What Is Technology? Where Did The Word Technology Come From? The Rise Of Technology Nowadays

What Is Technology? Where Did The Word Technology Come From? The Rise Of Technology Nowadays

Technology is one of the keywords in our world, but it is also one of the most confusing things. As an analysis, it seems essential in our understanding of the whole of human history and beyond. We can be relieved to say that humans were proficient in polythene and were recognized by their use of tools, from shepherds to monkeys. The 'technology' of the latest crop is astonishing as a character, although the terms associated with it - technology, art, etc. - have a very long history. However, even the latest English word 'technology' has reached books that are often controversial. I have three goals in this review of the article. First, I provide an overview of Eric Schatzberg's new technology, which opens up and explains the history of 'technique' and their carpentry as a category of artists. Second, I will analyze this more thoroughly and argue that Schatzberg somehow changed the old way of thinking, what he called 'traditional' and 'instrumental', and made a mistake when he preferred the former over the latter. We do. Third, I extend my preferred definition of music, emphasizing important technical characteristics—their intrusive ability—as I suggest, to the scientific and technical research of Eric Schatzberg. Provides new, inspiring direction. Technical definitions prior to 1930, which emerged in 2006 in Technology and Culture, were important to student learning and were excellent clues to the subject. In Technology: A Critical History of the Brain, Schitzberg expands the perspective on everything presented in this article, giving this insight a good look at current best history. This will be normal for years to come.

        Scientifically, 'technology' is derived from the Indo-European root tek, 'a term that can refer to the construction of wooden houses by means of coding, i.e. making sticks' (p. 19). 'Technology' sounds the same. Tech brings Greek techniques, the first woodworking techniques, but soon spread to a specialized art, 'learning how', the knowledge of making things that would not exist. Therefore, Techni was concerned about performance. Still there were arguments. Medicine was a technique, at least to some Hippocratic writers. However, was it speech technology? Plato said no, Aristotle said yes. In Nicomachean ethics, Aristotle went further: although technology was the source of knowledge (achievement, the arts), it would be divided into suffrage (moral knowledge, practical knowledge) and epistemology (eternal knowledge). In addition, all three were placed in the management category. It was better than knowing how to do it. This led to the diffusion of resources and sanctions of the governing body. The latter are probably important, but the means to get to where they are not and the emphasis on that point has become 'morally neutral' (p. 22).

        Schutzberg is careful to balance these conflicts. Aristotle defends the position of authority: people of higher status can find time and freedom in endless thinking and philosophical assurances that they can do well, while those of lower status have the ability to live. hard work. Wash off. However, the contempt for the bonsack - the base, the manual - was transferred from the Greek to the High Roman tradition.

        While the great diversity of Aristotle was lost, the hierarchy remained as a technique, or Latin arc, that included all forms of learning. In the 2nd century AD, Galen covered everything from design and craftsmanship (contempt), medicine, philosophy and mathematics (finally, with reverence, 'free art'). In early medieval Europe, influential officials required greater communication between the clergy and the artisans, which encouraged deeper contemplation. The result was a new phase: 'mechanical art'. Like Lane White and Elispeth Whitney, Schatzberg attributed this class to the 12th-century theologian Hugh St. Victor, although unlike White he insisted that mechanical art was still inferior to free art.

        From the fifteenth century onwards, Schutzberg and his successors, the so-called 'new alliance of techniques and proxies', promoted a belief in increasing political, military and commercial power in the arts, the 'explosion of literary art', with some high individuals. and the ranking of others themselves (pp. 43-4). However, it was not a mixture of comparisons, and 'with difficulty' – that it has the potential to disrupt the social order – exists. Mechanical arts remain short-lived, although their status has been updated in some way or the other. Francis Bacon's work such as New Organ and New Atlantis is an example for respondents to reject the 'division of science and materialism'. Visually written.

        Two other events in the eighteenth and nineteenth centuries strengthened the state. First, the definition of a clear category of 'visual arts' separates artistic skill from mechanical engineering. The words 'artist' and 'art' became separate. Second, the 'scientific' relationship with the industry was not considered.

        

 What is technology?The technology thus entered the twentieth century as the science of industrial art, an art term for the German cameraman, and a brand in the United States. Eventually, however, the German concept of technology will have a major impact. After 1850, German engineers adopted the term technology in a broader sense, which is not limited to a semantic meaning, but a unified and culturally significant category that covers the art of material production. Such an idea built on professional identity placed engineers within a culture rather than a decline, thus enabling them to achieve a higher social status. The move, in turn, raised questions about the relationship between technology and culture. Although it was the German engineer who described the broader concept of the technique, it was the German social scientists who further investigated the problem. For example, Walter Sombert argued in his 1911 essay "Technology and Culture" that the causal link was two-way. "In many ways," Schotzberg said, "this analysis is similar to a critique of the technical commitment that took place among American technicians in the 1960s and 1970s" (p. 112). The broader concept was decisively introduced into English when Thorstein Veblen took and expanded the category of technology to industrial art in the early 1900s, but translated it as 'technology'.