Hedy Lamarr, inventor of the wireless network

On November 11, 2014, in Uncategorized, by enemyin1

This piece from Una Sinnott is delicious. It demonstrates how work in the arts (here, experimental music) can feed into fundamental technologies, which can then hop between disparate applications (radio-controlled torpedoes, GPS). It’s case study in how womens’ contributions to technology get marginalised, and how patriarchy blows back.

Tagged with:
 

Epistemic indeterminacy concerns our representations of things rather than things. Thus the location of a mobile phone with a nokia ring tone may be represented as indeterminate between your pocket and your neighbor’s handbag. This epistemic indeterminacy is resolvable through the acquisition of new information: here, by examining the two containers. By contrast metaphysical indeterminacy – if such there be – is brute. It cannot be cleared up by further investigations.

We can thus distinguish between being indeterminately represented and being indeterminately ?  in situations where it is possible to progressively reduce and eliminate the former indeterminacy (Roden 2010: 153).

Facts are metaphysically indeterminate if they involve indeterminate natures. The nature of a thing is indeterminate if it is impossible to determine it via some truth-generating procedure that will eliminate competing descriptions of it. Clearly, some will cavil with my use of “fact” and “nature” either because they see “facts” as ineluctably propositional or because they have nominalist quibbles about attributing any kind of nature or facticity to the non-conceptual sphere. However, like Marcus Arvan, I don’t see any conceptual affiliation as ineluctable. If the world is structured in ways that cannot be captured without remainder in propositions, it is not inappropriate to use the term “fact” to describe these structures – or so I will proceed to do here.

My favorite case of putative metaphysical indeterminacy are the two versions of the Located Events Theory of sound. LET1 (Bullot et al 2004; Casati and Dokic 2005) states that sounds are resonance events in objects; LET2 says that sounds are disturbances in a medium caused by vibrating objects (O’Callaghan 2009). According to LET1 there are sounds in vacuums so long as there are objects located in them. According to LET2 there are not. So the theories have different implications. There is also nothing to obviously favour the one over the other in the light of ordinary observations and inferences regarding sound.

As I put in in “Sonic Events” most people would probably judge that there is no sound produced when a turning fork resonates in an evacuated jar – “Yet were the air in a jar containing a vibrating tuning fork to be regularly evacuated and replenished we might perceive this as an alteration in the conditions of audition of a continuous sound, rather than the alternating presence and absence of successive sounds” ( Roden 2010: 156). You pays yer money, but it’s hard to believe that the world cares how we describe this state of affairs, or that persuasive grounds will settle the matter one bright day.

Anti-realists might say that this indeterminacy is practical rather than factive. It reflects discrepant uses of the same lexical item (“sound”) only. So (as in the case of metaphysical indeterminacy) there is no information gathering procedure that would settle the issue. But that is not because the nature of sound is indeterminate in this respect. Rather, there is no deeper (determinate or indeterminate) fact here at all.

However, this ignores the fact that LET1 and LET2 are responsive to an auditory reality that they both describe, albeit in incompatible ways. Sounds existed before there were ontologies of sound and thus have an independent reality to which LET1 and LET2 attest. If so there must be a deeper fact which accounts for the indeterminacy.

Now, either this fact is indeterminate or it is not.

If it is not, then there is some uniquely ideal account of sound: ITS. The ideal theory cannot be improved via the acquisition of further information because it already contains all the relevant information there is to be had and has no empirically equivalent competitors (there is no ITS2, etc.). ITS might or might not be an event theory – e.g. it could be a “medial theory” which represents sounds as the transmission of acoustic energy (Bullot et al. 2004). So ITS ought to replace both LET1 and LET2. We may not be aware of it, but we know that it exists somewhere in Philosophers Heaven (or the Space of Reasons).

If the fact in question is indeterminate, there is no ideal account which captures the nature of sound. Or rather, the best way to capture it is in the alternation between different accounts.

Given indeterminacy, then, there is an auditory reality which permits of description, but which cannot be completely described.

There is an interesting comparison to be made here between the indeterminacy of auditory metaphysics and the claims regarding the indeterminacy of semantic interpretation described in Davidson and others. Again, one can take indeterminacy in a deflationary anti-realist spirit – there are no semantic facts, just competing interpretations and explications recursively subject to competing interpretations ad infinitum (One popular way of glossing Derridean différance!).

