This text explores Heidegger's philosophy of time and technology, particularly his concepts of Dasein (being-in-the-world), temporality, and the "already-there." It analyzes Heidegger's use of the myths of Prometheus and Epimetheus to illustrate the interplay between technological advancement and the inherent limitations of human understanding. The author critiques Heidegger's ambiguous stance on technology, arguing that his understanding of the "instrumental condition" and "epimêtheia" (heritage) is insufficient. The text further examines the role of clocks and writing as technological instruments shaping our experience of time and knowledge, ultimately questioning the nature of knowledge and the implications of "real time" in contemporary technological society. The author aims to re-examine Heidegger's work through a contemporary lens, focusing on the constitutive role of technology in shaping human experience.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Stiegler, B., & Stiegler, B. (1998). The Fault of Epimetheus. Stanford Univ. Pr. (pp.185-203)

Tony Fry's Defuturing: A New Design Philosophy introduces a critical examination of design's role in creating unsustainability. The text argues that design history reveals a pattern of neglecting long-term consequences, leading to a "defutured" world. Fry proposes "defuturing" as a method to analyze and expose this pattern, advocating for a new design philosophy focused on sustainability. This involves rethinking design's relationship to time, power, and relationality, moving beyond linear thinking to embrace complexity and ethical responsibility. The work ultimately aims to transform design practice by fostering a deeper understanding of its impact and promoting sustainable alternatives.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Fry, T. (2020). Defuturing: a new design philosophy. Bloomsbury Visual Arts. (pp.1-15)

Tony Fry's Becoming Human by Design examines the complex interplay between humanity and animality, arguing that humans are not separate from the animal kingdom but rather exist on a biocultural continuum. The text critiques the anthropocentric view, which prioritizes human interests over others, and explores how technology and cultural practices shape human identity and our relationship with the natural world. Fry analyzes the role of ontological design, particularly the impact of technology, in shaping human evolution and existence. He challenges traditional evolutionary theories, suggesting that human development is not solely a product of biological processes but also cultural forces and the creation of artificial technologies. Ultimately, Fry calls for a deeper understanding of our animality and a more responsible approach to technological advancement.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Buchanan, R., & Margolin, V. (Eds.). (2007). Discovering design: explorations in design studies (7. Aufl). University of Chicago Press. (pp.75-90)

This article analyzes two prominent postwar German aesthetics publications: Nicolai Hartmann's Ästhetik and Max Bense's Aesthetica. The author, Eva Schaper, critiques both works for their reliance on Hegelian frameworks, arguing that they neglect contemporary aesthetic discourse and practical concerns. Schaper contrasts Hartmann's rigorous but detached approach with Bense's stimulating but often inconsistent style. Finally, she briefly examines Herman Nohl's Die Ästhetische Wirklichkeit, highlighting its historical focus as a contrasting perspective.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Schaper, E. (1956). The Aesthetics of Hartmann and Bense. The Review of Metaphysics, 10(2), 289–307. http://www.jstor.org/stable/20123573

Bruno Latour's 2008 lecture, "A Cautious Prometheus," argues that the expanding usage of the word "design" reflects a shift away from modernist ideals of progress and control. He proposes five key connotations of "design" – humility, attention to detail, semiotic interpretation, remediation, and an inherent ethical dimension – contrasting it with the hubris of "construction." Latour connects this shift to Peter Sloterdijk's philosophy, which emphasizes the artificiality of human environments ("spheres") and the need for "explicitation" to reconcile emancipation and attachment. Latour concludes by challenging designers to develop new visualization tools capable of representing the complex, contested nature of "matters of concern" in a post-modern world, moving beyond the limitations of modernist representations of "matters of fact."

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Latour, B. (2008). A cautious prometheus? A few steps toward a philosophy of design (with special attention to Peter Sloterdijk).

This excerpt from Viktor Shklovsky's Art as Device critiques existing literary theories, particularly Potebnja's view of art as imaginative thought expressed through images. Shklovsky argues that this definition is too broad, failing to distinguish between prosaic and poetic imagery and neglecting the crucial role of "defamiliarization" in art. He posits that art's purpose is not to simplify understanding but to disrupt the automatic perception of objects, making them new and strange. Shklovsky uses examples from Tolstoy and other authors to illustrate his concept of defamiliarization as a primary artistic technique, contrasting it with the automatization of everyday experience. Ultimately, he proposes that poetic language is "impedited" or difficult, defying the principles of efficiency found in practical language.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Shklovskiĭ, V. (1990). Capitolo I : L’arte come procedimento. In Theory of prose. https://doi.org/10.1400/86251

This academic paper argues for a broad view of aesthetic experience, contrasting it with the narrow view advocated by philosophers Peter Kivy and Noël Carroll. The narrow view emphasizes attention to formal properties, excluding cognitive and moral aspects. Goldman contends that cognition and moral assessment are inseparable from the experience of form and expressiveness in art. He supports his broad view with historical analysis, arguing that it has a stronger philosophical lineage and provides a more plausible account of aesthetic value. Finally, Goldman addresses objections to his position, clarifying the scope and nature of aesthetic experience.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Goldman, A. (2013). The Broad View of Aesthetic Experience. The Journal of Aesthetics and Art Criticism, 71(4), 323–333. http://www.jstor.org/stable/42635869

Grudin's "From Tool to Partner" traces the evolution of human-computer interaction (HCI) across several decades, examining the interplay between technological advancements and human behavior. The book explores the contributions of various disciplines, including human factors, information systems, and computer science, to HCI's development. It analyzes how the shift from expensive, specialized computer use to widespread, discretionary use profoundly altered HCI's focus and methodologies. The text also addresses the fluctuating influence of artificial intelligence on HCI research and funding priorities. Finally, the author reflects on the future of HCI in a world of ubiquitous computing and increasingly autonomous systems.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Grudin, J. (2017). From tool to partner: the evolution of human-computer interaction. Morgan & Claypool Publishers.

The text analyzes the compositional structures of various artworks, focusing on how artists utilize central and eccentric vectors to organize elements within a picture plane. It explores how these vectors, whether vertical, horizontal, or diagonal, create visual connections between figures and objects, influencing the viewer's perception of depth, balance, and narrative. The analysis extends to architectural design, examining how similar principles govern the arrangement of spaces and the experience of movement through a building. Ultimately, the text argues for a unified approach to understanding compositional principles across visual art forms.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Arnheim, R. (1994). Il potere del centro: psicologia della composizione nelle arti visive (Nuova versione). Einaudi.

The text explores the artistic principle of visual equilibrium in painting and sculpture, focusing on how artists utilize central and eccentric compositional elements to create stability and dynamism. It examines how the placement of figures and objects, particularly around a central axis, influences the overall visual impact and meaning. Specific examples from various artists and periods are analyzed to illustrate the concept of a visual center of gravity and its role in conveying emotion and narrative. The author identifies different types of compositional structures, including bipolar compositions and those based on intersecting vectors or nodes, to highlight the diverse ways in which artists achieve visual harmony and tension. The analysis reveals how the interplay of weight, directionality, and spatial relationships contributes to the overall effectiveness of a work of art.

Please note that the podcast covers key points from the source with synthetic voices, which may have glitches. It’s a reflective, not comprehensive, interpretation.

Arnheim, R. (1994). Il potere del centro: psicologia della composizione nelle arti visive (Nuova versione). Einaudi.