들뢰즈(와 과타리)에 따르면 공간은 추상적, 등질적, 선험적 조건으로 이해되지 않는다. 공간은 실제로 혼합되어 존재할지라도, 경향성의 차이에 따라 매끈한 공간과 홈 파인 공간으로 분류되어야 한다. 홈 파인 공간에서는 모든 것이 기존 규칙에 따라 조직된다. 반면 매끈한 공간에서는 가장 조직화된 것조차도 가능성을 향해 해방될 수 있다. 장기의 공간은 홈 파인 공간이며, 바둑의 공간은 매끈한 공간이다. E. 라로슈의 연구에 따르면, 노모스의 의미도 호메로스 시대와 고전기 시대에 서로 달랐다. 호메로스 시대에 노모스는 매끈한 공간에서 ‘분배하기’를 뜻한 반면, 고전기에는 홈 파인 공간에서 ‘배당하기’를 뜻했다. 전쟁기계의 임무는 (...) 매끈한 공간을 만드는 일이다. 따라서 전쟁기계의 역할은 예술가나 실험가의 역할과 같다고 할 수 있다. (shrink)

This paper explores how Deleuze and Guattari's philosophical concepts extend and elaborate discursive and psychoanalytic interpretations of qualitative research findings. Analyzing data from a UK research project exploring young people's engagements with Social Networking Sites (SNSs), Deleuze and Guattari's schizoanalytic method is drawn upon to consider complex desire-flows in the social. In particular the notion of ‘affective assemblages’ is developed to explore the relationships between school and online spaces and subjective interfacing with these spaces. The paper suggests online space (...) is heterosexually striated and SNSs create new intensified gendered and sexualized identities and affective relations between young people. Investigating the case study of a teen girl, Louise, who is socially rejected through the affective assemblage of the SNS, then pathologized at school for violently retaliating against being called a ‘fat slag’ online, the paper suggests a Deleuzoguattarian analysis offers new theoretical tools for thinking about discursive subjectification but also for mapping complex desire-flows and micro movements through and against discursive/symbolic norms. (shrink)

Exploring long-term educational change, we investigate our re/construction of research methodology as we moved from a positivist framework to working with ideas drawn from Deleuze and Guattari. We reveal our becoming rhizomatic in data analysis in the metamodelling of the richness flowing horizontally through our practices. We tell of our struggles to escape hierarchical thinking and relations researching between the smooth and striated. A space of interactions, conversations and writings created relations between polyphonic voices, leading us to an (...) emergent methodology. Our struggle against hierarchies in data analysis yielded rich educational possibilities for becoming that Deleuzo-Guattarian thinking offers us. (shrink)

In the fourteenth plateau of A Thousand Plateaus, Deleuze and Guattari develop a dichotomy between two kinds of space – the smooth and the striated. What I want to focus on in this chapter is the status of these two conceptions of space. As Deleuze and Guattari note, these two forms of space are only discovered in a mixed form, yet are capable of being analysed de jure through their separation. In this sense, the plateau on (...) the smooth and striated can be seen as something like a transcendental deduction of their ontology of spaces. I will explore what Deleuze and Guattari mean when they say that they want to construct a theo-noology of smooth and striated spaces. I want to look at the ethical implications of this distinction, before looking at some alternative approaches to the issue of space. It should be noted that the question of the striation of space is one that is shared by Bergson, Heidegger, Merleau-Ponty and Sartre among others. The novelty of Deleuze and Guattari’s account is in their formulation of the notion of smooth space as a response. I will begin by looking at the notion of striated space itself, and in particular will explore the degree to which we should see it as a structure or as a method, and the interrelation between these two characterisations. (shrink)

Educational research as an academic field can be understood as a network or group of networks and, therefore, to consist of interconnected nodes that structure the way the field operates and understands its purpose. This paper deals with the nature of the induction of postgraduate students into the network of educational research that takes place through research methods courses, the textual domain, the professional and social practices involved in collaboration, conferences and publication. The consideration of this in the light of (...) Gilles Deleuze and Félix Guattari's (1988) writings on smooth and striated space problematises the notion of flows provided by Manuel Castells' (1996) understanding of networks and, by resisting the dualist simplification in terms of which the field is often discussed, offers an alternative account of how the nature of thought and practice governs the route between nodes in the network. This enables consideration of the nature of thought in relation to academic practice in educational research. (shrink)

