Interpretation of the Characteristics of the Southern Anhui Third Front Industrial Cultural Landscape in the Context of Philosophy of Technology

The third front industrial cultural landscape has the dual attributes of “industry” and “nature”.The special historical background and mountainous environment make it a distinctive industrial cultural landscape.Taking the third front industrial cultural landscape of southern Anhui as an example,this paper uses philosophy of technology to study this industrial cultural landscape with “modernity” characteristics,so as to make its “culture” return to the industrial cultural system and rethink,rather than the previous interpretation in the context of “cultural relics”.Then,under the framework of natural system,technological system and cultural system,the deep-seated cultural philosophy characteristics of the third front industrial cultural landscape are explained from the technological nature of the three line industrial cultural landscape.

A Phenomenological Understanding of Digital Processes of Subjectification： The Example of Lifelogging

By lifelogging, we understand a specific, very recent phenomenon of digital technology, which falls within the range of practices of the quantified self. It is a complex form of self-management through self-monitoring and self-tracking practices, which combines the use of wearable computers for measuring psycho-physical performances through specific apps for the processing, selecting and describing of the data collected, possibly in combination with video recordings. Given that lifelogging is becoming increasingly widespread in technologically advanced societies and that practices related to it are becoming part of most people＇s everyday lives, it is more important than ever to gain an understanding of the phenomenon. In this paper, I am interested in particular in exploring the issue of the transformations in the perception, comprehension, and construction of self, and hence in subjectification practices, deriving from the new digital technologies, and especially lifelogging.

技术与形而上学的存在遗忘——马丁·海德格尔对西方思想和世界理解有问题的重构

This article examines Heidegger’s philosophy of technology and his view that the essence of technology is based on the history of occidental metaphysics.Heidegger criticizes metaphysical thought for being oblivious of being.In order to elucidate what he means by the oblivion of being,the paper attempts to enable an experience of what Heidegger means by being.This is made possible by asking about the Nothing.For the next step,the article examines Heidegger’s critique of modern anthropocentric thought that he comprehends as calculating and commanding.After outlining how Heidegger conceives of overcoming the modern way of thinking,the paper analyses whether his reconstruction of occidental thought or understanding of the world is persuasive.Against Heidegger’s interpretation,the article argues that the crucial turning points were not Plato’s and Aristotle’s thought,but the Christian desacralization of the cosmos and William of Ockham’s radically new model of the relation of reality,thought,speech,and scripture.The paper defends the thesis that Heidegger’s reconstruction of occidental thought and understanding of the world is highly problematic.

The Phenomenological Roots of Technological Intentionality:A Postphenomenological Perspective

Interest concerning the problem of technological activity has grown in philosophical discussions during recent decades.The crux of the matter is whether technological objects are mere means for achieving human goals or possess some sort of inherent active quality of their own that influences our behavior,perception,goals,and ethical beliefs.In this article,I aim to show that technology exhibits a specific quality of engagement that can be more clearly understood through the notion of technological intentionality.The term“technological intentionality”was first coined by the postphenomenological school of thought.However,it continues to beg for a more comprehensive and profound elucidation.In my investigation,I introduce the notion of technological intentionality from two major perspectives.The first perspective is deeply intertwined with Husserl’s notion of intentionality.Intentionality,in this context,represents an act through which a connection(or unity)between humans and the world can be reached.In my examination of the second perspective,I unpack the notion of technological intentionality and offer a conceptual description of its structure.Here I argue that technological intentionality is a specific sort of active relationship that appears between human consciousness and the world each time a technological object is in use.Technological objects here are not just passive instruments,but they also actively connect us with the environment in which we live.

The Earth Garden： Going Back or Going Forward to Nature？

Against the background of a short meditation on the contrasting ways in which landscape has been represented and idealized in Eastern and Western painting traditions, the article will try to show, using some striking examples, that the development of landscape painting in the last two centuries reflects the changing relationship of humanity and nature, leading in both the East and in the West to either the expression of a nostalgic longing for nature to be back as it once was, or to a gloomy expression of the vanishing of nature amidst the modern, technological world. Connecting to both the concept of ＂harmony,＂ which is a key concept in Eastern aesthetics, and to some recent reflections in Western philosophy on the relationship of nature and technology, a post-nostalgic conception of nature and natural beauty is defended, in which nature and technology are no longer seen as opposing categories, but rather as poles that are intertwined in an ever-lasting process of co-evolution. It is argued that we should not so much strive to go ＂back to nature,＂ but rather to go ＂forward to nature＂ and establish a new harmony between human and non-human nature and technology. The article ends with some reflections on the role artists and aestheticians may play in this transformation.