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The Dark Posthuman: Dehumanization, Technology, and the Atlantic World explores how liberal humanism first enlivened, racialized, and gendered global cartographies, and how memory, ancestry, expression, and other aspects of social identity founded in its theories and practices made for the advent of the category of the posthuman through the dimensions of cultural, geographic, political, social, and scientific classification. The posthuman is very much the product of world-building narratives that have their beginnings in the commercial franchise and are fundamentally rooted in science, governance, and economics around the hegemonic appropriation of environments and commodification of bodies that initially fuelled white settler life worlds and continue to be operational in the way we conceive of these worlds as continuous ontological formations. The want has always been for ownership of any of these dimensions of being without regard to condition, to not remain stranded as the subsidiary of another's being, to another's claim to humanity, and finally, to escape the suffocating confines of an instrumental ontology that suggests a subcategory of humanity without rights onto itself. The Dark Posthuman distinguishes the posthuman's place within both the liberal and neoliberal imaginary and reveals how its appearance first entrenched itself through the avarice of English settler colonialism, and subsequently, through the paranoia of American slavery. This same figure of the posthuman played a crucial role in the functional adaptation of Cold War behavioural cybernetics, and thereafter, in the fetishization of technology within the era of global financialization. The shadowing of this arrangement during and beyond the long duration of humanity's domination of this world becomes the structural web work of this book. Stephanie Polsky is an interdisciplinary writer and academic working in the areas of Media Studies and Visual Culture. Her work explores the confluence of power around race and gender as technologies of governance. She has lectured widely in media and cultural studies, critical theory, and visual culture at a number of prestigious institutions including Goldsmiths University, Regent's University London, University of Greenwich, and Winchester School of Art. Most recently she has worked at California College of the Arts in Critical Studies and Diversity Studies. She holds a PhD in Visual Cultures from Goldsmiths, University of London and an MA in Media Studies from the University of Sussex. Her books include The End of the Future: Governing Consequence in the Age of Digital Sovereignty (Academica Press, 2019), Ignoble Displacement: Dispossessed Capital in Neo-Dickensian London (Zero Books, 2015), and Walter Benjamin's Transit: A Destructive Tour of Modernity (Academica Press, 2009).
Posthuman Blackness and the Black Female Imagination examines the future-oriented visions of black subjectivity in works by contemporary black women writers, filmmakers, and musicians, including Toni Morrison, Octavia Butler, Julie Dash, and Janelle Monáe. In this innovative study, Kristen Lillvis supplements historically situated conceptions of blackness with imaginative projections of black futures. This theoretical approach allows her to acknowledge the importance of history without positing a purely historical origin for black identities. The authors considered in this book set their stories in the past yet use their characters, particularly women characters, to show how the potential inherent in the future can inspire black authority and resistance. Lillvis introduces the term “posthuman blackness” to describe the empowered subjectivities black women and men develop through their simultaneous existence within past, present, and future temporalities. This project draws on posthuman theory—an area of study that examines the disrupted unities between biology and technology, the self and the outer world, and, most important for this project, history and potentiality—in its readings of a variety of imaginative works, including works of historical fiction such as Gayl Jones’s Corregidora and Morrison’s Beloved. Reading neo–slave narratives through posthuman theory reveals black identity and culture as temporally flexible, based in the potential of what is to come and the history of what has occurred.
What does it mean to think beyond humanism? Is it possible to craft a mode of philosophy, ethics, and interpretation that rejects the classic humanist divisions of self and other, mind and body, society and nature, human and animal, organic and technological? Can a new kind of humanities-posthumanities-respond to the redefinition of humanity's place in the world by both the technological and the biological or "green" continuum in which the "human" is but one life form among many? Exploring how both critical thought along with cultural practice have reacted to this radical repositioning, Cary Wolfe-one of the founding figures in the field of animal studies and posthumanist theory-ranges across bioethics, cognitive science, animal ethics, gender, and disability to develop a theoretical and philosophical approach responsive to our changing understanding of ourselves and our world. Then, in performing posthumanist readings of such diverse works as Temple Grandin's writings, Wallace Stevens's poetry, Lars von Trier's Dancer in the Dark, the architecture of Diller+Scofidio, and David Byrne and Brian Eno's My Life in the Bush of Ghosts, he shows how this philosophical sensibility can transform art and culture. For Wolfe, a vibrant, rigorous posthumanism is vital for addressing questions of ethics and justice, language and trans-species communication, social systems and their inclusions and exclusions, and the intellectual aspirations of interdisciplinarity. In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. In doing so, Wolfe reveals that it is humanism, not the human in all its embodied and prosthetic complexity, that is left behind in posthumanist thought.
