Download PDF The Transparent Society (Parallax: Re-visions of Culture and Society), by Gianni Vattimo

Download PDF The Transparent Society (Parallax: Re-visions of Culture and Society), by Gianni Vattimo

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The Transparent Society (Parallax: Re-visions of Culture and Society), by Gianni Vattimo

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Review

In a mere 100 pages Vattimo has managaed to tell a compelling story about how other stories about postmodernity themselves are told and retold, often in the absence of sympathetic ears. Compared to most critics writing about the subject matter, Vattimo is sophisticated and optimistic, and his story is one of hope. (Briankle G. Chang Journal of Communication)David Webb's graceful and reliable translation of Vattimo's 1989 La societá transparente (augmentented by three new chapters) makes available in English a significant account of postmodernity. (Ronald Bogue Comparative Literature Studies)This book is of major importance to the debate on the postmodern question. (Jean François Lyotard)This is Vattimo at his best―and at his best he is very, very good, which is to say, erudite, witty, engaging, and precise. (Hayden White)

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Product details

Series: Parallax: Re-visions of Culture and Society

Paperback: 136 pages

Publisher: Johns Hopkins University Press (August 1, 1992)

Language: English

ISBN-10: 0801845289

ISBN-13: 978-0801845284

Product Dimensions:

5.5 x 0.3 x 8.5 inches

Shipping Weight: 4.8 ounces

Average Customer Review:

4.1 out of 5 stars

3 customer reviews

Amazon Best Sellers Rank:

#1,820,553 in Books (See Top 100 in Books)

Gianteresio [“Gianni”] Vattimo (born 1936) is an Italian philosopher (who taught at the University of Turin, and elsewhere) and a member of the European Parliament; he is also openly gay. His many books include The End of Modernity: Nihilism and Hermeneutics in Postmodern Culture,Of Reality: The Purposes of Philosophy,A Farewell to Truth,After Christianity, etc.He wrote in the first chapter of this 1989 book, “Much is said about postmodernity nowadays. So much, in fact, that it has become almost obligatory to distance oneself from the notion … It is my belief, however, that the term ‘postmodern’ has a meaning, and that this meaning is linked to the fact that the society in which we live is a society of generalized communication. It is the society of mass media. In the first place, we speak of the postmodern because we feel that, in some essential way, modernity is over… Broadly speaking, this eulogy to being modern is what, in my view, characterizes the whole of modern culture… According to the hypothesis I am putting forward, modernity ends when---for a number of reasons---it no longer seems possible to regard history as unilinear. Such a view requires the existence of a centre around which events are gathered and ordered.” (Pg. 1-2)He continues, “Along with the end of colonialism and imperialism, another decisive factor in both the dissolution of the idea of history and of the end of modernity is the advent of the society of communication. Here I come to my second point, which concerns the ‘transparent society.’ It will not have gone unnoticed that the expression ‘transparent society’ has been introduced here with a question mark. What I am proposing is: (a) that the mass media play a decisive role in the birth of a postmodern society; (b) that they do not make this postmodern society more ‘transparent,’ but more complex, even chaotic; and finally (c) that it is in precisely this relative ‘chaos’ that our hopes for emancipation lie.” (Pg. 4)He suggests, “The self-transparency to which we are at present being led by the ensemble of media and sciences seems to be nothing more than the exposure of pluralism, of the mechanisms and inner fabric of our culture. Even at its best, the media-human sciences complex is emancipatory only inasmuch as it places us in a world less univocal, less certain and so also much less reassuring than that of myth. It is the world for which Nietzsche invented the figure of the Ãœbermensch, the overman, a new human subject to which philosophy responds by way of what may now justifiably be called the hermeneutical turn.” (Pg. 26-27)He observes, “Ultimately, the theory of limited rationality, that is, the general idea that myth as knowledge in narrative form is a type of thought adequate to certain fields of experience (mass culture, interior life, historiography), also lays aside the problem of defining its own historical situation. It is unaware of its foundation on a tacit acceptance of the distinction between [Nature and the Humanities]; and this distinction has become increasingly problematic with the recognition that exact science is itself a social enterprise, and that the objectifying methods of the natural sciences are themselves, therefore, set entirely within the field of the socio-historical sciences.” (Pg. 38-39)He asserts, “When history became, or tended towards, universal history---as the excluded, mute and repressed found their voices---it became impossible to think of it as genuinely universal, as unilinear and directed ultimately towards emancipation. Even from an aesthetic perspective, utopia implied a framework of universal history as unilinear. Yet utopia has disappeared, even from aesthetics, with the advent of a certain ‘universality’ in the channels different models of value and recognition have found to express themselves. As regards aesthetic experience and its relation to everyday life, art has not simply ‘retreated’ to its place within the modern canon. In addition, a modern aesthetic experience has taken shape in the combined voices raised by communitarian systems of recognition and communities that show, express and recognize themselves in different myths and formal models.” (Pg. 67-68)After discussing a variety of philosophers (e.g., Gadamer, Apel, Habermas), he observes, “from the point of view of hermeneutics, these positions propose, at least implicitly, the restoration of metaphysics. This is not solely, or not so much, because the subject whose transparency is to be promoted … is modelled on the subject of metaphysics and modern scientism, whose ultimate form is that of full self-consciousness. Above all, it is because the normative ideal of unrestricted communication displays its categorical character in its recognition of an essential structure, holding for every historical experience, but itself withdrawn from becoming.” (Pg. 109-110)He concludes, “To the extent that hermeneutics recognizes itself as provenance and destiny, as the thought of the final epoch of metaphysics and thus of nihilism, it can find in ‘negativity,’ in dissolution as the ‘destiny of Being,’ given not as presence of the ‘arche’ but only as provenance, the orienting principle that enables it to realize its own original inclination for ethics whilst neither restoring metaphysics nor surrendering to the futility of a relativistic philosophy of culture.” (Pg. 119)Those interested in non-analytic contemporary philosophy (e.g., Derrida, Foucault, Baudrillard, Lyotard) will find much to appreciate in this book.

