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Virtual Futures explores the ideas that the future lies in its ability to articulate the consequences of an increasingly synthetic and virtual world. New technologies like cyberspace, the internet, and Chaos theory are often discussed in the context of technology and its potential to liberate or in terms of technophobia. This collection examines both these ideas while also charting a new and controversial route through contemporary discourses on technology; a path that discusses the material evolution and the erotic relation between humans and machines. Virtual Futures brings together diverse fields such as cyberfeminism, materialist philosophy, postmodern fiction, computing culture and performance art, with essays by Sadie Plant, Stelarc and Manuel de Landa (to name a few). The collection heralds the death of humanism and the ride of posthuman pragmatism. The contested zone of debate throughout these essays is the notion of the posthuman, or the possibility of the cyborg as the free human. Viewed by some writers as a threat to human life and humanism itself, others in the collection describe the posthuman as a critical perspective that anticipates the next step in evolution: the integration or synthesis of humans and machines, organic life and technology. This view of technology and information is heavily influenced by Anglo American literature, especially cyberpunk, Pynchon and Ballard, as well as the materialist philosophies of Freud, Deleuze, and Haraway, Virtual Futures provides analyses by both established theorists and the most innovative new voices working in conjunction between the arts and contemporary technology.
The Posthuman offers both an introduction and major contribution to contemporary debates on the posthuman. Digital 'second life', genetically modified food, advanced prosthetics, robotics and reproductive technologies are familiar facets of our globally linked and technologically mediated societies. This has blurred the traditional distinction between the human and its others, exposing the non-naturalistic structure of the human. The Posthuman starts by exploring the extent to which a post-humanist move displaces the traditional humanistic unity of the subject. Rather than perceiving this situation as a loss of cognitive and moral self-mastery, Braidotti argues that the posthuman helps us make sense of our flexible and multiple identities. Braidotti then analyzes the escalating effects of post-anthropocentric thought, which encompass not only other species, but also the sustainability of our planet as a whole. Because contemporary market economies profit from the control and commodification of all that lives, they result in hybridization, erasing categorical distinctions between the human and other species, seeds, plants, animals and bacteria. These dislocations induced by globalized cultures and economies enable a critique of anthropocentrism, but how reliable are they as indicators of a sustainable future? The Posthuman concludes by considering the implications of these shifts for the institutional practice of the humanities. Braidotti outlines new forms of cosmopolitan neo-humanism that emerge from the spectrum of post-colonial and race studies, as well as gender analysis and environmentalism. The challenge of the posthuman condition consists in seizing the opportunities for new social bonding and community building, while pursuing sustainability and empowerment.
This timely book examines the rise of posthumanism as both a material condition and a developing philosophical-ethical project in the age of cloning, gene engineering, organ transplants and implants. Nayar first maps the political and philosophical critiques of traditional humanism, revealing its exclusionary and ‘speciesist’ politics that position the human as a distinctive and dominant life form. He then contextualizes the posthumanist vision which, drawing upon biomedical, engineering and techno-scientific studies, concludes that human consciousness is shaped by its co-evolution with other life forms, and our human form inescapably influenced by tools and technology. Finally the book explores posthumanism’s roots in disability studies, animal studies and bioethics to underscore the constructed nature of ‘normalcy’ in bodies, and the singularity of species and life itself. As this book powerfully demonstrates, posthumanism marks a radical reassessment of the human as constituted by symbiosis, assimilation, difference and dependence upon and with other species. Mapping the terrain of these far-reaching debates, Posthumanism will be an invaluable companion to students of cultural studies and modern and contemporary literature.
The term “network” is now applied to everything from the Internet to terrorist-cell systems. But the word’s ubiquity has also made it a cliché, a concept at once recognizable yet hard to explain. Network Aesthetics, in exploring how popular culture mediates our experience with interconnected life, reveals the network’s role as a way for people to construct and manage their world—and their view of themselves. Each chapter considers how popular media and artistic forms make sense of decentralized network metaphors and infrastructures. Patrick Jagoda first examines narratives from the 1990s and 2000s, including the novel Underworld, the film Syriana, and the television series The Wire, all of which play with network forms to promote reflection on domestic crisis and imperial decline in contemporary America. Jagoda then looks at digital media that are interactive, nonlinear, and dependent on connected audiences to show how recent approaches, such as those in the videogame Journey, open up space for participatory and improvisational thought. Contributing to fields as diverse as literary criticism, digital studies, media theory, and American studies, Network Aesthetics brilliantly demonstrates that, in today’s world, networks are something that can not only be known, but also felt, inhabited, and, crucially, transformed.
