Straipsnyje grindžiama nuomonė, jog postmodernybė yra iš modernybės kylantis kapitalizmo sistemos būvis, kuriam būdinga gyvybės suprekinimas ir suišteklinimas. Postmodernybę charakterizuoja populiariosios ir medijų kultūros išplitimas. Tos kultūros apima ne tik kultūros prekes, bet ir vartojimo būdus, įgūdžius ir jų lavinimą. Pastaruoju metu jos kuria nemirtingumo vaizdiniams bei nuojautoms palankią kultūrinę, intelektinę ir pasaulėvaizdinę terpę, kurioje struktūriškai įsitvirtina genetinis diskursas ir jo nustatomos žmogaus ir jo gyvenamo pasaulio aiškinimo gairės. Svarbus šio diskurso bruožas yra technologinis inžinerinis jo pobūdis, išryškėjęs susiejant nano (...) ir biotechnologijas, kuriomis tikimasi įveikti gyvąją ir negyvąją gamtą skiriančią prarają, iš reikalingų atomų bei molekulių kuriant reikalingų ląstelių dalis ir klonuojant gyvas būtybes. Gyvybė suprekinama ir suišteklinama patentuojant gyvybės elementus – genus ir su jais susijusius procesus. Daroma išvada, jog visi genetikos, informatikos ir kitų mokslų laimėjimai, teikiantys žmogaus gyvenimo ilginimo galimybių, kurios palaiko gundančią nemirtingumo idėją, jau yra persmelkti prekinių santykių, tad ir pats nemirtingumas įmanomas tik kaip prekė. Aptariami kai kurie evoliuciniai ir religiniai techno sapiens sampratos aspektai. Detaliau gvildenamos dvi „nemirtingumo“ versijos: Z. Baumano, kuris nemirtingumo pažadą sieja su kompiuterinės technikos plėtra prasidėjus „Antrajai medijų erai“, ir J. Baudrillard’o, tegiančio, jog klonavimo technologijos „apgręžia“ evoliuciją ir žmogų gundo virusiniu ar vėžiniu belyčiu nemirtingumu. Pagrindiniai žodžiai: genetinis diskursas, klonavimas, medijų kultūra, nanobiotechnologijos, nemirtingumas, suprekinimas. Genetic Discourse in Media Culture: Temptation by Commodified Immorality Vytautas Rubavičius Summary Postmodernity is maintained as a stage of the development of capitalism. The difference between modernity and postmodernity is explained in relation to the new sphere of commodification and resourcification, namely, that of life and of all natural living processes. Postmodern media culture, or popular culture, is peopled by signs of immortality and various kinds of immortals – cyborgs, clones, zombies, immortal human beings and others. Thus, culture accustoms a consumer to immortals and immortality which is concidered as the main goal of a human being and evolution. By nano-bio-technologies and genetic discourse this goal is made scientifically valid, thus reachable. Genetic discourse is becoming the fundamental world-view providing focal landmarks for the emerging future. Media culture supports the spreading of genetic discourse and facilitates its understanding. The temptation by immortality can be considered as a version of modernist ideology of human liberation from various natural, social and heavenly bonds. This liberation, and also secularization, is supported by a scientific genetic technological discourse which is becoming a stimulating factor of postmodern media production. The genetic explanation of the world is particularly handy for technological reflexivity: the entire world is as if encapsulated into human genes, which become the principle explaining the mystery of life, evolution and the future of humanity, thus rendering power to produce the human proper form and the future of people. All the possibilities stemming from the new genetic and biotech discoveries fell under the regulation of property relations by patenting, thus making “immortality” – as a temptation and brand – not only an exeptional commodity, but also a political tool and a commodifying force. As the relationships of private property have penetrated natural biogenetic diversity and, having turned it into a resource, the cognitive subject has reached the goal to secularise the Universe, which he has set for himself: only he as the owner and producer of genes lures people with the eternal shapes of the clones and their genetic information, which will be sustained in any location of the Universe. The temptation by “immortality” will become even stronger when the genetic code is mastered. The future of humanity is related to the mixed forms of life, trans-genic or otherwise genetically modified organisms and techno-human forms that will help to postpone, and later to conquer, death. Even thinkers with religious tendencies perceive the technological improvement of human beings as their evolution towards the techno sapiens and consider such a development as an advancement towards the Kingdom of God. The technologization of human beings is imagined in terms of their divination. Yet in this case the character of contemporary science secularising God and obliterating the perception of divinity is overlooked. Two versions of immortality are analyzed more closely – that of Z. Bauman, who links it with the development of computer technologies, and that of J. Baudrillard, who gives a warning that by cloning technologies humanity is trying to inverse the evolution and to return to the undifferentiated state of cells. The conclusion is drawn that regardless of how we understand ‘immortality,’ argue over its reality or unreality, all possibilities to prolong human life granted by genetics, informatics and other advances in science and technologies, which support the tempting idea of immortality, have already been penetrated by commodity relationships; therefore, “immortality” itself will be available only as a commodity. Keywords: cloning, commodification, genetic discourse, immortality, media culture, nano-bio-technologies. (shrink)

