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.
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.
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.
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).
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.
Accelerationism 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.
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.
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: firstname.lastname@example.org
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.