, no.11-12, 23-41.
Jos de Mul. Digitally mediated (dis)embodiment. Plessner's concept of excentric positionality explained for Cyborgs. Information, Communication & Society, Volume 6, no.2 (2003) 247-265.
Jos de Mul. Das Schauspiel des Lebens. Dilthey and the historical biography. In: Revue Internationale de Philosophie, (2003), no.2, 99-116.
Das Schauspiel des Lebens. Wilhelm Dilthey and historical biography
"Uber den wissenschaftlichen Charakter der Biographie sind die Ansichten der Historiker geteilt." [1]
These words, written by Wilhelm Dilthey about a hundred years ago, are just as true today as they were then. As in Dilthey's time, many historians still deny that the historical biography is scientific in nature, because of its narrative and literary character. It isn't without irony that authors of literary fiction, conversely, often doubt the literary character of historical biographies because they are not entirely a work of imagination. One might say that historical biography is situated in a no-man's land between art and science.
In order to understand the discussion concerning the status of the historical biography, we have to view it within the broader context of the debate on the status of historiography. This debate has accompanied modern historiography from its birth in the early nineteenth century. Before then the question concerning the relationship between the artistic and scientific dimension of historiography virtually played no role. The reason for this was that before the nineteenth century these two dimensions could barely be distinguished. The word 'novel' not only referred to Active stories, but also to the kind of stories we nowadays call historical narratives. However, under the influence of rationalism and empiricism, literature and historiography gradually became different autonomous genres. The emergence of the modern discipline of historiography was at least partly motivated by the presupposition that knowledge only deserves this title when it is rationally and empirically tested and attains a certain level of certainty.[2] These requirements were inspired by the impressive success the natural sciences and the new technologies connected with them had had since Newton. Based on the discovery of causal relationships in nature, these sciences were not only able to explain natural phenomena, but to predict and to control them, as well. As a result, the objectivity of the natural sciences increasingly began to function as an ideal for all sciences. After the middle of the nineteenth century, the ideal of a 'unified science' became an integral part of the repertoire of (neo)positivist scientists and philosophers.
Jos de Mul. Het eind van het einde. Enkele reflecties op het posthistorische karakter van de informatietechnologie. In: Informatie professional. Jaargang 6, nr. 2, 28-31.
Jos de Mul. (in Korean. English title: Digital Dasein. Towards an ontology of virtual worlds). Art Magazine Wolgan Misool (Seoul) 2002 (February issue):110-113.
Jos de Mul. Hegel, Heidegger, Adorno in konci umetnosti (in Slovenian). Filosofsji Vestnik.Vol. XXIII, no. 1, 103-136.
Jos de Mul. Transhumanismo. La convergencia de evolutión, humanismo y tecnologia de la información (in Spanish), Arquitectonics (Edicions UPC), 2001
Jos de Mul. The Informatization of the worldview. In: Information, Communication & Society. Vol. 2, no. 1 (1999),69-94.
Abstract
The development of information and communication technology in the second half of the twentieth century in crucial respects resembles the development of mechanics in the sixteenth and seventeenth century as it has been described by Dijksterhuis in his study The Mechanization of the World Picture. In both cases specific technological developments not only lead to important changes in the natural and human sciences, but also profoundly affect culture as a whole and eventually result in a fundamental change in worldview. In this article the author attempts to elucidate the present ‘informatization of the worldview’ in a twofold way. On the one hand, against the background of Dijksterhuis’ analysis of the concept of mèchanè, a clarification is given of the concept of information, which has become central to many sciences in the last decades. It is argued that much of the confusion and misuse that surrounds (the application of) this concept can be reduced by making a careful distinction between the pragmatic, semantic and syntactic dimensions of information. Next, on basis of this clarification, the author discusses the transformation from a mechanistic to an informationistic worldview. Whereas the mechanistic worldview is characterized by the postulates of analyzability, lawfulness and controllability, the informationistic worldview is characterized by the postulates of synthetizability, programmability and manipulability. It is argued that although the informationistic worldview in some respects (for instance it its mathematical orientation) is clearly a continuation of the mechanistic worldview, in other respects it fundamentally alters human experience and the evaluation of, and association with reality.
Jos de Mul. Rzeczywistość wirtualna - pomiędzy technologią, ontologią a sztuką. Przeł. M. Michałowska, Kultura Współczesna1999, nr 3, 13-14.
Gerry van den Broek en Jos de Mul. Tragisch ouderschap en de attitude van de ouderbegeleider. In: Systeemtherapie.Jrg.10, no. 2 (1998), 90-100.
P.H.A. Frissen en Jos de Mul. De politieke impact van de informatietechnologie. In: Noot, nr. 5 (1998): 3-5.
