I defend a how-possibly argument for Kantian (or Kant*-ian) transcendental idealism, drawing on concepts from David Chalmers, Nick Bostrom, and the cyberpunk subgenre of science fiction. If we are artificial intelligences living in a virtual reality instantiated on a giant computer, then the fundamental structure of reality might be very different than we suppose. Indeed, since computation does not require spatial properties, spatiality might not be a feature of things as they are in themselves but instead only the way (...) that things necessarily appear to us. It might seem unlikely that we are living in a virtual reality instantiated on a non-spatial computer. However, understanding this possibility can help us appreciate the merits of transcendental idealism in general, as well as transcendental idealism’s underappreciated skeptical consequences. (shrink)

Sean McQueen rewrites and re-envisions Gilles Deleuze's and Jean Baudrillard's relationship with Marxism and with each other, from their breakdowns to their breakthroughs. He theorises shifts in and across critical approaches to capitalism, science, technology, psychoanalysis, literature and cinema and media studies. He also brings renewed Marxian readings to cyberpunk texts previously theorised by Deleuze and Baudrillard, and places them at the heart of the emergence of biopunk and its relation to biocapitalism by mapping their generic, technoscientific, libidinal and (...) economic exchanges. (shrink)

This study is based on Post-cyberpunk in order to highlight the prominence of Postcyberpunk as an emerging representative genre of Postmodern Literature. Technological progress has altered the ontology of being a human in an era of information technology, thus this study aims to critically discuss the issues of id entity and representation. Although ample critical work has been done on genre Postcyberpunk yet this study is unique in a way that it is a collection of different discursive practices related (...) to identity crises presented in selected Post-cyberpunk narratives. It targets to critically analyze the alternations and transformations in representation of identity in the backdrop of Postmodernist Deconstruction of Metanarratives by Lyotard. Apart from the deconstruction of metanarratives this study signifies the relevance of Post-cyberpunk as Postmodernist Literature that represents society through multidimensional discursivity such as capitalism, hypercasaulization, imperialism, religion, economy and technology. This study aims to deconstruct the metanarratives of identity that were considered to be permanent and claimed to be power narratives. It equally represents the deconstruction of center/margin dichotomy by bringing mininarratives into the center. The method adopted for research is SocioCognitve Approach by van Dijk from Critical Discourse Analysis. (shrink)

This essay argues that the image of the brain in a vat metaphorically encapsulates articulations of the relationship between the corporeal and the technological dimensions found in cyberpunk fiction and cinema. Cyberpunk is concurrently concerned with actual and imaginary metamorphoses of biological organisms into machines, and of mechanical apparatuses into living entities. Its recurring representation of human beings hooked up to digital matrices vividly recalls the envatted brain activated by electric stimuli, which Hilary Putnam has theorized in the (...) context of contemporary epistemology. At the same time, cyberpunk imaginatively raises the same epistemological questions instigated by Putnam. These concern the cognitive processes associated with the collusion of human and mechanical creatures, and related metaphysical and ethical issues spawned by such processes. As a philosophical trope, the brain in a vat would appear to pivot on the notion of a disembodied subject consisting of sheer mentation. However, literary and cinematic interpretations of the image in cyberpunk persistently foreground the obdurate materiality of the flesh—often in its most grisly and grotesque incarnations. (shrink)

This essay is comprised of two unusual pairings—Immanuel Wallerstein with Michael Hardt and Antonio Negri; and Don DeLillo with William Gibson—and a thesis: We live, today, in a period of transition between modernity and postmodernity that is best characterized as what I call hyper-capitalism. The end of modernity, as described both by Wallerstein’s world-systems theory and by the “postmodern” political philosophy of the authors of Empire, does not lead us into postmodernity proper, but into a period of geopolitical chaos. This (...) chaos may be best understood, not only by closing the gap between these variegated social theorists, but also via the dystopic cyberpunk fiction of DeLillo’s Cosmopolis and Gibson’s Pattern Recognition. (shrink)