Cyberspace, the cyborg and cyberpunk have given feminists new imaginative possibilities for thinking about embodiment and identity in relation to technology. This is the first anthology of the key essays on these potent metaphors. Divided into three sections (Technology, Embodiment and Cyberspace; Cybersubjects: Cyborgs and Cyberpunks; Cyborg Futures), the book addresses different aspects of the human-technology interface. The extensive introduction surveys the ways cyborg and cyberspace metaphors have been used in relation to current critical theory and indicates the context for the specific essays. This is an invaluable guide for students studying any aspects of contemporary theory and culture.* Brings together in a unique collection the work of key authors in feminist and cyber theory* Demonstrates the wide range of contemporary critical work* Challenges constructions of gender, race and class* An extensive introduction surveys the ways cyborg and cyberspace metaphors have been used in relation to current critical theory* Brief section introductions indicate the context for the specific essays
Over 25 years ago, Raymond Williams’ Keywords: A Vocabulary of Culture and Society set the standard for how we understand and use the language of culture and society. Now, three luminaries in the field of cultural studies have assembled a volume that builds on and updates Williams’ classic, reflecting the transformation in culture and society since its publication. New Keywords: A Revised Vocabulary of Culture and Society is a state-of-the-art reference for students, teachers and culture vultures everywhere. Assembles a stellar team of internationally renowned and interdisciplinary social thinkers and theorists Showcases 142 signed entries – from art, commodity, and fundamentalism to youth, utopia, the virtual, and the West – that capture the practices, institutions, and debates of contemporary society Builds on and updates Raymond Williams’s classic Keywords: A Vocabulary of Culture and Society, by reflecting the transformation in culture and society over the last 25 years Includes a bibliographic resource to guide research and cross-referencing The book is supported by a website: www.blackwellpublishing.com/newkeywords.
This book gathers diverse critical treatments from fifteen scholars of the posthuman and posthumanism together in a single volume.
This text attempts to shape definitions of the American science fiction film, studying the connection between the films and social preconceptions. It covers many classic films and discusses their import, seeking to rescue the genre from the neglect of film theorists. The book should appeal to both film buff and fans of science fiction.
Scientists, scholars, and artists consider the political significance of recent advances in the biological sciences. Popular culture in this “biological century” seems to feed on proliferating fears, anxieties, and hopes around the life sciences at a time when such basic concepts as scientific truth, race and gender identity, and the human itself are destabilized in the public eye. Tactical Biopolitics suggests that the political challenges at the intersection of life, science, and art are best addressed through a combination of artistic intervention, critical theorizing, and reflective practices. Transcending disciplinary boundaries, contributions to this volume focus on the political significance of recent advances in the biological sciences and explore the possibility of public participation in scientific discourse, drawing on research and practice in art, biology, critical theory, anthropology, and cultural studies. After framing the subject in terms of both biology and art, Tactical Biopolitics discusses such topics as race and genetics (with contributions from leading biologists Richard Lewontin and Richard Levins); feminist bioscience; the politics of scientific expertise; bioart and the public sphere (with an essay by artist Claire Pentecost); activism and public health (with an essay by Treatment Action Group co-founder Mark Harrington); biosecurity after 9/11 (with essays by artists' collective Critical Art Ensemble and anthropologist Paul Rabinow); and human-animal interaction (with a framing essay by cultural theorist Donna Haraway). Contributors Gaymon Bennett, Larry Carbone, Karen Cardozo, Gary Cass, Beatriz da Costa, Oron Catts, Gabriella Coleman, Critical Art Ensemble, Gwen D'Arcangelis, Troy Duster, Donna Haraway, Mark Harrington, Jens Hauser, Kathy High, Fatimah Jackson, Gwyneth Jones, Jonathan King, Richard Levins, Richard Lewontin, Rachel Mayeri, Sherie McDonald, Claire Pentecost, Kavita Philip, Paul Rabinow, Banu Subramanian, subRosa, Abha Sur, Samir Sur, Jacqueline Stevens, Eugene Thacker, Paul Vanouse, Ionat Zurr