Or there are semantic facts. In which case, these may be determinate or indeterminate. If there are determinate semantic facts, then the indeterminacy of radical interpretation is an artefact of our ignorance regarding semantic facts. If semantic facts are indeterminate, however, there is – again – a reality that is partially captured in competing interpretations that is never fully mirrored or reflected in them.

At this point it is interesting to consider why we might opt for factive or metaphysical indeterminacy rather than anti-realist indeterminacy. If we have reasons for believing in indeterminate facts – the ones for which there are irreducibly discrepant descriptions – this is presumably because we think there is some mind-independent reality outside our descriptions whose nature is indeterminate in some respects. If this thought is justified it is presumably not justified by any single description of the relevant domain. Nor by the underdetermination of descriptions (since this is equally consistent with anti-realism). So if we are justified in believing that there are indeterminate metaphysical facts, we must be justified by sources of non-propositional knowledge. For example, perhaps our perceptual experience of sound supports the claim that sounds occur in ways that can be captured by LET1 or LET2 without providing decisive grounds for one or the other.

This train of thought might suggest that some metaphysics bottoms out in “phenomenology” – which seems to commit the metaphysical indeterminist to the “mental eye” theory of pre-discursive concepts disparaged by Sellars and others. However, what is at issue, here, is non-propositional access to the world. One way of saying this is that such access “non-conceptual” – though this seems to presuppose that concepts (whatever they are) are components of or parasitic on propositions, and this may not be the case.

However, there is a further problem. If Scott Bakker and I are right, our grip on phenomenology is extremely tenuous (Roden 2013). So if metaphysical indeterminism is warranted, there are non-discursive reasons for believing there are metaphysically indeterminate facts. But the nature of these facts is obscure so long as our phenomenology is occluded. Now, there is no reason in principle why a subject can believe p on the basis of some evidence without being in a position to explain how the evidence supports p. This weakens their public warrant but does not vitiate it. So we may have weak grounds for metaphysical indeterminism but these are better than no grounds at all.

References

Bullot, Nicolas, Roberto Casati, Jérôme Dokic, and Maurizio Giri. 2004. Sounding objects. In Proceedings of Les journées du design sonore, p. 4. Paris. October 13–15.

Casati, Robert, and Dokic, Jérôme. 2005. la philosophie du son, http://jeannicod.ccsd.cnrs.fr. Accessed 3 June 2005, Chapter 3, p. 41.

O’Callaghan, Casey. 2009. Sounds and events. In Matthew Nudds & Casey O’Callaghan (eds.), Sounds and Perception: New Philosophical Essays. Oxford University Press. 26–49.

Roden, David. 2010. ‘Sonic Art and the Nature of Sonic Events’, Objects and Sound Perception, Review of Philosophy and Psychology 1(1): 141-156.

Roden, David. 2013, ‘Nature’s Dark Domain: An Argument for a Naturalized Phenomenology’, Royal Institute of Philosophy Supplement 72 (1): 169-88

 

Tagged with:
 

Computer Music and Posthumanism

On June 9, 2014, in Uncategorized, by enemyin1

A possibly ill-advised idea for a presentation on computer music and posthumanism entitled “Computer Music and Posthumanism”.

I will introduce two flavors of posthumanism: critical posthumanism (CP) and speculative posthumanism (SP) and provide an overview of some of the ways in which they might be explored by thinking through philosophical issues raised by computer music practice.
CP questions the dualist modes of thinking that have traditionally assigned human subjects a privileged place within philosophical thought: for example, the distinction between the formative power of minds and subjects and the inertia of matter.
The use of computers to supplement human performance raises questions about where agency is ascribed. Is it always on the side of the human musician or can it also be ascribed also to the devices or software used to generate sound events? If so, what kind of status can be granted to such artificial agents? Does their agency locally supervene on human agency, for example? I will also argue that the intractability and complexity of some computer generated sound confronts us with the nonhuman, mind-independent reality of sonic events. It thus provides an aesthetic grounding for a posthumanist realism.
SP (by contrast) is a metaphysical possibility claim about technological successors to humans. It can be summed up in the SP Schema: “Descendants of current humans could cease to be human by virtue of a history of technical alteration” CP and SP are conceptually distinct but, I argue, the most radical form of SP converges with the anti-anthropocentrism of CP (Roden 2014). In particular, non-anthropologically bounded SP implies that the only way in which we can acquire substantive knowledge of posthumans is through making posthumans or becoming posthuman. I will argue that computer music development may have a role in this project of engineering a posthuman succession.

