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Which clippings match 'Logos' keyword pg.1 of 1
10 DECEMBER 2012

Brands: The Logos of Global Economy

"Brands are everywhere: in the air, on the high street, in the kitchen, on television and, maybe, on your feet. But what kinds of things are they? The brand, a medium of exchange between company and consumer, has become one of the key cultural forces of our time and one of the most important vehicles of globalisation. In a new approach that uses media theory to study the economy, Celia Lury offers a detailed and innovative analysis of the brand. "

(Celia Lury, 2004)

Celia Lury (2004). "Brands: The Logos of Global Economy", International Library of Sociology, Routledge.


2004 • between company and consumer • brands • Celia Lury • Claire Valier • contemporary culturecrime and punishment • cultural force • detailed analysis • global economyglobalisationhigh street • John Law • John UrryLancaster UniversityLev Manovichlogosmedia theory • medium of exchange • Mike Michael • Mimi Sheller • on television • our time • popular culture • Robert Witkin • Shelia Jasanoff • states of knowledge • the brand • Theodor Adorno • vehicles of globalisation


Simon Perkins
30 APRIL 2010

Stable Knowledge / Beständiges Wissen?

"Modernity replaced this metaphysical casting through the conception of a knowing subject as a stable medium. Information technology transformed the modern subject into an object of in–formation. But this process does not necessarily lead to the domination of information technology over humankind. It also enables the transformation of the modern subject into a project (Vilém Flusser). The medium of our projections is digital casting. Within it logos is not primarily oriented toward a stable object, but consists of unstable messages. Angelia displaces logos."

(Rafael Capurro)

Capurro, R. (2006). "Beständiges Wissen / Stable Knowledge?" LIBREAS(01/2006).

Flusser, Vilém. (1994). Vom Subjekt zum Projekt [From Subject to Project]. Bollmann (Bensheim).


a knowing subject • an object of in-formation • angelia • autonomydisplacementexistentialismhumankindinformationinformation technologylogosmetaphysics • modern subject • modernityphenomenologystability • stable object • transformation of the modern subject • unstable messages • Vilém Flusser


Simon Perkins
20 FEBRUARY 2010

Aristotle's Rhetoric: modes of persuasion

"Of the modes of persuasion furnished by the spoken word there are three kinds. The first kind depends on the personal character of the speaker [ethos]; the second on putting the audience into a certain frame of mind [pathos]; the third on the proof, or apparent proof, provided by the words of the speech itself [logos]. Persuasion is achieved by the speaker's personal character when the speech is so spoken as to make us think him credible."

(Aristotle 1356a 2,3, translation by W. Rhys Roberts)

Aristotle, Book I – Chapter 2 : Aristotle's Rhetoric (hypertextual resource compiled by Lee Honeycutt)



12 Angry Men • argumentargumentationAristotle • Aristotles Rhetoric • audienceClassicalClassical rhetoriccommunicationdramaemotion • ethos • experiencefilmHenry Fondaliteraturelogos • modes of persuasion • narrative • narrative art • pathospersuasionrhetoric • rhetorical theory • suffering • W. Rhys Roberts


Simon Perkins
15 NOVEMBER 2009

Dance techne: kinetic bodily logos and thinking in movement

"Techne is a name both for the activities and skills of a craftsman and for the arts of both mind and hand, but is also linked to creative making, poiesis. Poiesis is normally translated as 'making', but Heidegger interprets poiesis as 'bringing–forth' (Her–vor–bringen), creation. An apple tree 'brings–forth' its fruits as a silversmith 'brings–forth' a chalice. In this sense of poiesis, there is a deep commonality between natural production and human production in that they both bring–forth whether by making or by growing. Physis, the arising of something from out of itself, is a bringing–forth, poiesis. Physis is indeed poiesis in the highest sense. Physis, often translated as 'nature', signifies not simply geological or biological processes, but the Being of all beings. Techne is a mode of poiesis in the extended sense which Heidegger attributes to poiesis. This means that both humans and nature bring–forth their products. They differ only in that nature brings–forth itself whereas humans bring–forth from another. In the ancient world natural production is the primary sense of production, human production is derivative from it, or, as the usual translation has it, 'art imitates nature'. In the modern world human making is primary and nature is understood as a self–making. Poiesis is related to that which comes–forth out of its own nature alone and techne is related to that which comes–forth only by our intervention in that nature.

Heidegger illuminates techne in describing the cabinetmaker's work. A cabinetmaker is not merely skilled in using his tools. His craft lies in his ability to understand different kinds of wood and the shapes slumbering within wood. He is not related to his materials in the way of the industrial machine operator who uses the raw materials. The craftsman has a feel for his materials, he has become part of them. The handling of the wood is not a mere manipulation of it, but proceeds with a sensitive, firm touch which assists the wood in becoming the cabinet. The cabinetmaker's role is something like that of a midwife. In the techne of the craftsman there is a releasement toward things. Here we see that letting–be means neither passivity nor domination. When techne becomes technique, the attitude of 'letting–be' loses its priority over 'making–be' and craft becomes domination. In this process work changes its character.

The artist's work differs from the cabinetmaker's work, though they both have techne. The creation of an artwork requires craftsmanship. In fabricating equipment, the cabinet, material, wood is used, and used up. It disappears into its usefulness. The material is all the better and more suitable the less it resists perishing in the equipmental being of the equipment. The sculptor uses stone just as the mason uses it, in his own way, but the sculptor does not use it up. The artist is a handiworker who knows how the material behaves, but he lets come what is already coming to presence."

(Jaana Parviainen,

Fig.1 nagpur59, 'Maori wood craftsman', 20 February 2006, Rotarua, Aotearoa New Zealand



art imitates nature • cabinetmaker • choreographycraft • craftsman • craftspersoncreative practicedancedialogue with materialsenframingGestell • handiwork • improvisationkinetic bodily logoslogosMartin Heideggermaterials • Maxine Sheets-Johnstone • movement • physis • poiesis • techne • technique • thinking in movement • wood


Simon Perkins

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