Antony Gormley's Another Place and Olafur Eliasson's Your watercolour machine exemplify passages and combinations of smooth and striated space as beings of sensation on planes of technical and aesthetic composition. They are frames which striate the smoothness of light, water, molten iron, etc., using scientific planes of reference. Smooth and striated mix as boundaries between visitors’ bodies and installation become permeable. Optic becomes tactile, becomes haptic, generative engagement. Both artists experiment with the interface between striated and (...) smooth to encourage visitors to experiment and experience sensation. The installations are liquid spaces; forms of perpetual non-permanence which affect and react with others’ behaviours in processes of co-emergence. (shrink)

Toward the end of the Nomadology plateau of A Thousand Plateaus, Deleuze and Guattari differentiate an ambulant holey space from the smooth space of the nomadic war machine and the striated space of the sedentary State apparatus. Although Deleuze and Guattari only discuss the concept briefly, holey space provides a useful means of framing their remarks on music in general. Music’s holey space is a quasi-territory determined by processes of following sonic movement-matter. Its instruments (...) differ from nomadic weapons and sedentary tools, being characterized by directions of injection, ejection and parajection; the vector of lines of the universe and extemporality; the model of free play; the trait of expression of incantation; and the tonality of affects-percepts. A paradigmatic instance of musical holey space is John Luther Adams’ Inuksuit as performed on the U.S.-Mexico border in 2018. (shrink)

Deleuze and Guattari develop a notion of “minor literature” in their short book on Kafka, and the opposition major/minor has been used with varying degrees of success by critics working in a range of disciplines including architectural theory. Teasing out the potentially subversive implications of the major/minor opposition requires reading it in relation to other binarisms developed by Deleuze and Guattari in those same years, e.g., state/nomadic science, striated/smooth space, optic/haptic, as well as Guattari’s useful concept “machinic heterogenesis.” (...) Then, one ends up with a minor architecture concerned with partially subversive practices rather than with structure per se. A building’s minor status is figured through its deployment in and production of a space that is a technological, social and political pattern as well as a line of flight. This paper reads minor architecture by examining the minor house built by Henry David Thoreau at Walden Pond and those currently being assembled by the Mad Housers in Atlanta, Georgia. (shrink)

Since the era of deinstitutionalisation, many clinical approaches have emerged to enable the care and treatment of people suffering from mental illness. In recent years, the use of coercive approaches in the community (e.g., outpatient commitment or community treatment orders) has also increased internationally. Although nurses' role regarding these coercive approaches is central and significant, few empirical and theoretical writings have tackled this controversial nursing practice. The purpose of this paper is to analyse coercive nursing care through the lens of (...) French philosopher Gilles Deleuze's concept of ‘societies of control’. Taking up Michel Foucault's work on disciplinary power, Deleuze explores how the move from the striated spaces of closed institutions to the smooth spaces of societies of control took place since the middle of the 20th century. According to Deleuze, the overall objective of ‘societies of control’ is no longer simply to govern deviant behaviour in closed environments (e.g., psychiatric hospitals and prisons) but to ensure a regime of unrelentless surveillance in the open spaces of our communities. (shrink)