Roden, D. 2010b. “Sonic Art and the Nature of Sonic Events.” Review of Philosophy and Psychology 1 (1): 141–156.
Roden, D. 2012. “The Disconnection Thesis.” The Singularity Hypothesis: A Scientific and Philosophical Assessment, A. Eden, J. Søraker, J. Moor & E. Steinhart (eds), 281-298. London: Springer.
Roden, David. 2014. Posthuman Life: Philosophy at the Edge of the Human. Routledge.

 

Tagged with:
 

Anita Mason’s Confusion of Genre

On April 24, 2014, in Uncategorized, by enemyin1

Anita Mason has a contribution to the long running genre debate here at the Guardian entitled “Genre fiction radiates from a literary centre”. I think her attempt to constitute this supposed center self-deconstructs spectacularly, but in a manner that is instructive and worth teasing apart.

This metaphorical representation of the literary as the universal and indeterminate hub from which determinate “rule-governed” genres “radiate” does not cohere with her criteria of demarcation between the literary and the non-literary. On the one hand, the literary can be anything; is governed by no determinate rules. On the other, dense psychological characterization is necessary for the literary since, she argues, Brave New World, and Consider Phlebas fail the test of literariness due to their lack of this attribute.

Well, you can’t have it both ways. Despite Mason’s peremptory reading of The Drowned World, Ballard’s oeuvre is famously unconcerned with character and “plot”, such as it is, incidental to one of the most profoundly literary treatments of the condition of modernity in prose. Few modern novels present a more literary and unitary treatment of their subject than Crash, for example, where a brilliantly intricate chain of metaphors and symbols explore the contingency of desire in the face of technical change.

On these grounds we would also have to exclude postmodern fabulists and experimental writers such as Pynchon, Barthelme, Robb-Grillet and Christine Brooke-Rose. So Mason’s Ptolemaic rhetoric of centrality is just a blind for her anthropocentrism. The universe of literature, I hope, is post-Copernican and limitless.

Tagged with:
 

Aesthetic Excess: Ballard and Stelarc

On December 14, 2013, in Uncategorized, by enemyin1

Radical art defies and transforms collective modes of understanding. Wagner’s famous “Tristan chord” segues between classical harmony, late romanticism and twentieth century atonality due to its ambiguous relationship to its tonal context. The aesthetic value of Xenakis’ Concret Ph lies partly in the technological potentials realized subsequently in granular synthesis techniques which employ global statistical parameters to control flocks of auditory events. Such sensations are, in Brian Massumi words, “in excess over experience” – suspending practices and meanings in ways that catalyse deterritorializing movement towards non-actual futures (Massumi 2005: 136). The aesthetics of excess provides a limit case of the reflective creation of value that occurs when we modify existing modes of sense-making or embodiment. It also provides a window upon the posthuman as potentiality shadowing our interactions with technological environments.

This contingency is amplified in another radical art work,  J G Ballard’s novel Crash. As I wrote back in 1999:

In Crash the technology of the car has become the adjunct to a violent sexuality.  Its erotic focus and ideologue, Vaughan, is an ambulance chasing ex-TV presenter whose career as a glamorous ‘hoodlum scientist’ has been cut short by his disfigurement in a motorcycling accident.  Marking the parameters of vehicle collisions and casual sexual encounters with Polaroid and cine camera, Vaughan is a social being of sorts, assembling around him a crew of co-experimenters whose sexuality has been activated by ‘the perverse eroticisms of the car-crash’.  The novel’s narrator ‘James Ballard’ recounts his induction into the crashpack; first through a motorway accident, then via a succession of techno-erotic duels and excursions, culminating in Vaughan’s attempted ‘seduction’ of the actress Elizabeth Taylor in the environs of London Airport . .