In On the Soul and the Resurrection, St Macrina and St Gregory of Nyssa consider what the soul is, and its relationship to our body and identity. Gregory notes the way that our bodies are always changing, and asks which is most truly our ‘real’ body if we are always in a state of growth, decay and transience? What physical body will be with us at the resurrection? If our body is as important to our identity as our soul, then (...) who am I when my body changes? Macrina answers that our identity is bodily, but that the sufferings and passages of time that alter our bodies mean that we are an imperfect version of ourselves in this life. The person that we will be at the resurrection will be free from the influence of evil and the ravages of impermanence. Modern-day science fiction wrestles with Gregory’s problem—where is my identity located? If my body is altered beyond recognition, or my mind transferred to a new body, am I still me? These cyberpunk and transhumanist worries call to mind the ancient topic of mind/body dualism, and Macrina and Gregory have some surprisingly relevant insights to offer to our contemporary technological dilemmas. (shrink)

Sogo/Gakuryu Ishii is one of the pioneers of the punk/cyberpunk movement in Japanese cinema. Though his style changed throughout his career, his early films have been a great influence to filmmakers around the world. His unique filmic style presents questions, observations and interpretations regarding the role of violence as normalized in the daily lives of heavily marginalized punk youth portrayed in an amplified and stylized cyberpunk Japan. What is so captivating about Ishii's style and motivation is that he (...) was not only a filmmaker interested in making embellished political or social commentary, Ishii was also part of the emerging punk movement in Japan and several musicians of punk rock bands were also involved in his films. My main aim in my inquiry into Ishil's early films involves two parts regarding the same concept. The first is the ethical issues that arise both with portrayal of violence in films as well as the intention of such an endeavor in general. The second part is the way in which violence is made to be part of the film in terms of form and style. This may be interpreted as either glorifying and stylizing violence or showing that violence is nothing but a destructive force that the outcasts of society may not be able to escape. To the last statement Ishii seems to be silent but very active. What I mean by this is that the simplistic plot-lines of his early films are contrasted by heavy punk music, fast editing, constant moving camera and rage, fear and disappointment in the faces of the anti-heroes. (shrink)

Since 1959, when C.P. Snow delivered his seminal lecture The Two Cultures on the lack of understanding between scholars working in the humanities and their colleagues from science departments, the gap between the two groups has been one of the most notorious clichés of contemporary Western culture. The aim of this article is to show that this seemingly insurmountable abyss between sciences and the humanities that was brought to the forefront during the mid-20th century is slowly receding into history. Literature (...) studies today is heavily indebted to modern science. Biology, physics, and ecology are among the most important subjects scholars of literature have to take into account. In order to prove this point I shortly describe literary genres which introduce modern science to the readers: science fiction, cyberpunk, solarpunk, lablit, quantum fiction, and cli-fi. I also refer to the newly-emerged schools of criticism-science fiction studies, ecocriticism and evocriticism-to show how scholars discuss these texts within the framework of the humanities. Additionally, I give a sample discussion of one of the cli-fi’s classics, J.G. Ballard’s The Drowned World and also shortly discuss two science fiction novels concerned with the civilisational conflict between science and humanities: Stanislaw Lem’s His Master’s Voice and Margaret Atwood’s Oryx and Crake. (shrink)

El presente artículo tiene por objetivo explorar las implicancias de la agencia no humana como mecanismo de interacción ludonarrativa en el videojuego Stray (2022), buscando esclarecer las relaciones de cooperación interespecie que en este se representan. El análisis se enfoca en determinar las dinámicas de cruce y vínculo que se fraguan entre entidades orgánicas e inorgánicas, estableciendo parentescos zootécnicos que cuestionan los preceptos conceptuales del posthumanismo crítico en contextos especulativos cyberpunk y ahumanos. Por último, interesa igualmente indagar respecto a (...) las potenciales consecuencias que este tipo de interacciones puede tener en el videojugador y su propia caracterización agéntica. (shrink)