Toward the end of the Nomadology plateau of A Thousand Plateaus, Deleuze and Guattari differentiate an ambulant holey space from the smooth space of the nomadic war machine and the striated space of the sedentary State apparatus. Although Deleuze and Guattari only discuss the concept briefly, holey space provides a useful means of framing their remarks on music in general. Music’s holey space is a quasi-territory determined by processes of following sonic movement-matter. Its instruments (...) differ from nomadic weapons and sedentary tools, being characterized by directions of injection, ejection and parajection; the vector of lines of the universe and extemporality; the model of free play; the trait of expression of incantation; and the tonality of affects-percepts. A paradigmatic instance of musical holey space is John Luther Adams’ Inuksuit as performed on the U.S.-Mexico border in 2018. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Complicating, Considering, and Connecting Music Education by Lauren Kapalka RichermeNasim NiknafsLauren Kapalka Richerme, Complicating, Considering, and Connecting Music Education (Bloomington, IN: Indiana University Press, 2020)Laurern Kapalka Richerme courageously engages with some of the significant concepts of Gilles Deleuze and Félix Guattari in a timely bounded volume, Complicating, Considering, and Connecting Music Education. Through this colossal endeavor, though not the first time a music education scholar deeply explores Deleuzian (...) concepts and theoretical analyses, Richerme provides a fresh perspective on his oeuvre within the field and paves the way for more engaged scholarly exploration on the roles and responsibilities of music education.1Considering the vanity in saying what one sees, as “what we see never resides in what we say,”2 any review of works related to Deleuzian concepts is more of an arborescent endeavor than a rhizomatic one. Consequently, the current review of Richerme’s book may also refute and go against Deleuze and Guattari’s most salient arguments. However, I would like to specifically elaborate on Richerme’s treatment of time; a much welcomed and overlooked aspect of education that Richerme has appositely and strongly delivered. “Music education is not a stagnant ‘what’ but a temporal ‘when’... While the question, ‘What is music education?’ solidifies music education into an immobile identity, asking ‘When is music education?’ emphasizes the differing, individually constructed nature of [End Page 202] educational experiences.”3 Not necessarily an original proposition to treat music education as a process rather than a product, a journey rather than a destination, a meandering rather than walking on a straight line, a desired path rather than a pre-constructed road, Richerme’s angle of this conversation takes on an entirely new path. Rather than solving the problem, as the problem is one’s music education, she elegantly modifies the question: “When is music education?”4 Richerme redirects the reader’s attention from the “spatial turn” in which the field has been engrossed to a temporal one, and from a totalizing music education to a totality of music education:5 “My voice cannot be ‘lost’ or ‘found,’ only silenced or embraced—restrained or encouraged to grow. It will always exist in an uncertain middle, differing day after day.”6Written in eight chapters with two bookending chapters with the same title, “Rhizomatic Journeying,” while the middle chapter re-considers considering and the penultimate chapter discusses the when in music education, Richerme demands the reader to attend to not only the book’s content but the poetic delivery of its prose. One could even recite the sentences and feel the elevation. Richerme’s unique voice is laudable for its humility of approach and candid pronouncements of mistakes made along the way of becoming-toward7 music educator. When reading, I felt I was a fellow traveler crossing paths with her while she shared some of her moments with me. She and I were the Nighthawks of Edward Hopper’s painting. Richerme was there to tell her story and I was there to silently listen; “the story is told and untold. Then retold.”8 And it is in this retelling that I would like to situate this review.This volume is first and foremost an ode to music education. Richerme has a command of the music education literature which manifests itself in the myriad examples she explores. She does not claim to portray novel ideas but crossing paths with other scholars in music education concerning not only Deleuzian concepts but ethical matters of education: “deeming something ‘good for’ is not the same as finding it ‘good’ in the ethical sense.”9 She does not disagree with scholars, perhaps following Deleuzian footsteps, but complements them; an exercise in nuance and scholarly practice not always historically prevalent in the field.However, this practical side of the book that attempts to situate Deleuzian concepts within music education are brought forth at the expense of a deeper level of theoretical analysis of and engagement with their comprehensively theorized concepts such as becoming, striated space, immanence, refrain, and deterritorialization. At times, it feels as though these concepts have been magiccarpeted rather than integrated within music education situations. This volume comes across, marvellously... (shrink)

The interrogation of generative design practice with concepts from Deleuze and Guattari's A Thousand Plateaus can lead to an understanding of how creative forces are used by generative designers. The shared notion of hyperspaces, respectively parameter space and rhizomatic space, defined as smooth or striated, allows the construction of analogies producing a framework for investigating the development and presentation of form. Richard Dawkins (together with several designers inspired by his biomorphs) and Marcel Wanders, representative of the divergent (...) forms to which generative design has developed since its conception, are used to illustrate and interrogate this framework. From this interrogation the concept of trajectory (inward or outward), the direction in which smooth spaces are explored and striated space constructed, is proposed as a means to guide generative practice. (shrink)