Jos de Mul. The Digitalization of the World View. The End of Photography and the Return of the Aura. In: The Photographic Paradigm. Lier en Boog: Series of Philosophy of Art and Art Theory 12 (1997), Amsterdam/Atlanta 1997, 44-56.
Jos de Mul. Dilthey. Kritisch denkerslexicon. Aflevering 23. Houten (Bohn Stafleu Van Loghum). 1997, 1-16.
Jos de Mul. De informatisering van het wereldbeeld. Erasmus Magazine, 13 november 1997, 19-22.
Jos de Mul. Disavowal and Representation in Magritte's La Trahion des Images. In: Filozofski vestnik, Vol. XVII, 1no. (1996), 107-126.
Jos de Mul. Digitale media en cognitieve structuur. In: Rekenschap. Tijdschrift voor Wetenschap en Cultuur. Juni 1996, 97-105.
Jos de Mul. Die Fortgang über Kant. Dilthey and the Transformation of Transcendental Philosophy. In: Dilthey-Jahrbuch für die Geisteswissenschaften, No. 10 (1996), 80-103.
Jos de Mul. Camp of de emancipatie van de kitsch. In: Tmesis. Cahier voor Cultuur, nr 8 (1996), 122-131.
Jos de Mul. Over de noodzaak van de geschiedsfilosofie. In: De Uil van Minerva. Tijdschrift voor Geschiedenis en Wijsbegeerte van de Cultuur, Jrg.11, nr.4 (1995), 261-266.
Jos de Mul. Modale fotografie. In: Fotonet. Tijdschrift van het Nederlands Foto Instituut (November 1995), 16-19.
Jos de Mul. Kubistische klanken. De tijdsopvatting in het werk van de Amerikaanse componist Elliot Carter (3), in: Mens en melodie, jrg. 49 (Januari 1994', 40-43.
Jos de Mul. Dichter op de divan. De psychoanalytische esthetica van Freud. In: Filosofie en kunst 2. Esthetica in de twintigste eeuw: Een andere Verstandhouding, Rotterdamse Filosofische Studies XVII, Rotterdam 1994, 43-58.
Jos de Mul. De veelzijdige waarheid van Hegels these over het einde van de kunst. In: Onyx. Tijdschrift van de Faculteit der Wijsbegeerte Rotterdam (Zomer 1993), 8-16.
Jos de Mul. Bevroren architectuur. De tijdsopvatting in het werk van de Amerikaanse componist Elliot Carter (1), in: Mens en melodie, jrg. 48, (Oktober 1993), 548-553.
Jos de Mul. Het temporele sanatorium. De tijdsopvatting in het werk van de Amerikaanse componist Elliot Carter (2), in: Mens en melodie, jrg. 48 (November-December 1993), 620-624.
Jos de Mul. Het verlangen naar de overkant. Een autobiografisch-filosofische bespiegeling. In: Zeeuws Tijdschrift nr. 3 (1993), 82-85.
Jos de Mul. Slauerhoff en het romantische verlangen. In: Preludium. Tijdschrift voor literatuur. Themanummer over het werk van J. Slauerhoff onder redactie van K. Fens en G.J. Kleinrensink, Jrg. 8/9 (1992), nr. 4-I, 59-77.
Jos de Mul. Grenzen aan de rechtvaardiging. In: Wijsgerig perspectief op maatschappij en wetenschap, jrg. 33 (1992/93), nr. 2, 30-36.
Jos de Mul. Dilthey's narrative model of human development. A necessary reconsideration of the philosophical hermeneutics of Heidegger and Gadamer. In: Man and World vol. 24 (1991), 409-426.
Jos de Mul. Vrede en gelatenheid. Over Heidegger, postmodernisme en vredescultuur. In: Duitse Kroniek, themanummer Martin Heidegger 1889-1976, jaargang 41 (1991), nr. 1-4, 26-54.
Jos de Mul. The development of aesthetic judgement. Analysis of a genetic-structuralist approach. In: The Journal of Aesthetic Education, Vol.22 (1988), 55-72.
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Jos de Mul studied philosophy, art history and social sciences at the universities of Amsterdam, Utrecht and Nijmegen (The Netherlands). At present he is full professor Philosophy of Man and Culture at the Faculty of Philosophy, Erasmus University Rotterdam. He has also taught at the University of Michigan (Ann Arbor, 2007-2008), Fudan University (Shanghai, 2008), and Ritsumeikan University (Kyoto, 2016). In 2012 he became a visiting fellow at the Institute for Advanced Study in Princeton, USA. From 2005 to 2011 he was Vice-President of the Helmuth Plessner Gesellschaft, and from 2007 to 2010 President of the International Association for Aesthetics.