Thomas A. Carlson

Reveals a religiously diverse pre-industrial society in the Middle East, broadening studies of global Christianity and challenging Islamic history's exceptionalism.

Christianity in Fifteenth-Century Iraq

Mary-Jane Rubenstein

Mark C. Taylor

Modern life is steeped in images, image-making, and attempts to control the world through vision. Mastery of images has been advanced by technologies that expand and reshape vision and enable us to create, store, transmit, and display images. The three essays in Image, written by leading philosophers of religion Mark C. Taylor, Mary-Jane Rubenstein, and Thomas A. Carlson, explore the power of the visual at the intersection of the human and the technological. Building on Heidegger’s notion that modern humanity aims to master the world by picturing or representing the real, they investigate the contemporary culture of the image in its philosophical, religious, economic, political, imperial, and military dimensions, challenging the abstraction, anonymity, and dangerous disconnection of contemporary images. Taylor traces a history of capitalism, focusing on its lack of humility, particularly in the face of mortality, and he considers art as a possible way to reconnect us to the earth. Through a genealogy of iconic views from space, Rubenstein exposes the delusions of conquest associated with extraterrestrial travel. Starting with the pressing issues of surveillance capitalism and facial recognition technology, Carlson extends Heidegger’s analysis through a meditation on the telematic elimination of the individual brought about by totalizing technologies. Together, these essays call for a consideration of how we can act responsibly toward the past in a way that preserves the earth for future generations. Attending to the fragility of material things and to our own mortality, they propose new practices of imagination grounded in love and humility.

Three Inquiries in Technology and Imagination

Image

How can one think and name an inconceivable and ineffable God? Christian mystics have approached the problem by speaking of God using "negative" language—devices such as grammatical negation and the rhetoric of "darkness" or "unknowing"—and their efforts have fascinated contemporary scholars. In this strikingly original work, Thomas A. Carlson reinterprets premodern approaches to God's ineffability and postmodern approaches to the mystery of the human subject in light of one another. The recent interest in mystical theological traditions, Carlson argues, is best understood in relation to contemporary philosophy's emphasis on the idea of human finitude and mortality. Combining both historical research in theology (from Pseudo-Dionysius to Aquinas to Eckhart) and contemporary philosophical analysis (from Hegel and Nietzsche to Heidegger, Derrida, and Marion), Indiscretion will interest philosophers, theologians, and other scholars concerned with the possibilities and limits of language surrounding both God and human subjectivity.

Finitude and the Naming of God

Indiscretion

Professor Thomas A. Carlson

"What are the primary characteristics that define what it means to be human? And what happens to those characteristics in the face of technology past, present, and future? The three essays in Image, by leading philosophers of religion Mark Taylor, Mary-Jane Rubenstein, and Thomas Carlson, play at this intersection of the human and the technological, building out from Heidegger's notion that humans master the world by picturing or representing the real.Taylor's essay traces a history of capitalism, dwelling on the lack of humility, particularly in the face of our own mortality, that is the persistent failure of humans, before turning to art as a possible way to bring us back to earth and recover humility before it is too late. Rubenstein zeroes in on the delusions of imaginative conquest associated with space travel. Through a genealogy of the modern "view from space" from the iconic Earth rise photo of 1968 up to the new privatized American space race, Rubenstein provides an analysis of the perils of the one-world and the false unity it projects. In his essay, Carlson takes as his starting point the surveillance capitalism of facial recognition technology. He dives deep into Heidegger to meditate on the elimination of individuals through totalizing gestures and the relationship between such elimination and our encounters with mortality. Each of these essays, in its own way, reflects on the nature of imagination, the character of technological vision in contemporary culture, and the implications of these for the kinds of sociality and love that condition our human experience"--

Humanity’s creative capacity has never been more unsettling than it is at our current moment, when it has ushered us into new technological worlds that challenge the very definition of “the human.” Those anxious to safeguard the human against techno-scientific threats often appeal to religious traditions to protect the place and dignity of the human. But how well do we understand both theological tradition and today’s technological culture? In The Indiscrete Image, Thomas A. Carlson challenges our common ideas about both, arguing instead that it may be humanity’s final lack of definition that first enables, and calls for, human creativity and its correlates—including technology, tradition, and their inextricable interplay within religious existence. Framed in response to Martin Heidegger’s influential account of the relation between technological modernity and theological tradition, The Indiscrete Image builds an understanding of creativity as conditioned by insurmountable unknowing and incalculable possibility through alternative readings of Christian theological tradition and technological culture—and the surprising resonance between these two. Carlson concludes that the always ongoing work of world creation, tied essentially to human self-creation, implies neither an idol’s closure nor an icon’s transcendence, but the “indiscrete image” whose love makes possible—by keeping open—both the human and its world.

Thomas A. Carlson

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