Cyberpunk fiction has been called “the supreme literary expression, if not of postmodernism then of late capitalism itself.” This thesis aims to analyse and question this claim by rethinking cyberpunk Action, postmodernism and late capitalism in terms of three - interlocking - themes: cybernetics, the Gothic and fiction. It claims that while what has been called “postmodernism” has been preoccupied with cybernetic themes, cybernetics has been haunted by the Gothic. The Gothic has always enjoyed a peculiarly intimate relation (...) with the fictional. Baudrillard's theories, meanwhile, suggest that, in a period dominated by simulation, fiction has a new cultural role. By putting “theory” into dialogue with “fiction”, the thesis examines Baudrillard's suggestion that the era of cybernetics “puts an end to science fiction, but also to theory, as specific genres”. The version of the Gothic the thesis presents is one stripped of many of its conventional cultural associations; it is a material Gothic.The machinery for re-thinking the Gothic comes from Deleuze-Guattari’s A Thousand Plateaus. Deriving not from the familiar literary sources but from Wilhelm Worringer’s work on “barbarian art”, Deleuze-Guattari’s version of the Gothic departs from any reference to the supernatural. The crucial theme in Worringer, Deleuze-Guattari establish, is that of nonorganic continuum. Following Deleuze-Guattari’s lead, the thesis analyses key cyberpunk texts such as Ridley Scott’s Blade Runner, David Cronenberg’s Videodrome and William Gibson’s Neuromancer in terms of what it calls this “hypematuralist” theme. While these texts have often been analysed in terms of “postmodernism” and “cyberpunk,” they have rarely been discussed in terms of the Gothic. Here, though, it will be shown that these texts, and important precursors, such as Ballard’s The Atrocity Exhibition, are centrally concerned with the breakdown of the boundary between the animate and the inanimate.. The thesis aims to demonstrate that, in its fixation upon catatonic trance, bodies that do not end at the skin, and agency-without-subjectivity, cyberpunk or “imploded science fiction” converges the Gothic with cybernetics on what, following Gibson, it calls the flatline. The flatline has two important senses, referring to a stale of “unlife” and a condition of radical immanence. The thesis is divided into four chapters, each of which considers the flatline under a different aspect. Chapter 1 concerns the flatlining of cybernetics and postmodernism; Chapter 2 deals with the flatlining of the body, paying particular attention to the Deleuze-Guattari/Artaud concept of the Body without Organs; Chapter 3 focuses upon the flatlining of reproduction, opposing both sexual and mechanical reproduction to Deleuze-Guattari’s idea of propagation; Chapter 4 considers the flatlining of fiction itself in the context of hyperreality. (shrink)

William Gibson's 1984 cyberpunk novel Neuromancer continues to be a touchstone in cultural representations of the impact of new information and communication technologies on the self. As critics have noted, the posthumanist, capital-driven, urban landscape of Neuromancer resembles a Foucaultian vision of a panoptically engineered social space in which no activity (even unofficial and illegal activity) eludes the disciplinary gaze of power. On the other hand, William Gibson's latest novel, Pattern Recognition, marks an important ideological shift from Neuromancer. Though (...) the novel retains a deep ambivalence toward new technologies' potential impact on the self, Pattern Recognition nevertheless locates a new source for hope and agency in embodied everyday experience. This article maintains that the change can best be understood as a complex transition from the worldview of Michel Foucault to that of Michel de Certeau. (shrink)

The following paper examines the cyberpunk transhumanist graphic novel Transmetropolitan through the theoretical lens of disability studies to demonstrate how science fiction, and in particular this series, illustrate and can influence how we think about disability, impairment and difference. While Transmetropolitan is most often read as a scathing political and social satire about abuse of power and the danger of political apathy, the comic series also provides readers with representations of impairment and the source of disability as understood by (...) the Social Model of Disability (SMD). Focusing on the setting and fictional world in which Transmetropolitan takes place, as well as key events and illustration styling, this paper demonstrates that the narrative in this work encompasses many of the same theoretical underpinnings and criticisms of society’s ignorance of the cause of disability as the SMD does. This paper aims, by demonstrating how Transmetropolitan can be read as an allegory for the disabling potential of society as experienced by individuals with impairments, to prompt readers into thinking more creatively about how narratives, seemingly unconcerned with disability, are informed and can be understood via disability theory. (shrink)

This article analyses and compares the classical science fiction film Blade Runner and its recent sequel Blade Runner 2049 from the perspective of Zizek's subjectivity theory. Through Zizek's tracing and weaving the concept of subjectivity from Descartes' radical doubt to metaphysical subject and then death drive in Lacanian psychoanalysis, it will argue that the principle concern of this film is the issue of subjectivity, and while carefully scrutinizing replicants in the films with the multi-faceted conception of Zizekian subject, a detailed (...) comparison between these two films could be accomplished. Subsequently, by analyzing from the genre, namely noir and cyberpunk, it will point out the world delineated in both film is a claustrophobic and paranoid one, as well as a postmodern multicultural world. The denizens of this world lead a machine-like and unreflecting life due to the decline of the Big Other. Finally, by associating subjectivity with death drive, the ultimate significance of subjectivity is revealed as a weapon to antagonize the repressing symbolic order and redeem our world from an apocalyptic future presaged in the films. (shrink)