It is only in so far as Vaughan ‘[mimes] the equations between the styling of a motor-car and the organic elements of his body’ (Ballard 1995: 170), modulating the symbolic requirements of Ballard’s narrative with his histrionic body, that he can remain its primary sexual focus. . .  These impersonal ‘equations’ mediate every affective relationship between the characters and Crash’s residual city of multi-storey car parks, airport termini, hermetic suburbs and motorway slip roads. They are expressed in a language of excremental objects – ‘aluminium ribbons’, Gabrielle’s thigh wound, Vaughan’s sectioned nipples, torn fenders, scars, etc. – whose very lack of quotidian function commends them as arbitrary tokens in the symbolic algebra (Roden 2002).

Crash thus construct an internally referential system of desire around sites, surfaces and interstices of late twentieth century technological landscapes (Roden 2002). But despite its contemporary setting, the novel does not describe this world: it potentiates it. Crash exhibits the contingency of human subjectivity and social relationships given its irrevocably technological condition.

 

A similar claim is made about the work of the Australian performance artist Stelarc in Massumi’s “The Evolutionary Alchemy of Reason”. Massumi argues that the content of Stelarc’s performances – such as his series of body suspensions or his hook-ups with industrial robots, prosthetic hands and compound-eye goggles – is nothing to do with the functional utility of these systems or events. They have no use. Rather their effect is to place bodies and technologies in settings where their incorporation as use-values is interrupted. Of the compound eye goggles that Stelarc created for his work Helmet no. 3: put on and walk 1970 he writes: “They extended no-need into no-utility. And they extended no-utility into ‘art’” (Massumi 2005: 131).

Stelarc’s somewhat elliptical rationale is to “extend intelligence beyond the Earth”. His performances decouple the body from its functions and from the empathic responses of observers – even when dangling from skin hooks over a city street, Stelarc never appears as suffering or abject. They register the body’s potential for “off world” environments rather than its actual functional involvements with our technological landscape. Space colonization is not a current use value or industrial application, but a project for our planned obsolesce:

The terrestrial body will be obsolete from the moment a certain subpopulation feels compelled to launch itself into an impossible, unthinkable future of space colonization. To say that the obsolescence of the body is produced is to say that it is compelled. To say that it is compelled is to say that it is “driven by desire” rather than by need or utility (151-2).

These performances embody a potential that is “unthinkable” because aesthetically disjoined from our phenomenology and world. But, as Claire Colebrook suggests, we have been incipiently “off world” since the dawn of the industrial era:

We have perhaps always lived in a time of divergent, disrupted and diffuse systems of forces, in which the role of human decisions and perceptions is a contributing factor at best. Far from being resolved by returning to the figure of the bounded globe or subject of bios rather than zoe, all those features that one might wish to criticize in the bio-political global era can only be confronted by a non-global temporality and counter-ethics (Colebrook 2012: 38).

The counter-final nature of modern technique means that the conditions under which human ethical judgements are adapted can be overwritten by systems over which we have no ultimate control. Posthumanity would be only the most extreme consequence of this ramifying technics. An ethics  bounded by the human world thus ignores its already excessive character (32).

References:

Ballard, J.G. 1995. Crash. London: Vintage.

Massumi, Brian. 2005. “The Evolutionary Alchemy of Reason: Stelarc.” In Stelarc: The Monograph, Marquand Smith (ed). MIT Press: 125-192.

Roden, DAvid 2003. “Cyborgian Subjects and the Auto-destruction of Metaphor.” In Crash Cultures: Modernity, Mediation and the Material, Jane Arthurs and Iain Grant (eds). Intellect Books: 91–102.

Colebrook, Claire 2012. “A Globe of One’s Own: In Praise of the Flat Earth.” Substance: A Review of Theory & Literary Criticism 41 (1): 30–39.

