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In his recent work La technique et le temps (Technics and Time) the French philosopher Bernard Stiegler has tried to rethink the relationship between the human and what he calls " technics " (la technique). Stiegler uses this term to refer not only to modern technology but all " organised inorganic matter " , that is everything from flint tools, through systems of writing, to modern telecommunications. Stiegler sees technics as the " exteriorisation " or " invention " of the human: the human is constituted through the " prosthesis " of technical supports. Of the three volumes of La Technique et le temps that have so far appeared, the first volume, La faute d'Épiméthée (1994), introduces the concept of technics and argues for understanding the origin of the human as the origin of technics. 1 The second volume, La désorientation (1996), discusses two crucial shifts in the history of technics: the birth of " orthographic " writing and the emergence of tele-technologies which Stiegler thinks of as the " industrialisation of memory ". 2 The third volume, Les temps du cinéma (2001), develops Stiegler's argument about the industrialisation of memory in relation to cinema. 3 Stiegler's work can be seen as strongly indebted to that of Jacques Derrida. This is evident in two ways. Firstly, Stiegler incorporates and creatively transforms a number of key Derridean themes such as différance, supplementarity (which Stiegler pushes is the direction of a general theory of the technical " supplement "), and " aporia ". In particular he sees his work on technics as developing Derrida's " logic of the supplement " into a " history of the supplement ". 4 Secondly, Stiegler generates his thesis through a deconstructive reading of philosophical and historical thinking on technology. One example of the latter which we will examine here is his reading of

Rousseau, Stiegler and the Aporia of Origin