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Bernard Stiegler
http://www.iri.centrepompidou.fr
Bernard Stiegler, Principal and Director for cultural development at the Pompidou Centre since 2006, where he set up the Institute of Research and Innovation (IRI), is a philosopher and Doctor at the School for Hauts Etudes and Social Sciences. He began studying late in life following a prison sentence for to armed robbery.
He has been curriculum-schedule director at the international College of Philosophy since 1984, lecturer at the UTC ( Compiègne University ) since 1988 and director at the Connaissances, Organisations et Systèmes Techniques research unit which he set up in 1993, specialising in cognitive technologies, and has been assistant general director of the National Institute for the Audiovisual from 1996 as well as having been the director at Ircam from 2001 to 2005.
He has placed the issue of technique at the very core of philosophy, arguing that it was the most confidential of innerly repressed elements of it, and somehow, a secret manipulator, as from Plato's time, especially concerning the matter of hypomnesis, meaning artificial memory, whilst in the 20th century philosophy unearths it again, slowly but surely, as way of example by destructuration as Derida or Heidegger would have expressed it, or Foucault in his later work.
Bernard Stiegler is currently working on the development of the idea of a spiritual political economy, transiting via the study of the characteristics of electronic cognitive and cultural technologies, while at the same time via a critical analysis of capitalism at its hyper-industrialised phase. Such political economy implies in a more all embracing plan of general pharmacology ( set out in Prendre soin 1. De la jeunesse et des générations ) [Caring 1. On youth and generations]) itself based on general organology ( whose fundamental concepts are developed in De la misère symbolique 2 [As to symbolic misery 2]).
Bernard Stiegler has also cooperated on the design of digital machines dedicated to computer aided reading with the French National Library, analysing archive pictures at the National Institute for the Audiovisual, and later musical analysis with IRCAM (Research and Coordination Institute for Acoustics & Music). In 1987 he put forward that which is at stake with digitalisation in an exhibition at the Pompidou Centre called Mémoires du futur. The Institute for Research and Innovation (IRI) is developing software production models decisive to works of high initiative and creativity ( cinema, live performance, literary composition, fine arts ) with a view to building up a circle of enthusiasts in order to piece together conditions of decisive appraisal in the universe commonly known of as web 2.0. These pieces of software are “spiritual instruments” put together on a team-work platform whose avowed purpose is to become an on-line review, The Amateur.