Gianteresio [“Gianni”] Vattimo (born 1936) is an Italian philosopher (who taught at the University of Turin, and elsewhere) and a member of the European Parliament; he is also openly gay. His many books include The End of Modernity: Nihilism and Hermeneutics in Postmodern Culture,Of Reality: The Purposes of Philosophy,A Farewell to Truth,After Christianity, etc.He wrote in the first chapter of this 1989 book, “Much is said about postmodernity nowadays. So much, in fact, that it has become almost obligatory to distance oneself from the notion … It is my belief, however, that the term ‘postmodern’ has a meaning, and that this meaning is linked to the fact that the society in which we live is a society of generalized communication. It is the society of mass media. In the first place, we speak of the postmodern because we feel that, in some essential way, modernity is over… Broadly speaking, this eulogy to being modern is what, in my view, characterizes the whole of modern culture… According to the hypothesis I am putting forward, modernity ends when---for a number of reasons---it no longer seems possible to regard history as unilinear. Such a view requires the existence of a centre around which events are gathered and ordered.” (Pg. 1-2)He continues, “Along with the end of colonialism and imperialism, another decisive factor in both the dissolution of the idea of history and of the end of modernity is the advent of the society of communication. Here I come to my second point, which concerns the ‘transparent society.’ It will not have gone unnoticed that the expression ‘transparent society’ has been introduced here with a question mark. What I am proposing is: (a) that the mass media play a decisive role in the birth of a postmodern society; (b) that they do not make this postmodern society more ‘transparent,’ but more complex, even chaotic; and finally (c) that it is in precisely this relative ‘chaos’ that our hopes for emancipation lie.” (Pg. 4)He suggests, “The self-transparency to which we are at present being led by the ensemble of media and sciences seems to be nothing more than the exposure of pluralism, of the mechanisms and inner fabric of our culture. Even at its best, the media-human sciences complex is emancipatory only inasmuch as it places us in a world less univocal, less certain and so also much less reassuring than that of myth. It is the world for which Nietzsche invented the figure of the Ãœbermensch, the overman, a new human subject to which philosophy responds by way of what may now justifiably be called the hermeneutical turn.” (Pg. 26-27)He observes, “Ultimately, the theory of limited rationality, that is, the general idea that myth as knowledge in narrative form is a type of thought adequate to certain fields of experience (mass culture, interior life, historiography), also lays aside the problem of defining its own historical situation. It is unaware of its foundation on a tacit acceptance of the distinction between [Nature and the Humanities]; and this distinction has become increasingly problematic with the recognition that exact science is itself a social enterprise, and that the objectifying methods of the natural sciences are themselves, therefore, set entirely within the field of the socio-historical sciences.” (Pg. 38-39)He asserts, “When history became, or tended towards, universal history---as the excluded, mute and repressed found their voices---it became impossible to think of it as genuinely universal, as unilinear and directed ultimately towards emancipation. Even from an aesthetic perspective, utopia implied a framework of universal history as unilinear. Yet utopia has disappeared, even from aesthetics, with the advent of a certain ‘universality’ in the channels different models of value and recognition have found to express themselves. As regards aesthetic experience and its relation to everyday life, art has not simply ‘retreated’ to its place within the modern canon. In addition, a modern aesthetic experience has taken shape in the combined voices raised by communitarian systems of recognition and communities that show, express and recognize themselves in different myths and formal models.” (Pg. 67-68)After discussing a variety of philosophers (e.g., Gadamer, Apel, Habermas), he observes, “from the point of view of hermeneutics, these positions propose, at least implicitly, the restoration of metaphysics. This is not solely, or not so much, because the subject whose transparency is to be promoted … is modelled on the subject of metaphysics and modern scientism, whose ultimate form is that of full self-consciousness. Above all, it is because the normative ideal of unrestricted communication displays its categorical character in its recognition of an essential structure, holding for every historical experience, but itself withdrawn from becoming.” (Pg. 109-110)He concludes, “To the extent that hermeneutics recognizes itself as provenance and destiny, as the thought of the final epoch of metaphysics and thus of nihilism, it can find in ‘negativity,’ in dissolution as the ‘destiny of Being,’ given not as presence of the ‘arche’ but only as provenance, the orienting principle that enables it to realize its own original inclination for ethics whilst neither restoring metaphysics nor surrendering to the futility of a relativistic philosophy of culture.” (Pg. 119)Those interested in non-analytic contemporary philosophy (e.g., Derrida, Foucault, Baudrillard, Lyotard) will find much to appreciate in this book.

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