Tagged with:
 

Accelerationism and Posthumanism II

On November 21, 2013, in Uncategorized, by enemyin1

Hulk smash GodAccelerationism combines a transhumanist techno-optimism with a Marxist analysis of the dynamic between the relations and forces of production. Its proponents argue that under capitalism, modern technology is constrained by myopic and socially destructive goals. They argue that rather than abandoning technological modernity for illusory homeostatic Eden we should exploit and ramp up its incendiary potential in order to escape from the gravity well of market dominated resource-allocation. Like posthumanism, however, Accelerationism comes in several flavours. Benjamin Noys (who coined the term) first identified Accelerationism as a kind of overkill politics invested in freeing the machinic unconscious described in the libidinal postructuralisms of Lyotard and Deleuze from the domestication of liberal subjectivity and market mechanisms. This itinerary reaches its apogee in the work of  Nick Land who lent the project  a cyberpunk veneer borrowed from the writings of William Gibson and Bruce Sterling.

Land’s Accelerationism aims at the extirpation of humanity in favour of an “abstract plan­et­ary intel­li­gence rap­idly con­struct­ing itself from the bri­c­ol­aged frag­ments of former civil­isa­tions” (Srnicek and Williams 2013).

However, this mirror-shaded beta version has been remodelled and given a new emancipatory focus by writers such as Ray Brassier, Nick Srnicek and Alex Williams (Williams 2013). This “promethean” phase Accelerationism argues that technology should be reinstrumentalized towards a project of “maximal collective self-mastery”.

Promethean Accelerationism certainly espouses the same tactic of exacerbating the disruptive effects of technology, but with the aim of cultivating a more autonomous collective subject. As Steven Shaviro points out in his excellent talk “An Introduction to Accelerationism”, this version replicates orthodox Marxism at the level of both strategy and intellectual justification. Its vision of a rationally-ordered collectivity mediated by advanced technology seems far closer to Marx’s ideas, say, than Adorno’s dismal negative dialectics or the reactionary identity politics that still animates multiculturalist thinking. If technological modernity is irreversible – short of a catastrophe that would render the whole programme moot – it may be the only prospectus that has a chance of working. As Shaviro points out, an incipient accelerationist logic is already at work among communities using free and open-source software like Pd, where R&D on code modules is distributed among skilled enthusiasts rather than professional software houses (Note, that a similar community flourishes around Pd’s fancier commercial cousin, MAX MSP – where supplementary external objects are written by users in C++, Java and Python).

This is a small but significant move away from manufacture dominated by market feedback. We are beginning see similar tendencies in the manufacture of durables and biotech. The era of downloadable things is upon us. In April 2013, a libertarian group calling themselves Defence Distributed announced that they would release the code for “the Liberator”, a gun that can be assembled from layers of plastic in a 3 D printer (currently priced at around $ 8000). The group’s spokesman, Cody Wilson, anticipates an era in which search engines will provide components “for everything from prosthetic limbs to drugs and birth-control devices”.

However, the alarm that the Liberator created in global law-enforcement agencies exemplifies the first of two potential pitfalls for the Promethean accelerationist itinerary. The democratization of technology – enabled by its easy iteration from context to context – does not seem liable to increase our capacity to control its flows and applications; quite the contrary, and this becomes significant when the iterated tech is not just an Max MSP external for randomizing arrays but an offensive weapon, an engineered virus or a powerful AI program.

I’ve argued elsewhere that technology has no essence and no itinerary. In its modern form at least, it is counter-final. It is not in control, but it is not in anyone’s control either, and the developments that appear to make a techno-insurgency conceivable are liable to ramp up its counter-finality. This, note, is a structural feature deriving from the increasing mobility of technique in modernity, not from market conditions. There is no reason to think that these issues would not be confronted by a more just world in which resources were better directed to identifiable social goods.

A second issue is also identified in Shaviro’s follow up discussion over at The Pinocchio Theory: the posthuman. Using a science fiction allegory from a story by Paul De Filippo, Shaviro suggests that the posthuman could be a figure for a decentred, vital mobilization against capitalism: a line of flight which uses the technologies of capitalist domination to develop new forms of association, embodiment and life.

