How should we understand the experience of encountering and interpreting images? What are their roles in science and medicine? How do they shape everyday life? Postphenomenology and Imaging: How to Read Technology brings together scholars from multiple disciplines to investigate these questions. The contributors make use of the “postphenomenological” philosophical perspective, applying its distinctive ideas to the study of how images are experienced. These essays offer both philosophical analysis of our conception of images and empirical studies of imaging practice. Edited by Samantha J. Fried and Robert Rosenberger, this collection includes an extensive “primer” chapter introducing and expanding the postphenomenological account of imaging, as well as a set of short pieces by “critical respondents”: prominent scholars who may not self-identify as doing postphenomenology but whose adjacent work is illuminating.

Postphenomenology is a fascinating investigation of the relationships between global culture and technology. The impressive range of subjects to which Don Ihde applies his skill as a phenomenologist is unified by what he describes as "a concern which arises with respect to one of the now major trends of Euro-American philosophy--its textism." He adds, "I show my worries to be less about the loss of subjects or authors, than I do about [there] not being bodies or perceivers."

Postphenomenological Investigations: Essays on Human–Technology Relations provides an introduction to the school of thought called postphenomenology and showcases projects at the cutting edge of this perspective. Postphenomenology presents a unique blend of insights from the philosophical traditions of phenomenology and American pragmatism, and applies them to studies of user relations to technologies. These studies provide deep descriptions of the ways technologies transform our abilities, augment our experience, and shape the world around us. This book proceeds with a preface by Don Ihde, postphenomenology’s founder, and a detailed review of the main ideas of this perspective by the editors Robert Rosenberger and Peter-Paul Verbeek. The body of this volume is composed of twelve postphenomenological essays which reflect the expansive range, detail-orientation, and interdisciplinarity of this school of thought. These essays confront a broad assortment of topics, both abstract and concrete. Abstract topics addressed include metaphysics, ethics, methodology, and analysis of the notions of selfhood, skill training, speed, and political activism. Just a few of the concrete topics studied include human-like interactive robots, ethics education, image interpretation in radiology, science fiction tropes, transportation history, wearable computing, and organ donation protocols for brain-dead bodies. The volume concludes with constructive critiques of postphenomenology by Andrew Feenberg, Diane Michelfelder, and Albert Borgmann, all figures whose work is relevant to postphenomenological projects.

This edited volume is the first publication to tackle the issue of researching human-technology relations from a methodological postphenomenological perspective. While the ‘traditional’ phenomenology of the 20th century, with figures like Husserl, Heidegger and Merleau-Ponty, provided valuable insights into the formal structures of essence, being and embodiment, etc. their mode of philosophizing mostly involved abstract ‘pure’ thinking. Although rooted in this tradition, the postphenomenological approach to the study of human-technology relations emphasizes the “empirical turn” and interdisciplinary work in the field of philosophy – and reaches out to other disciplines like anthropology, education, media studies, and science and technology studies (STS). The contributors discuss what it means for the field of postphenomenology to be empirically based and what kind of methodology is required in order for researchers to go out and study human-technology relations in this perspective. In many disciplines, methodology refers to the analytical approach taken – e.g. the analytical concepts you employ to make an analysis; in postphenomenology, these might include concepts such as multistability, variation, or mediation. In a discipline like anthropology, it also refers to reflections over the methods researchers use to approach an empirical field. Methods can include interviews of different kinds, participant observations, surveys, and auto-ethnography. Furthermore, methodology can include ethical issues tied to doing research in an empirical field. These practical aspects are not separate from, but rather connected to, theoretical approaches. This book ties together the methods, ethics, and theories of postphenomenology in a groundbreaking volume on methodology. With postphenomenological studies of education, digital media, biohacking, health, robotics, and skateboarding as points of reference, the authors of this volume, in twelve chapters, provide new perspectives on what a comprehensive postphenomenological research methodology must consist of.

Science is highly dependent on technologies to observe scientific objects. For example, astronomers need telescopes to observe planetary movements, and cognitive neuroscience depends on brain imaging technologies to investigate human cognition. But how do such technologies shape scientific practice, and how do new scientific objects come into being when new technologies are used in science? In How Scientific Instruments Speak, Bas de Boer develops a philosophical account of how technologies shape the reality that scientists study, arguing that we should understand scientific instruments as mediating technologies. Rather than mute tools serving pre-existing human goals, scientific instruments play an active role in shaping scientific work. De Boer uses this account to discuss how brain imaging and stimulation technologies mediate the way in which cognitive neuroscientists investigate human cognitive functions. The development of cognitive neuroscience runs parallel with the development of advanced brain imaging technologies, drawing a lot of public attention—sometimes called “neurohype”—because of its alleged capacity to demystify the human mind. By analyzing how the objects that cognitive neuroscientists study are mediated by brain imaging technologies, de Boer explicates the processes by which human cognition is investigated.

Postphenomenology is the first book devoted exclusively to the interpretation and advancement of prominent phenomenologist Don Ihde's landmark contributions to history, philosophy, sociology, science, sound studies, and technology studies. Ihde has made a direct and lasting impact on the study of technological experience across the disciplines and acquired an international following of diverse scholars along the way, many of whom contribute to Postphenomenology, including Albert Borgmann, who characterizes Ihde as being "among the most interesting and provocative contemporary American philosophers." The contributors situate, assess, and apply Ihde's philosophy with respect to the primary themes that his oeuvre emphasizes. They not only clarify Ihde's work, but also make significant contributions to the philosophy of technology, phenomenology, hermeneutics, and the philosophy of science. A comprehensive response from Ihde concludes the volume.

Postphenomenology and Media: Essays on Human–Media–World Relations sheds light on how new, digital media are shaping humans and their world. It does so by using the postphenomenological framework to comprehensively study “human-media relations,” making use of conceptual instruments such as the transparency-opacity distinction, embodiment, multistability, variational analysis, and cultural hermeneutics. This collection outlines central issues of media and mediation theory that can be explored postphenomenologically and showcases research at the cutting edge of philosophy of media and technology. The contributors together enlarge the range of thinking about human-media-world relations in contemporary society, reflecting the interdisciplinary range of this school of thought, and explore, sometimes self-reflexively and sometimes critically, the provocative landscape of postphenomenology and media.