Deleuze's cinema project identifies a crisis of movement, action and thought, established initially in the war-devastated spaces of neo-realist cinema. Indirectly these spaces subordinate architecture as the locus of crisis, which only new, temporal artistic practices can avert. However, an architectural model of the smooth and striated, revealing a sophisticated interplay of the two concepts, can reinstall design practice and the intentional built environment as part of a productive and affirmative image of thought. The designs of James Stirling, whose (...) career unfolds alongside significant developments in post-war spatial thought, reveal sensual expressions of new modes of subjectivity and individuation to accompany the increasingly aleatory and lacunary nature of movement. (shrink)

This article inquires into the clinical figure of paranoia and its constitutive role in the articulation of the nation-state discourse in Europe, uncovering a central tension between a principle of integrity and a dualist spatial configuration. A conceptual distinction between ‘border’ (finis) and ‘frontier’ (limes) will help to expose the political effects of such a tension, unveiling the way in which a solid and striated organisation of space has been mobilised in the topographic antagonism of the nation, sustaining (...) the phantasm of a self-enclosed, self-sufficient finitude. (shrink)

This article focuses on images of walking in Agnès Varda's films – Cléo de 5 à 7 (1962), Sans toit ni loi (1985), and Les Plages d’Agnès (2008). The activity of walking (as urban flânerie, circular travelling or walking backwards) is central to these films, and can be seen as a corporeal practice that not only interweaves striated and smooth spaces but also offer a gender-sensitive, political contemplation on the forces of striation and smoothing as well as a re-invention (...) of space. The women in movement in Varda's films embody a transgression of stratified territories such as the image-oriented society of the spectacle in Cléo, myths of adolescence and settled living in Sans toit ni loi, or the boundaries of aging in Les Plages d'Agnès. (shrink)

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of (...) passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall. (shrink)

The writings of Gilles Deleuze and Félix Guattari have had an immense impact on architectural discourse during the last two decades, particularly in the realm of digital design and fabrication. Well-known concepts such as the rhizomatics, striated and smooth space, and folding have become part of architectural jargon. While Deleuze and Guattari do not devote much text directly to permanent forms of architecture, they are intrigued by structures like tents, shantytowns, and burrows. This 3 volume set of writings (...) on architecture and urbanism presents a range of previously published pieces by Deleuze and Guattari and by many architectural and cultural theorists that explore the implications of their theories on the built environment. This critical collection will be useful to anyone looking into the impact of these great thinkers as it gathers together in one place the best sources for easy access. (shrink)

Abstract:This study analyses how the migrant experience is reflected in the geography of Hugo Hamilton's work of fiction entitled Hand in the Fire (2010). The novel is told from the point of view of Vid, a Serbian immigrant who is trying to settle in Ireland. The young carpenter endeavours to fit in Irish society through his friendship with a young Dublin lawyer, Kevin Concannon, who tells him that a true friend would put his “hand in the fire” for you. Through (...) the portrayal of these displaced characters, Hamilton explores his favourite themes of memory and belonging. This article focuses on the places depicted in the novel, from the Serbia that Vid has left in his past to the modern-day Dublin and the west coast of Ireland, in order to analyse how the settings of the narrative reflect the characters’ state of mind. Using Deleuze and Guattari's concepts of de/re-territorialization and of striated/smooth spaces, the examination of the geographies of the novel allows for a better understanding of the issues at stake for the characters. The liminal, deterritorialized figure of the immigrant represented by Vid is echoed by the smooth islands of the novel. In an archipelagic country where the coastline stands for the visual border, it is no wonder that the transnational protagonist is drawn to the Irish shores. On the edge of two cultures, Vid, who lives in Dún Laoghaire, south of Dublin, is gradually moving west to the striated landscape of Connemara, where he investigates on Kevin's aunt who drowned and was washed ashore the Aran Islands. (shrink)

Although considerations based on contemporary space-time theories, such as special and general relativity, seem highly relevant to the debate about persistence, their significance has not been duly appreciated. My goal in this paper is twofold: (1) to reformulate the rival positions in the debate (i.e., endurantism [three-dimensionalism] and perdurantism [four-dimensionalism, the doctrine of temporal parts]) in the framework of special relativistic space-time; and (2) to argue that, when so reformulated, perdurantism exhibits explanatory advantages over endurantism. The argument builds (...) on the fact that four-dimensional entities extended in space as well as time are relativistically invariant in a way three-dimensional entities are not. (shrink)