Since the 1980s, popular media, literature and theory have suggested that technology has induced a newly evolved, posthuman and postmodern cyborg consciousness. This article examines the premise of human evolution towards a disembodied `post-human' state in cyberpunk literature and film, as well as some influential cyber-theory. Rather than indicating a revolutionary change in human consciousness, both cyber-lit and cybertheory incorporate and reinscribe Western Christian narratives about human identity. Images of disembodiment tend to reaffirm traditional religious concepts of human reproduction, (...) individual consciousness, spirit and body, and life after death. (shrink)

In response to those who have argued the Internet is amoral at best, and an instrument for immorality at worst, we show that the net can provide a forum for genuine ethical engagement and distinctive forms of wrongdoing. Without deriving the moral value of the Internet from its interface with the non-virtual world and in contrast to presentations of the net as an anarchic utopia or as an unethical or amoral dystopia, we apply a substantive moral test to a selection (...) of online examples and ask can the net accommodate resistance to oppression that is necessary, though not sufficient, for justice? More precisely, we will ask whether Gandhian non-violent action is available to Cyberpunks? (shrink)

If you are like most people, you’re not sure what Postmodernism is. And if this were like most books on the subject, it probably wouldn’t tell you. Besides what a few grumpy critics claim, Postmodernism is not a bunch of meaningless intellectual mind games. On the contrary, it is a reaction to the most profound spiritual and philosophical crises of our time–the failure of the Enlightenment. Jim Powell takes the position that Postmodernism is a series of “maps” that help people (...) find their way through a changing world. Postmodernism For Beginners features the thoughts of Foucault on power and knowledge, Jameson on mapping the postmodern, Baudrillard on the media, Harvey on time-space compression, Derrida on deconstruction and Deleuze and Guattari on rhizomes. The book also discusses postmodern artifacts such as Madonna, cyberpunk sci-fi, Buddhist ecology and teledildonics. (shrink)

Pop and camp nostalgia for the lofty ziggurats, teardrop automobiles, sleek ships of the airstream, and even the alien BEMs with imperiled women in their clutches, are one thing; the cyberpunk critique of “wrongheadedness,” whether in Gibson’s elegant fiction or Sterling’s flip criticism, is another. Each provides us with a stylized way of approaching SF’s early formative years, years usually described as “uncritical” in their outlook on technological progress. But neither perspective can give us much sense of the sociohistorical (...) landscape of the thirties on which these gleaming technofantasies were raised. To have some idea of the historical power of what Gibson calls the “Gernsback Continuum,” we need to know more, for example, about the entrepreneurial activities and scientific convictions of Hugo Gernsback himself, a man often termed the “father” of science fiction because he presided over its market specialization as a cultural genre. In Gernsback’s view, SF was more of a social than a literary movement. We need to know more about the hallowed place of engineers and scientists in public consciousness in the years of boom and crisis between the wars, the consolidation of industrial research science at the heart of corporate capitalism, and the redemptive role cast for technology in the drama of national recovery and growth. We also need to know about the traditions of progressive thought that stood behind the often radical technocratic philosophy of progressive futurism in the thirties. My description of North American SF’s period of genre formation will show the crucial influence of the national cults of science, engineering, and invention as well as discuss the role of technocracy in the social thought of the day. I will also consider the ways in which pulp SF escaped or resisted the recruitist role allotted to it not only by shaping figures like Gernsback, who devoted himself directly to enlisting his readers in the cause of “science,” but also by subsequent critics of early SF, including those writers, like Gibson and Sterling, who have lamented its naïve celebration of technological innovation. Andrew Ross teaches English at Princeton University and is the author of The Failure of Modernism: Symptoms of American Poetry and No Respect: Intellectuals and Popular Culture . He is also the editor of Universal Abandon?: The Politics of Postmodernism and the coeditor, with Constance Penley, of Technoculture. (shrink)