I think this prospectus is inspiring, but it also has moral dangers that Darian Meacham identifies in a paper forthcoming in The Journal of Medicine and Philosophy entitled ‘Empathy and Alteration: The Ethical Relevance of the Phenomenological Species Concept’. Very briefly, Meacham argues that the development of technologically altered descendants of current humans might precipitate what I term a “disconnection” – the point at which some part of the human socio-technical system spins off to develop separately (Roden 2012). I’ve argued that disconnection is multiply realizable – or so far as we can tell. But Meacham suggests that a kind of disconnection could result if human descendants were to become sufficiently alien from us that “we” would no longer have a pre-reflective basis for empathy with them. We would no longer experience them as having our relation to the world or our intentions. Such a “phenomenological speciation” might fragment the notional universality of the human, leading to a multiverse of fissiparous and alienated clades like that envisaged in Bruce Sterling’s novel Schismatrix. A still more radical disconnection might result if super-intelligent AI’s went “feral”. At this point, the subject of history itself becomes fissionable. It is no longer just about “us”. Perhaps Land remains the most acute and intellectually consistent accelerationist after all.

References

Roden, David 2012. “The Disconnection Thesis.” The Singularity Hypothesis: A Scientific and Philosophical Assessment, Edited by Ammon Eden, Johnny Søraker, Jim Moor, and Eric Steinhart. Springer Frontiers Collection.

Srnicek, N.and Williams A (2013), #ACCELERATE MANIFESTO for an Accelerationist Politics, http://criticallegalthinking.com/2013/05/14/accelerate-manifesto-for-an-accelerationist-politics/

Sterling, Bruce. 1996. Schismatrix Plus. Ace Books.

Williams, Alex, 2013. “Escape Velocities.” E-flux (46). Accessed July 11. http://worker01.e-flux.com/pdf/article_8969785.pdf.

 

 

 

 

 

 

 

 

 

 

 

Battlestar Galactica and Avant-Garde Cinema

On April 18, 2013, in Uncategorized, by enemyin1

Christopher Vitale has written a fascinating analysis of the figure of the copy and its relationship to the formal role of time in visual media at Networkologies. First of a series.

Tagged with:
 

The Condition of the Digital Image

On April 12, 2013, in Uncategorized, by enemyin1

There’s a very interesting and instructive conversation between Daniel Rourke and new media artist Hito Steyerl at Rhizome. Reading Steyerl’s remarks on Renais’ and Marker’s migration from Celluloid to Web I imagined them  evoking perplexity and amusement in cold degenerate matter storage long after the death of our sun.

The Posthuman: Differences, Embodiments, Performativity
Call For Papers
September 11th – 14th 2013, University of Roma 3, Rome, Italy

The University of Roma 3, the University Erlangen-Nürnberg,
the University of the Aegean and Dublin City University
are pleased to announce:
The 5th Conference of the Beyond Humanism Conference Series

The specific focus of the Conference “The Posthuman: Differences, Embodiments, and Performativity” will be the posthuman, in its genealogies, as well as its theoretical, artistic and materialistic differences and possibilities. In order to guarantee a systematic treatment of the topic, we will particularly focus on the following themes:

1 What is the posthuman? Have humans always been posthuman? If so, in which sense? Is the posthuman a further evolutionary development of the human being? What are the implications of gender, sex and race, among other differential categories, for the embodied constitution of the posthuman? Do posthumans already exist? What is the difference between the posthuman, the transhuman, the antihuman and the cyborg?

2 Philosophical issues concerning the genealogies of the posthuman: Which traditions of thoughts are significant to the posthuman theoretical attempt to postulate a post-dualistic and post-essentialist standpoint? What are the differences between the genealogies of the posthuman and of the transhuman? What points do they hold in common? Is the posthuman a Western-centric notion? Could non-dualistic practices such as shamanism be accounted as posthuman?

3 Bioarts, Body Art, Performance Art and the Posthuman: Which kind of art can be seen as leading towards the posthuman? Is the notion of the posthuman traceable in artistic traditions which precede the coining of the term “posthuman”? Can the posthuman be detected in cultures which have not been canonized by Western aesthetics?

4 Ethics, Bioethics, and the Moral Status of the Posthuman: Does the posthuman lead to a new, non-universalist, non-dualist understanding of ethics? Will posthumans have the moral status of a post-person, or will it be possible for them to have human dignity and personhood? Are human rights necessarily humanistic, or can they be re-enacted within a posthuman frame?

5 Emerging Technologies and the Posthuman: Which technologies represent the most significant challenge concerning the concept of the human/posthuman? Are restrictive national regulations concerning emerging technologies helpful in a globalized world? Do mind-uploading, plastic surgery, and cyborgian practices dissolve the border between human beings and machines? Human enhancement is already happening: should morphological freedom be regulated by social norms, or should it stand on individual choices?

