100 Books Like The Question Concerning Technology

Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.

Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.

Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.

Understanding the world is important for everyone. For me, it takes the form of analyzing colorful images and artifacts in the built environment. In the broad traditions of the global northwest, color is regarded as deceptive and unreliable. For centuries now, and throughout disparate media and technical systems, color has had to maintain this secondary, subordinate status as “other,” linked to falsity, manipulation, and deceit or, to quote David Batchelor, “some ‘foreign’ body". In my work, I argue that we have all inherited this tradition in the global northwest, fetishizing color as both excessive and yet indispensable in its capacity to retroactively confirm the sanctity of what it is not.

I grew up in a world steeped in pre-Vatican II Catholicism including four years spent in a Catholic religious order. My theological training led me to philosophy, to question my theology, and to my life as a philosophy professor. There's a blaze of light in every word, Leonard Cohen says, so I've been seeking the blaze of light in the word God. My idea is that God is neither a real being nor an unreal illusion but the focus imaginarius of a desire beyond desire, and the “kingdom of God” is what the world would look like if the blaze of light in the name of God held sway, not the powers of darkness.

As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.

My fascination with magic and the occult emerged from growing up in Scotland, which has a long, rich history of witchcraft, fairies, and the 19th century Celtic Revival, which saw a relation between art and magic. For me, the occult is primarily about liberating the imagination and this is what surrealism does. I became enchanted by surrealist art as a teenager which then led me to study History of Art at university. After graduating in 1989, I wrote my book at a time when there was so little available on the relationship between surrealism and occultism, determined to share my passion with other readers. 

I am a historian at The Ohio State University. When I started my academic studies in Israel, I was initially interested in European history and only later began focusing on Jewish and Israeli history. I’m not exactly sure what attracted me to this career, but it’s probably the desire to better understand my own society and identity. I enjoy studying migration because it has played such an important role in Israeli and Jewish history, and even in my own life as an “academic wanderer.” Migration also provides a fascinating perspective on the links between large-scale historical events and the lives of individuals, and on the relationships between physical place, movement, and identity. 

I’m a political theorist recently retired from the University of Toronto. Around fall 2014, I became aware that a hyper-energetic, well-educated intelligentsia was trying to move heaven and earth to make fascism intellectually respectable again. I resolved to educate myself about these scary characters. I was truly alarmed, and wrote my book to convey my alarm to fellow citizens who hadn’t yet woken up to the threat. Sure enough, within a couple of years, Richard Spencer rose to media stardom; and one of the first things that Trump did after being elected in November of 2016 was to decide that a crypto-fascist Steve Bannon was worthy of a senior position in the White House. 

I'm currently an Honorary Fellow in Social Theory at the University of York, U.K. For more than five decades I've been working to promote more reflexive perspectives in philosophy, sociology, social theory, and sociological research. I've written and edited many books in the field of social theory with particular emphasis on questions of culture and on work in the field of visual culture. Recently these have included Interpreting Visual Culture (with Ian Heywood), The Handbook of Visual Culture, and an edited multi-volume textbook of international scholars to be published by Bloomsbury, The Bloomsbury Encyclopedia of Visual Culture. My own position can be found in my Dictionary of Visual Discourse: A Dialectical Lexicon of Terms.