In Technics and Time 3: Cinematic Time and the Question of Malaise, Bernard Stiegler elaborates his notion of the industrial temporal object in order to characterise the nature of modern industrially produced media forms. This essay will examine Stiegler’s decisive reframing—via a critical ‘correction’ of Edmund Husserl’s phenomenology of lived experience—of the characteristic ‘experiential’ media of the twentieth century, inaugurated by photography and phonographic recording in the preceding century, and finding its defining form in the cinema and its progeny (television, video, and the digital remediation of the audiovisual moving image). Stiegler’s post-phenomenological account identifies the capacity of industrially produced technical forms to condition the way in which experience is constituted in time, ‘within’ and between individuals in their mutually implicated co-production of cultural, historical existence. I will draw out some key implications of this account for the project of addressing the contemporary moment in which digital media forms, operating under the commercial logics of ‘experience design’ and competing in the market for ‘attention’, proliferate and pervade historical and cultural space and time.
Crogan, P. (2012). The experience of the industrial temporal object. In G. Moore, & C. Howells (Eds.), Stiegler and TechnicsEdinburgh University Press