This collection explores the Black body in the context of transhuman realities from a variety of literary and artistic perspectives. Contributing to broader thought about Black transcendence of subjectivity in a posthuman framework, the chapters explore interpretations of the “old” and visions of the “new” human.
We imagine posthumans as humans made superhumanly intelligent or resilient by future advances in nanotechnology, biotechnology, information technology and cognitive science. Many argue that these enhanced people might live better lives; others fear that tinkering with our nature will undermine our sense of our own humanity. Whoever is right, it is assumed that our technological successor will be an upgraded or degraded version of us: Human 2.0. Posthuman Life argues that the enhancement debate projects a human face onto an empty screen. We do not know what will happen and, not being posthuman, cannot anticipate how posthumans will assess the world. If a posthuman future will not necessarily be informed by our kind of subjectivity or morality the limits of our current knowledge must inform any ethical or political assessment of that future. Posthuman Life develops a critical metaphysics of posthuman succession and argues that only a truly speculative posthumanism can support an ethics that meets the challenge of the transformative potential of technology.
A sustained engagement between contemporary art and philosophy relating to our place in, and responsibility to, the nonhuman world How do contemporary art and theory contemplate the problem of the “bio” of biopolitics and bioart? How do they understand the question of “life” that binds human and nonhuman worlds in their shared travail? In Art and Posthumanism, Cary Wolfe argues for the reconceptualization of nature in art and theory to turn the idea of the relationship between the human and the planet upside down. Wolfe explores a wide range of contemporary artworks—from Sue Coe’s illustrations of animals in factory farms and Eduardo Kac’s bioart to the famous performance pieces of Joseph Bueys and the video installations of Eija-Liisa Ahtila, among others—examining how posthumanist theory can illuminate, and be illuminated by, artists’ engagement with the more-than-human world. Looking at biological and social systems, the question of the animal, and biopolitics, Art and Posthumanism explores how contemporary art rivets our attention on the empirically thick, emotionally charged questions of “life” and the “living” amid ecological catastrophe. One of the foremost theorists of posthumanism, Wolfe pushes that philosophy out of the realm of the purely theoretical to show how a posthumanist engagement with particular works and their conceptual underpinnings help to develop more potent ethical and political commitments.
What is the 'posthuman'? Is becoming posthuman inevitable-something which will happen to us, or something we will do to ourselves? Why do some long for it, while others fearfully reject it? These questions underscore the fact that the posthuman is a name for the unknown future, and therefore, not a single idea but a jumble of competing visions - some of which may be exciting, some of which may be frightening, and which is which depends on who you are, and what you desire to be. This book aims to clarify current theological and philosophical dialogue on the posthuman by arguing that theologians must pay attention to which form of the posthuman they are engaging, and to demonstrate that a 'posthuman theology' is not only possible, but desirable, when the vision of the posthuman is one which coincides with a theological vision of the human.
This book examines the concepts of Post/Humanism and Transhumanism as depicted in superhero comics. Recent decades have seen mainstream audiences embrace the comic book Superhuman. Meanwhile there has been increasing concern surrounding human enhancement technologies, with the techno-scientific movement of Transhumanism arguing that it is time humans took active control of their evolution. Utilising Deleuze and Guattari’s notion of the rhizome as a non-hierarchical system of knowledge to conceptualize the superhero narrative in terms of its political, social and aesthetic relations to the history of human technological enhancement, this book draws upon a diverse range of texts to explore the way in which the posthuman has been represented in superhero comics, while simultaneously highlighting its shared historical development with Post/Humanist critical theory and the material techno-scientific practices of Transhumanism.
Posthuman Gothic is an edited collection of thirteen chapters, and offers a structured, dialogical contribution to the discussion of the posthuman Gothic. Contributors explore the various ways in which posthuman thought intersects with Gothic textuality and mediality. The texts and media under discussion – from I am Legend to In the Flesh, and from Star Trek to The Truman Show, transgress the boundaries of genre, moving beyond the traditional scope of the Gothic. These texts, the contributors argue, destabilise ideas of the human in a number of ways. By confronting humanity and its Others, they introduce new perspectives on what we traditionally perceive as human. Drawing on key texts of both Gothic and posthumanist theory, the contributors explore such varied themes as posthuman vampire and zombie narratives, genetically modified posthumans, the posthuman in video games, film and TV, the posthuman as a return to nature, the posthuman’s relation to classic monster narratives, and posthuman biohorror and theories of prometheanism and accelerationism. In its entirety, the volume offers a first attempt at addressing the various intersections of the posthuman and the Gothic in contemporary literature and media.
Posthuman Urbanism explores what it means to live in an urban environment with reference to posthuman theory. The book argues that contemporary science and technology offers radically different ways for changing the way we live in city spaces today.