In Empiricism and the Philosophy of Mind Sellars introduces the image of the space of reasons, and delineates a non-traditional empiricism, uncontaminated by the Myth of the Given. Brandom takes Sellars’s drift to be against empiricism as such, against the very idea that something deserving to be called “experience” could be relevant to the acquisition of empirical knowledge in any way except merely causally. In this paper I attack Brandom’s idea that we anyway need a concession to externalism for (...) non-inferential knowledge and suggest that in the space of reasons Sellars’s, the experience play a more than merely causal role in a fully internalist epistemology of observation. (shrink)

A uniquely integrative work, this volume provides a much needed compilation of primary source material to researchers from basic neuroscience, psychology, developmental science, neuroimaging, neuropsychology and theoretical biology. * The ...

Person‐centred practice indubitably seems to be the antithesis of technology. The ostensible polarity of technology and person‐centred practice is an easy road to travel down and in their various forms has been probably travelled for decades if not centuries. By forging ahead or enduring these dualisms, we continue to approach and recede, but never encounter the elusive and the liminal space between technology and person‐centred practice. Inspired by Haraway's work, we argue that healthcare practitioners who critically consider their cyborg (...) ontology may begin the process to initiate and complicate the liminal and sought after space between technology and person‐centred practice. In this paper, we draw upon Haraway's idea that we are all materially and ontologically cyborgs. Cyborgs, the hybridity of machine and human, are part of our social reality and embedded in our everyday existence. By considering our cyborg ontology, we suggest that person‐centred practice can be actualized in the contextualized, embodied and relational spaces of technology. It is not a question of espousing technology or person‐centred practice. Such dualisms have been historically produced and reproduced over many decades and prevented us from recognizing our own cyborg ontology. Rather, it is salient that we take notice of our own cyborg ontology and how technological, habitual ways of being may prevent (and facilitate) us to recognize the embodied and contextualized experiences of patients. A disruption and engagement with the habitual can ensure we are not governed by technology in our logics and practices of care and can move us to a conscious and critical integration of person‐centred practice in the technologized care environments. By acknowledging ourselves as cyborgs, we can recapture and preserve our humanness as caregivers, as well as thrive as we proceed in our technological way of being. (shrink)

In this paper we explore the phenomenon of writing online. We ask, ‘Is writing by means of online technologies affected in a manner that differs significantly from the older technologies of pen on paper, typewriter, or even the word processor in an off‐line environment?’ In writing online, the author is engaged in a spatial complexity of physical, temporal, imaginal, and virtual experience: the writing space, the space of the text, cyber space, etc. At times, these may provide (...) a conduit to a writerly understanding of human phenomena. We propose that an examination of the phenomenological features of online writing may contribute to a more pedagogically sensitive understanding of the experiences of online seminars, teaching and learning. (shrink)

In this paper I investigate central temporal and spatial notions in the second part of Plato’s Parmenides and argue that also these notions, and not only the metaphysical ones usually discussed in the literature, can be understood as a response to positions and problems put on the table by Parmenides and Zeno. Of the spatial notions examined in the dialogue, I look at the problems raised for possessing location and shape, while with respect to temporal notions, I focus on the (...) discussion of ‘being in time’ and exaiphnês (the latter notion will be shown to be also an important influence for Aristotle’s Physics). In displaying a paradoxical character and taking up crucial notions from Parmenides, the second part of the Parmenides seems to display some resemblance to Zeno’s paradoxes. I will show, however, that in contrast to Zeno, the second part of Plato’s Parmenides also demonstrates Parmenides’ One to be problematic on its own terms. Furthermore, the dialogue presents not only important problems that these spatial and temporal notions seem to lead us into, but also establishes some positive features necessary to think of time and space. In this way, Plato’s Parmenides can be seen as contributing to the development of temporal and spatial conceptualisations in ancient Greek thought. (shrink)

