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The Posthuman and the Post-Biological

The Posthuman and the Post-Biological. The goal of the post-human is a zoo of posthumanities rather than the family of man Judith/Jack Halberstam & Ira Livingston. Mary Shelley, Frankenstein (1818).

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The Posthuman and the Post-Biological

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  1. The Posthuman and the Post-Biological

  2. The goal of the post-human is a zoo of posthumanities rather than the family of man Judith/Jack Halberstam & Ira Livingston

  3. Mary Shelley, Frankenstein (1818)

  4. What defines the human changes historically – we call this process an anthropological machine Giorgio Agamben, The Open

  5. This anthropological machine is a continuum with animals on one side and technologies on the other

  6. Animals

  7. Technologies

  8. More Than Human H.G. Wells, The Time Machine (1895) Olaf Stapledon, Last and First Men (1930) Robert Silverberg, Son of Man (1971)

  9. Human + Machine Frederick Pohl, Man Plus (1976) William Gibson, Neuromancer (1984) Marge Piercy, He, She and It (1991) Amy Thomson, Virtual Girl (1993)

  10. The Posthuman

  11. PandorumChristian Alvart 2009 Biomedia Post-biological

  12. PandorumChristian Alvart 2009 Hunters have evolved from an enzyme to make humans accommodate better to a new planetary environment

  13. PandorumChristian Alvart 2009 This is a posthuman future as nightmare — we will try to create better ways of surviving, but in the process we will create something inhuman

  14. PandorumChristian Alvart 2009 Biomedia experiments will end in a different form of degeneracy, making us more animal than human in the process

  15. SpliceVincenzo Natali 2009 Biomedia Ethics Gender

  16. SpliceVincenzo Natali 2009 Splicing genes from human and animal creates Dren, blurring boundaries between animal, human and technology

  17. SpliceVincenzo Natali 2009 The anthropological machine in Splice revolves around the complicated issue of biomedia and rights. Dren is not human — not entirely — and this why transgressions against her are okay

  18. SpliceVincenzo Natali 2009 The ambiguity of Dren is strong, both in terms of gender and her status as human.

  19. SpliceVincenzo Natali 2009 The posthumanity in Splice is both overt and subtle. The genetic engineering of humans is presented as a dangerous path but also a path which we inevitably will walk down.

  20. SpliceVincenzo Natali 2009 We face both desire and disgust for Dren, yet are mostly empathic to her situation for most of the film.

  21. The Windup GirlPaolo Bacigalupi 2009 Biomedia New People

  22. The Windup GirlPaolo Bacigalupi 2009 All fossil fuels have been used up and most plants and foodstuffs have been killed by genetic plagues known as blister rust.

  23. The Windup GirlPaolo Bacigalupi 2009 “That is the nature of our beasts and plagues. They are not dumb machines to be driven about. They have their own needs and hungers. Their own evolutionary demands. They must mutate and adapt…”

  24. The Windup GirlPaolo Bacigalupi 2009 “’My body is not mine,’ she told him, her voice flat when he asked about the performances. ‘The men who designed me, they make me do things I cannot control. As if their hands are inside me. Like a puppet, yes?’”

  25. The Windup GirlPaolo Bacigalupi 2009 “We should all be windups now. It’s easier to build a person impervious to blister rust than to protect an earlier version of the human creature. A generation from now, we could be well-suited to our new environment. Your children could be the beneficiaries. Yet you people refuse to adapt. You cling to some idea of a humanity that evolved in concert with your environment over millennia, and which you now, perversely, refuse to remain in lockstep with.”

  26. The Windup GirlPaolo Bacigalupi 2009 Humans have always transformed alongside the environment; our current biomediated environment will end up transforming us — which is the point exaggerated in The Windup Girl

  27. PrometheusRidley Scott 2012 Biomedia Engineers and humans

  28. PrometheusRidley Scott 2012 Halfway between the early posthumanist science fiction and the contemporary biomediated one, providing an origin story of the human rather than of the posthuman

  29. PrometheusRidley Scott 2012 The alien creature becomes the opposite side of the anthropological machine in this work and so serves the side of the animal. The Engineers are aligned with a creator of some sort, but in terms of biomedia

  30. PrometheusRidley Scott 2012 Our biomedia origins technically raises the issue of human-as-animal, no such discussion is suggested. Instead, humans remain a chosen species indicating a kind of divinity to our creation

  31. Lady Gaga

  32. Lady Gaga Lady Gaga – Mother Monster – calls into question ontological configurations of difference

  33. Lady Gaga

  34. Lady Gaga Challenges the integrity of the organic body, and confronting the viewer with her morphogenesis into human-machine-animal hybrid

  35. Lady Gaga

  36. Lady Gaga There is a link between mothers, monsters and machines in the displacement of women in the reproductive realm as a high-tech affair

  37. Consequences for the human

  38. These posthuman works reside in an imaginary space which questions conventional understandings of subjectivity, the body, and reality

  39. These posthuman works confront traditional ideas of the subject, language, and culture offers the possibility to think differently and think differences differently

  40. No longer is difference the articulation of an opposition between Self and Other, but rather beyond simple dialectics into a larger dialog of positive identities

  41. Posthumanism is a proliferation of experiences of different bodies existing in various technologies and recasts how our bodies are lived and imagined

  42. Thank you!

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