Heidegger's Destruktion of the metaphysical tradition leads him to the view that all Western metaphysical systems make foundational claims best understood as 'ontotheological'. Metaphysics establishes the conceptual parameters of intelligibility by ontologically grounding and theologically legitimating our changing historical sense of what is. By first elucidating and then problematizing Heidegger's claim that all Western metaphysics shares this ontotheological structure, I reconstruct the most important components of the original and provocative account of the history of metaphysics that Heidegger gives in support (...) of his idiosyncratic understanding of metaphysics. Arguing that this historical narrative generates the critical force of Heidegger's larger philosophical project (namely, his attempt to find a path beyond our own nihilistic Nietzschean age), I conclude by briefly showing how Heidegger's return to the inception of Western metaphysics allows him to uncover two important aspects of Being's pre-metaphysical phenomenological self-manifestation, aspects which have long been buried beneath the metaphysical tradition but which are crucial to Heidegger's attempt to move beyond our late-modern, Nietzschean impasse. (shrink)

The study aims to expose vulnerabilities of the subject-object paradigm in modern philosophy. The article concentrates upon ontological limitations of the concept of a subject and changing the status of an object in subject-object relations in the context of changing characteristics of the object existence. Scientific novelty of the work lies in identifying points of ontological stability and limitations of the subject concept, which could be used in its further theoretical development. As a result of the research, the aspects necessary, (...) from the author’s viewpoint, for building a theoretical model of the modern subject, which would be based on ontological symbiosis of subjective and objective characteristics, are determined. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Postmodern culture is usually defined as an age of mechanical reproduction and mechanical degeneration characterized by the eradication of performative aura. This article argues that a crucial distinction should be made between the `anti-auratic' arguments of mainstream 20th-century cultural theory (discussed here in terms of the writings of Benjamin, Baudrillard and Virilio), and the regenerative auratic tradition in 20th-century avant-garde performance (discussed here in terms of the successive explorations of the multimediated body in the work of the Italian Futurist Marinetti, (...) the French sound poet Henri Chopin and the Australian cybernetic body artist, Stelarc). If Baudrillard's and Virilio's most extreme hypotheses argue that postmodern technology reduces the body to the condition of the handicapped, Marinetti, Chopin and Stelarc all demonstrate how technological modifications of the body reinforce the impact of installation art and performance art exploring (and manifesting) individual identity. Significantly, the most interesting subtexts in Benjamin's, Baudrillard's and Virilio's arguments all qualify their accounts of the alleged `death' of aura, and in Baudrillard's case now emphasize the ways in which photography `rediscovers' aura. (shrink)

The small nation-state of Singapore has increasingly been referred to in the popular media as the Intelligent Island of the future. With significant state investment in the promotion and dissemination of information-communications technology and attendant social ramifications, this has become an area that can no longer be ignored or taken for granted. This article intends to map the conditions of possibility on which Singapore can be conceived of as an Intelligent Island, in situating the role of information technology and Intelligent (...) Island discourse within the discourses of postcoloniality, technocapitalism, late modernity, and globalization. In particular, this article attempts to show how, in Intelligent Island discourse, the processes of the construction of a Singaporean nation are intricately linked to the shift in political discourse from mobilizing a rhetoric of crisis to one of utopianism. (shrink)

This paper will examine the impact of genetic technologies on the corporeal and economical aspects of human lives while emphasizing the ambiguity of disability under these subversive circumstances. In 2013, the world was introduced to CRISPR genetic editing technology, followed by the controversial announcement in 2018 from Chinese scientist He Jiankui, who claims to have genetically engineered twins that were born HIV-immune. The possible social outcome of genetic treatment leading to the alteration of human embryos to create physically and intellectually (...) superior offspring, as well as its impact on the social treatment of disabled bodies, is clearly illustrated in Andrew Niccol’s directive debut _Gattaca_. Here, I will discuss Niccol’s utilization of disabled characters in interrogating the employment of disabled characters as a narrative vehicle to reflect upon social paradigms. I examine both the subversion and expansion of the social construct of disability in _Gattaca_’s narrative, emphasizing the film’s portrayal of economic differences as a disabling factor in a world of augmentative technology. (shrink)

Excellence is everywhere. At the heart of the performance‐centred, technocratic language of business, sport and the university, the ubiquity of excellence is accompanied by a transparency of effects that mean nothing but nevertheless manage to transform practices within and between all cultural and corporate institutions. Tracing the notion of excellence associated, in the nineteenth century, with culture and humanity, this paper addresses the implications of its usage in recent decades for ideas concerning the contemporary role and status of the university (...) in order to theorise the upheavals in social and economic thinking that underlie recent cultural transformations. (shrink)

La pregunta por la ética y la voluntad de vivir, frente a la racionalidad y la ecología utilitarista dan forma al texto de Enrique Leff. ¿Cómo se puede superar el estado actual de cosas sin recuperar una ética primigenia, la cual se hacía la pregunta por la buena vida, aquella que merece ser vivida? Siguiendo a Nietzsche, el rechazo por el sentimiento y las pulsiones están en el centro de la mirada racional e instrumental respecto de la naturaleza. La búsqueda (...) incesante del conocimiento objetivo nos ha llevado a olvidar las viejas preguntas acerca de cómo habitar el mundo; las mismas que la ilustración desechó en nombre del conocimiento científico y la dominación del mundo material. Este texto reflexiona sobre el señalado conflicto, y aporta elementos de análisis para su posible superación. (shrink)

Modern Western thought and culture have envisaged their task in terms of a metaphorics, a metaphysics and a technics of 'enlightenment'. However, the ethical and environmental implications of this determination to dispel all shadows have become increasingly pernicious as modernity both extends and alters the conceptualization and employment of (a now artificial) light as a tool of discovery and control. Drawing on the work of Foucault and Benjamin amongst others, this paper seeks to illustrate, through a critical ethopoietics, the 'speculative (...) aporia' of contemporary society from the perspective of radical ecology. The world does not just reflect our own instrumental interests: it has an elusive, shadowy existence of its own that can impinge upon our ethical perceptions. (shrink)

The new technologies of television viewership following the digital turn have introduced new anxieties and possibilities. While new screen cultures facilitate a transnational viewership, the importance of ethically and morally grounded representations cannot be overstated. In this context, Delhi Crime, the Emmy award-winning Indian series based on the Delhi gang rape and murder of a 23-year-old woman in Delhi, will be instrumental in informing the ethico-political concerns that ought to be prioritized while representing the subaltern subject and the novel socialites (...) fashioned through the new viewership patterns. This article attempts to understand the way in which the emerging screen economies provide new terrains for ethical representation and engendering digital publics. Thus, this article is interested in understanding the intersection of media ecologies and ethico-political concerns to introduce new dialectical possibilities. (shrink)

This essay offers a critical examination of two recent Holocaust films that exemplify contrasting approaches to Holocaust representation: Peter Forgacs’s 1997 The maelstrom: A family chronicle and Quentin tarantino’s 2009 Inglourious basterds. One film is historical; the other translates history to figurative exaggeration. The essay explores how The maelstrom positions viewers within the constructed subjunctive spaces of the film, while Inglourious basterds positions viewers as spectators of history as comic book. Looking at these films together illuminates competing rhetorical claims to (...) expertise in film production and reception, and, in the context of Holocaust memory, the levels of expertise required of viewing audiences. Moreover, the analysis reveals that rhetorical aporia no longer dominates inventional possibilities for cinematic memory construction of the Holocaust. (shrink)

This essay begins by focusing on four cultural characters that signify different but associated aspects of the changing destiny of the human figure at the end of the twentieth century and beyond. These characters embody the human figure, in the double sense of form and metaphor, at work, at leisure and at war, and as gendered cultural and philosophical ideal. It is our suggestion that they provide excellent images of a general economy of the future present. Their significance as indices (...) of the destiny of the human resides in the way that they disclose the effects of a restricted economy that overflows its boundaries to incorporate, utilise and restrict every element of its generalised expenditure, to use the categories of Georges Bataille: its sumptuary excess, its sacred forms, its abjected waste, its modes of eroticism, its violence. The essay continues by discussing the implications of, and consequences for, human life in the face of the corporate or techno‐bureaucratic drive to incorporate the ‘impossible‐real’. For Paul Virilio, the technological desire to overwrite the temporal and spatial dimensions of ‘the actual’ discloses something of the ‘divine’ in this new technology. In conclusion, then, the essay questions what resistance there might be to the law of the machine‐God who lies, impossibly, as the immanent being of machinic efficiency, operativity and becoming excellence. (shrink)

The central question concerning the future of masculinity is whether the current matrix of distributions of roles and status, praxes and practices, will remain intact or whether a shift to a new configuration will occur. This essay briefly examines thinking on masculinity in two French attempts to theorize the future of relations between men and women: that of Auguste Comte, at the beginning of sociology, and Jean Baudrillard at the end of sociology. Both have, in their time, predicted radical gender (...) futures. The essay considers these theories against changes in social structures and the effectivity social movements. (shrink)

This essay expresses ambivalence about the use of the term "evil" in analyses of terrorism in light of the association of the two in speeches intended to justify the United States' "war on terrorism." At the same time, the essay suggests that terrorism can be regarded as "evil" but only when considered among a multiplicity of "evils" comparable to it, for example: rape, war crimes, and repression.

The ethical commitment to democracy requires creating the public space for a rational discourse among real alternatives by the population. In this article, I argue that the Internet fails in this task on 2 fronts. Inspired by the work of Jean Baudrillard, the work argues that the Internet reinforces a structure of passive political agents through its 1-way form of communication. The Internet is designed to deliver political text, not engage the public in dialogue about the direction of collective decision (...) making. Furthermore, the ideal of democratic politics relies on the notion of the "commons" as a real space for political activity, debate, and exchange. Virtual space cannot provide a substitute. Democratic politics must have as its premises real bodies, confronting real problems, in real space. The article concludes by arguing that the Internet is a place filled with political artifacts, largely without discourse and dialogue. As such, it has the potential to undermine democratic practice. (shrink)

Strikingly, theorizing about digital technologies has led us to recognize many habitual subjects of research as figures against fields that are also worthy of study. Communication, for example, becomes visible only against the field of silence. Silence is critically important for the construction of reality – and the social construction of reality has a complement, the also necessary contemplative construction of reality. Silence is so sensitive and fragile that an inability to achieve it, or to get rid of it, or (...) to correct the wrong kind of silence often provides early indicators of individual, group, communal, and society-wide stresses from information technologies. Indeed, we might treat difficulties with silence as miners treated canaries in coal mines, as early warning signals. The story has already been told that nightingales in London now have to sing so loudly in order to be heard above the ambient noise that the birds are in danger of breaking the noise ordinance law. Surely something has gone awry if nightingales break the law when they sing. Finding ways to protect silence as an arena of personal and social choice is a particularly poignant, evocative, and instructive ethical and policy horizon at this frontier moment for the human species. This article introduces the theory of the contemplative construction of reality, explores what the study of silence tells us about reality construction processes, and outlines a research agenda. (shrink)

The paper presents a comparative analysis of the interpretation of the phenomenon of social control in postmodernism and metamodernism. The similarities and differences in the description of social control mechanisms are identified. The concepts of “society of the spectacle” (G.Debord), “society of surveillance” (M.Foucault) and “society of control” (J. Deleuze) are analyzed, which show the evolution of postmodernists’ views on social processes.. The concept of the “listening society” (G.Freinacht) as a metamodern alternative to the development of modern society is presented. (...) Postmodernism focuses on criticizing society, drawing attention to its increasing fragmentation, the crisis of metanarratives, and the growing role of the media as a tool for social control. In contrast, metamodernism tries to balance modern and postmodern theories, recognizing the importance of centralized and decentralized forms of social control. This allows simultaneously taking into account the diversity of identities of a modern person and the possibility of his or her integration into society through the adoption of common norms and rules. Metamodernism seeks to reconstruct metanarratives that can contribute to new forms of social control based on cooperation and common interests. It emphasizes the importance of empathy in social control, whereas postmodernism rejects it as a false, simulated form of social relations. While postmodernism focuses more on critical analysis of existing structures, metamodernism aims to find hybrid and adaptive forms of control that combine traditional methods with the latest technologies. All these differences in the interpretation of the phenomenon of social control reflect the paradigm shift from postmodern deconstruction to synthesis and reconstruction within metamodernism. (shrink)

In this paper I will address some theories of Roman Ingarden and Walter Benjamin in the light of the new reproductive technologies for streaming music. As to Ingarden's theory I argue that, in the case I am bringing into investigation, streaming music experience can bring new light on the problem of the identity of the musical work by creating a continuum in a sequence of performances, and such continuum may account for a sort of ‘fluid’ cross-identity of the music piece (...) variously performed. I also argue that the lack of ‘aura’, in this case, does not devalue the music piece and nevertheless allows for a notable aesthetic fruition. (shrink)