Alors que le temps présent paraît marqué par une incertitude forte, voire croissante, comment (re)trouver des prises sur ce qui est en devenir et qui pourrait composer le futur? Cette contribution propose de montrer que la science-fiction offre un matériau qui a aussi une pertinence et qui peut être travaillé pour être incorporé dans un processus de production de connaissance. Les textes de science-fiction peuvent en effet être pris à la fois comme un réservoir d’expériences de pensée et comme des (...) formes de problématisations (au sens de Michel Foucault). En s’appuyant sur un corpus de textes francophones et anglophones orientés vers un futur plus ou moins proche et généralement considérés comme porteurs de positions engagées (fiction spéculative, anticipation sociale, cyberpunk et postcyberpunk, biopunk, etc.), une première base de démonstration précisera d’abord l’appréhension réflexive qui peut être faite de la science-fiction au-delà de la forme culturelle et de son expression littéraire. Une seconde avancera ensuite une série de propositions méthodologiques pour saisir l’objet et pouvoir traduire cet imaginaire en prises expérimentales sur le futur. (shrink)

Sait-on que la science-fiction américaine, du roman " cyberpunk " à la saga Matrix, se nourrit largement de Jean Baudrillard? Que Gilles Deleuze et Félix Guattari inspirent aux Etats-Unis les pionniers de l'Internet comme de la musique électronique? Que Michel Foucault y est la référence majeure des luttes communautaires, tandis que Jacques Derrida est une star sans égale dans l'université? Après avoir croisé à New York la contre-culture des années 1970, les œuvres des philosophes français de l 'après - (...) structuralisme sont entrées dans les départements de littérature de l'université américaine, où elles ont bouleversé de l'intérieur tout le champ intellectuel. Réinterprétées, réappropriées au service des combats identitaires de la fin de siècle américaine, elles ont fourni le socle théorique sur lequel ont pu s'épanouir, contre la régression des années Reagan, les cultural studies, les gender studies et les études multiculturelles. C'est cette histoire, mal connue, de la french theory que François Cusset retrace ici. Il décrit le succès de cette étrange " théorie française " - la déconstruction, le biopouvoir, les micropolitiques ou la simulation -jusque dans les tréfonds de la sous - culture américaine. Il restitue l'atmosphère particulière des années 1970 et raconte la formidable aventure américaine, et bientôt mondiale, d'intellectuels français marginalisés dans l'Hexagone. Car le plus surprenant est que, pendant que l'Amérique les célébrait, la France s'empressait d'inhumer ces dangereux échevelés de la " pensée 68 " pour louer à nouveau l'humanisme citoyen et son vieil universalisme abstrait. Ce livre éclaire ce paradoxe en explorant une modalité méconnue, mais cruciale, du malentendu franco - américain. Au-delà, il brosse un portrait passionnant des mutations de l'espace intellectuel, culturel et politique américain des dernières décennies. (shrink)

Beginning with the role of the Sex Pistols’s “God Save the Queen” in Lee Edelman and J. Jack Halberstam’s debates about queer death and failure, I follow a musical motive from the Pistols track to its reappearance in Atari Teenage Riot’s 1995 “Delete Yourself .” In this song, as in much of ATR’s work from the 1990s, overlapping queer and Afro-diasporic aesthetics condense around the idea of death or “bare life.” ATR’s musical strategies treat this death as a form of (...) de-intensification and divestment— not, as in Edelman or the Pistols, as a form of negation . I will show that ATR’s musical recontextualization of the Pistols’s riff mirrors the political recontextualization of queerness and queer death from negation to disinvestment. Pushing this misprision or sticky interface between cyberpunk, queer, and Afro-diasporic musical aesthetics, I use ATR’s music to consider how queer death might work as a political response to neoliberal demands to invest in “normal” life. I first discuss the traditional concept of death as negation in both the Sex Pistols song "God Save the Queen," and in Lee Edelman and Jack Halberstam’s formulations. I then argue that Atari Teenage Riot's song “Delete Yourself” describes a neoliberal, biopolitical concept of death, death as carefully administered divestment. Finally, I use Deleuze and Guattari’s discussion of drugs, and Ronald Bogue’s Deleuzian reading of death metal to identify and explain how “MIDIjunkies” and “Into the Death” complicate the biopolitical/neoliberal management of death by reworking traditional black/queer critical aesthet- ics. In these songs, ATR undermine biopolitical neoliberalism’s demand to invest in and intensify regular “normal” life: rather than treating death as a nadir of intensity, they intensify it–that is, they go into the death. This strategy of going “into the death” is one possible queer necropolitical response to neoliberalism. (shrink)

In the history of literary experimentation, the writer has evolved into a social medium for literary readings of numerous literary works that were previously only known to those with a keen interest in literature and literary genres. As a result, many well-known literary works have been succinctly summarised in front of everyone in a way that is both helpful and provides details while still remaining concise. In this essay, the researcher wants to show how Twitter has developed into a literary (...) form, competing with other well-known literary works like novels, plays, short stories, and poetry, particularly haiku. Beginning with an introduction to Twitter literature and its definition, the study then focuses on the format in which literary tweets are provided, including the word count and length of the presentation of the literary work. Then, the literary subgenres that appeared on Twitter were criticised. The paper provides instances of literary accounts on Twitter and distinguishes the literary genres on Twitter. The study also discusses Twitter’s literary value in educating readers about a variety of literary works, particularly those who are uninterested in or uninterested in literature. Moreover, the distinction between reading literary works in their authentic forms vs their Twitter-based forms. The researcher contrasts the literary subgenres that are best suited for Twitter distribution. As a complement to the other well-known literary genres and in keeping with the varied, quick, and advanced modern day, the researcher concludes by presenting Twitter as one of the crucial literary genres of the new millennium that must be given significance and relevance. However, this study makes the case that Twitter might be. It is seen as an expression of an experimental platform for postmodern electronic literature that can ensure a revival of the steadily dwindling fantasy reading habit that is appealing to the generation of technology enthusiasts. (shrink)

Contemporary academic interest in the human body is a response to fundamental changes in the relationship between body, economy, technology and society. Scientific advances, particularly new reproductive technologies and therapeutic cloning techniques, have given the human body a problematic status. Ageing, disease and death no longer appear to be immutable facts about the human condition. The emergence of the body as a topic of research in the humanities and social sciences is also a response to the women's and gay liberation (...) movements, and environmentalism, animal rights, anti-globalism, religious fundamentalism and conservative politics. Further, the human body is now central to economic growth in various biotechnology industries, in which disease itself has become a productive factor in the global economy and the body a code or system of information from which profits can be extracted through patents. In modern social theory, the body has been studied in the contexts of advertising and consumerism, in ethical debates about cloning, in research on HIV/AIDS, in postmodern reflections on cybernetics, cyberbodies and cyberpunk, and in the analysis of the global trade in human organs. The body is a central feature of contemporary politics, because its ambiguities, vulnerability and plasticity have been amplified by new genetic technologies. (shrink)

This article investigates the possibility to question the difference between artificial and human intelligence by assuming that the latter can incorporate artificial, external components just as artificial intelligence can simulate human responses, and by exploring human embodiment in its technically and digitally augmented dimension. The idea that digital processes do not merely imply a detachment from the body, a dematerialization or disembodiment, is supported by many researchers, starting already from those who—back in the 1980s—reacted to cyberpunk narratives and their (...) tendency to posit a new mind–body dualism. Yet, here I would like to frame this thesis not within the post-human context but in a phenomenological perspective, and in doing so I will employ specific conceptual tools. I will particularly (1) rely on Katherine Hayles’ distinction between incorporating and inscribing practices; (2) refer to Maturana and Varela’s notion of structural coupling; (3) analyze algorithmic thinking and its temporal structure. (shrink)

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. (shrink)

This dissertation is an effort to describe the effects of Postmodern thought in a variety of narrative forms, including novels, film, and computer games. Using Brian McHale's description of the focal point of Modernist narratives as being epistemological and Postmodernist narratives as being concerned primarily with ontological issues, I trace the possible meaning of the changing understanding of these concepts in the twentieth century. In addition, I interrogate the ramifications of the Postmodern resolution to the crisis of epistemology presented through (...) the work of Modernist writers to test whether or not the Postmodern idea of "claiming worlds" is, indeed, a reasonable or viable resolution to this crisis. ;It is my contention that a changing sense of the relationship between the definitions of epistemology and ontology in traditional literary narrative has been affected by and has affected the narratives of less traditionally "literary" media. In order to show that this change has occurred, I use a number of texts to serve as examples, first, of the conception of epistemology as presented in Modernist works like James Joyce's "The Dead" and Edith Wharton's A Son At the Front and then of the conception of ontology as presented in Postmodernist work like Salman Rushdie's Midnight's Children. I then examine more popular narrative forms to examine how Postmodernism's focus on what I term an "epistemologically derived ontology" has crept into the general culture. My specific examples in these cases are Norman Spinrad's cyberpunk novel Little Heroes , the film The Matrix, and a number of video games, particularly online games. ;My final conclusions are exemplified by the film Memento, which contains many of the Postmodern tenets I propose are typical of mainstream Postmodern works and which also serves as a basis for revealing some of my ethical concerns about the ramifications of this shift in understanding of the aforementioned philosophical categories. (shrink)

In the last century, science fiction has become an incredibly powerful tool in depicting alternative social imaginaries, particularly those of the future. Extending beyond their fictious nature is a commentary on the stark realities of modern society. The ‘cyberpunk’ subgenre, for example, offers a dystopian critique on the dangers of technological dependence and hypercapitalism. In studying science fiction, future imaginaries can be developed as utopian goals for governance systems to strive for. In contrast to cyberpunk, the subgenre of (...) ‘solarpunk’ depicts a utopian society where humanity lives locally, sustainably, and in harmony with nature. This paper deconstructs solarpunk media to describe three guiding principles of solarpunk: anarchism, ecology, and justice. As an anarchist community, solarpunk strives for a post-scarcity, post-capitalist society devoid of hierarchy and domination. As an ecological community, solarpunk strives for local, self-sufficient, and sustainable living where both the human and non-human flourish. Finally, as a just community, solarpunk strives to rid society of marginalization and celebrate authenticity. These three principles can be used to guide humanity towards a utopian, solarpunk future. (shrink)

Thanks to its brilliant melding of film noir, science fiction, and cyberpunk motifs, not to mention its stirring music and unprecedented visual density, Ridley Scott’s Blade Runner (1982/2007) has become an influential cultural icon. What really sets the film apart from most movies, however, are the ways in which it encourages philosophical questions. Virtually all commentators agree that “What does it mean to be human?” – understood as asking something like “What characterizes the real (or authentic) human being?” – (...) is the central philosophical question the film raises. Attempting to answer that question can be a fertile approach to the film, with moral implications for how to think about the qualifications for inclusion in the human community. That is not, however, the only way to appreciate the philosophical significance of Blade Runner. The film also encourages viewers to ponder the question, “What fundamental experiences constitute the uniquely human mode of self-consciousness?” Showing how the latter question leads to a richer appreciation of Blade Runner as philosophy is the aim of this chapter. (shrink)

Philosopher, theologian, philologist, urban sociologist, literary critic, collector, archivist, essayist, memoirist, children's author, allegorist, media theorist, hashish connoisseur, closet surrealist, theorist of fascism, professional melancholic – it is by now habitual to begin any account of Walter Benjamin's work with an inventory of the grafts and incongruities traversing his tangled maze of writings. First known through his rather fraught association with Gershom Scholem and Theodor Adorno (who were effectively responsible for the posthumous dissemination of his corpus); sometime ally and interlocutor (...) of Brecht, Kracauer, Bloch, and Buber; refugee in the Paris of Bataille and company during the 1930s: Benjamin exerts today a fascination all the more striking for its untimeliness. Adopted as spiritual soulmate and precursor of almost every major trend in contemporary Continental thought – from cultural studies to deconstruction, from psychoanalysis to new historicism, from critical theory à la Frankfurt school to poststructural linguistics, from molecular politics to death‐of‐God theology, from radical geography to phantomology, from film theory to Heideggerean hermeneutics, from Foucaultian micrology to cyberpunk aesthetics – he epitomizes that unclassifiable swirl of intellectual impulses we have come to associate with the peregrinations of Weimar culture. (shrink)

From the classic Frankenstein of 1931 to Matrix, which offers a version of the philosophical fable of the brain in a vat and on to Self/less, in which the consciousness of a dying tycoon is transferred to a younger man’s body, cinema has variously explored the relationship between personhood and the body by means of fictions concerning the brain and its contents.1 From the crude disembodied brains of 1950s B-movies to the neuroimaging visuals of 21st-century cyberpunk, these films localize (...) individuality essentially in the brain, and make personal identity transcend the body’s demise by transplanting the brain into other, typically younger or at least healthier bodies.... (shrink)

James McGrath's contribution to the proceedings of the first global conference of the Cyberworlds, Virtual Reality project, which took place from Monday 11 August - Wednesday 13 August 2003, in Prague, as part of the At the Interface conference series.