Providing meaningful and actionable explanations for end-users is a situated problem requiring the intersection of multiple disciplines to address social, operational, and technical challenges. However, the explainable artificial intelligence community has not commonly adopted or created tangible design tools that allow interdisciplinary work to develop reliable AI-powered solutions. This paper proposes a formative architecture that defines the explanation space from a user-inspired perspective. The architecture comprises five intertwined components to outline explanation requirements for a task: (1) the end-users’ mental (...) models, (2) the end-users’ cognitive process, (3) the user interface, (4) the Human-Explainer Agent, and (5) the agent process. We first define each component of the architecture. Then, we present the Abstracted Explanation Space, a modeling tool that aggregates the architecture’s components to support designers in systematically aligning explanations with end-users’ work practices, needs, and goals. It guides the specifications of what needs to be explained (content: end-users’ mental model), why this explanation is necessary (context: end-users’ cognitive process), to delimit how to explain it (format: Human-Explainer Agent and user interface), and when the explanations should be given. We then exemplify the tool’s use in an ongoing case study in the aircraft maintenance domain. Finally, we discuss possible contributions of the tool, known limitations or areas for improvement, and future work to be done. (shrink)

In this paper, I undertake a conceptual analysis of ordinary usages of the concepts of “litter” and “pollution.” If “litter” or “pollution” applies to space debris in its various contexts, then in dealing with space debris as an ethical concern, we may more neatly apply arguments for the wrongness of litter and pollution to these new contexts. After engaging in a conceptual analysis of “litter” and “pollution,” I consider whether these concepts apply to space debris, examining three (...) contexts: (1) surface debris on Moon and Mars, (2) intentionally crashing objects into gas giants, ice giants, and stars, and (3) the pressing issue of orbital space debris. I conclude by finding that neither “litter” nor “pollution” cleanly applies to any of these three contexts. (shrink)

The last decade has seen a new wave of interest in philosophical and theoretical circles in the writings of Walter Benjamin. In _Body-and Image-Space_ Sigrid Weigel, one of Germany's leading feminist theorists and a renowned commentator on the work of Walter Benjamin, argues that the reception of his work has so far overlooked a crucial aspect of his thought - his use of images. Weigel shows that it is precisely his practice of thinking in images that holds the key to (...) understanding the full complexity, richness and topicality of Benjamin's theory. (shrink)

Under the leadership of Joshua Lederberg, some American biologists and chemists proposed exobiology as the most legitimate program for space research. These scientists used the fear of contamination—of earth and other planets—as a central argument for funding “nonpolitical,” “scientifically valid” experiments in extraterrestrial life detection. Exobiology's resemblance to popular science fiction narratives presented a significant challenge to its advocates' scientific authority. Its most practical applications, moreover, bore an unseemly resemblance to the United States Army's research on biological weapons. At (...) the same time that exobiologists wanted to use the media to attract support for their program, they had to monitor their statements carefully in order to maintain their view of exobiology as a peaceful, scientifically valid research program. In examining how exobiology's creators positioned their work in comparison to other space sciences as well as science fiction, this case study highlights how cultural and political imperatives entered science through practice and narrative during the Cold War. Since there are still so many unanswered scientific questions and problems all around us on earth, why should we start asking new questions and seeking out new problems in space? How can the results justify the costs?—“Introduction to Outer Space” (1958). (shrink)

This book, explores the conceptual foundations of Einstein's theory of relativity: the fascinating, yet tangled, web of philosophical, mathematical, and physical ideas that is the source of the theory's enduring philosophical interest. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of (...) the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

In delineating a trajectory of human history, anthropology and other social sciences have tended to describe traditional life in particular geographic terms while leaving modem experience universal in scope. Studies of science and technology, while helping to locate and describe centers of modern practice, have less frequently explored their edges. Using a case study of the location of the primary French/european space launch site in French Guiana, this article examines technologies associated with the development of space beyond the (...) atmosphere by evaluating the impact of rockets and satellites on the construction of human space on the ground. Exploring the social significance of a modem sky and its transformation of one tropical margin into a technical center, the question of where things are becomes one of how they are defined. The modem appears less a placeless universal center and more a moving boundary, one dividing humans, nature, and technology into less stable domains. (shrink)