6 Materialism and Posthuman Existence: The notion of matter as an active agent has been reinforced through Quantum Physics, on a scientific level, as well as by New Materialisms and Speculative Realism, on a philosophical level. Is the posthuman grounded in a materialist understanding of existence? What are the ontological, as well as the existential implications of the relationality of matter? Can it be related to a Posthuman Agency? What would a Posthuman Existentialism imply?

7. Posthuman Education: The notion of education in a posthumanist world; the transformation of the roles of teachers and learners in a posthuman social environment; what is the concept of a post- and transhumanist school? Which learning activities are central in a posthumanist educational system? Epistemological considerations about knowledge construction in the posthumanist era need to be considered further.

Papers will be selected and arranged according to related topics. Equal voice will be given, if possible, to presentations from the arts, humanities, sciences, and technological fields.

Major areas of interest include (in alphabetic order):
Animal Studies, Antihumanism, Heritage and the Arts, Postmodernism, and Conceptual Art, Bioarts and Performance Art, Bioethics, Cosmology, Critical Race Studies, Cultural Studies, Cyborg Studies, Deconstructionism, Disability Studies, Ecology, Informatics, Emerging Technologies and Ethics, Enhancement, Evolution, Existentialism, Gender Studies, Intersectionality, New Materialisms, Philosophy, Physics, Posthumanism, Quantum Physics, Science and Technology Studies, Singularity, Spirituality, Speculative Realism, Transhumanism

Other possible topics include, but are not limited to:
· Bioethics, bioconservatism, bioliberalism, enhancement
· Posthumanist anthropology, aesthetics, ecology, feminism, critical theory
· Representation of human performance in technology and the arts
· Enhancement and political discourse, regulation, and human rights
· Humanism, posthumanism, transhumanism and antihumanism in philosophy
· Poststructuralism, postmodernism, and posthumanism
· New Materialisms, speculative realism and quantum physics
· Existentialism, relational ontology, posthuman agency
· Transhuman and posthuman impact on ethics and/or value formation
· Phenomenology and postphenomenology
· Embodiments and identity
· Transhumanism and/or posthumanism in science fiction and utopian/dystopian literature
· Non-dualism in spiritual practices, mysticism and shamanism
· Globalization and the spread of biomedicine and transhumanism/br> · Economic implications of transhumanist projects
· Popular culture and posthumanist representations
· Theology, enhancement, and the place of the posthuman
· Technology, robotics, and ethics
· Cybernetics, artificial intelligence, and virtual reality
· Cyborgs and democracy
· Humanity, human nature, biotechnology

SUBMISSIONS & DEADLINES

We invite abstracts of up to 500 words, to be sent in MS Word and Pdf format to: posthuman.conference@gmail.com

Files should be named and submitted in the following manner:
Submission: First Name Last name.docx (or .doc) / .pdf
Example: “Submission: MaryAndy.docx”

Abstracts should be received by May 15th 2013.
Acceptance notifications will be sent out by June 15th.
All those accepted will receive information on the venue(s), local attractions, accommodations, restaurants, and planned receptions and events for participants.
*Presentations should be no longer than 20 minutes. Each presentation will be given 10 additional minutes for questions and discussions with the audience, for a total of 30 minutes.

FEES & REGISTRATION

A reduced registration fee of €50 (65USD) will apply to all participants.

SERIES “BEYOND HUMANISM”(site)

The Conference is part of the Series “Beyond Humanism”. The 1st Conference took place in April 2009 at the University of Belgrade (Humanism and Posthumanism), the 2nd Conference in September 2010 at the University of the Aegean (Audiovisual Posthumanism), the 3rd Conference in October 2011 at Dublin City University (Transforming Human Nature) and the 4th Conference in September 2012 at the IUC in Dubrovnik (Enhancement, Emerging Technologies and Social Challenges). This year, the conference “The Posthuman: Differences, Embodiments, and Performativity” will be held at the University of Roma 3, Department of Philosophy, Rome, Italy, from the 11th until the 14th of September 2013.

Tagged with: