In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality.

In this age of DNA computers and artificial intelligence, information is becoming disembodied even as the "bodies" that once carried it vanish into virtuality. While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" _Star Trek_-style, others view them with horror, seeing monsters brooding in the machines. In _How We Became Posthuman,_ N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age. Hayles relates three interwoven stories: how information lost (...) its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman." Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel _Limbo_ by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems. Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, _How We Became Posthuman_ provides an indispensable account of how we arrived in our virtual age, and of where we might go from here. (shrink)

"This book presents for the first time in English an array of essays on design by the seminal Czech-born media critic and philosopher Vilem Flusser. It puts forward the view that our future depends on design. In a series of insightful short essays, touching on a wide range of subjects - industrial ethics; tents, umbrellas and shamans; the architecture of Wittgenstein; ceramic vessels as bearers of social meaning - Flusser emphasizes the interrelationships between art and science, theology and technology, and (...) archaeology and architecture. Just as formal creativity has produced both weapons of destruction and great works of art, Flusser believed that the shape of things (and the designs behind them) represent both a threat and an opportunity for designers of the future."--BOOK JACKET. Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

Ten years after his death, Vilém Flusser’s reputation as one of Europe’s most original modern philosophers continues to grow. Increasingly influential in Europe and Latin America, the Prague-born intellectual’s thought has until now remained largely unknown in the English-speaking world. His innovative writings theorize—and ultimately embrace—the epochal shift that humanity is undergoing from what he termed "linear thinking" toward a new form of multidimensional, visual thinking embodied by digital culture. For Flusser, these new modes and technologies of communication make possible (...) a society in which dialogue between people becomes the supreme value.The first English-language anthology of Flusser’s work, this volume displays the extraordinary range and subtlety of his intellect. A number of the essays collected here introduce and elaborate his theory of communication, influenced by thinkers as diverse as Martin Buber, Edmund Husserl, and Thomas Kuhn. While taking dystopian, posthuman visions of communication technologies into account, Flusser celebrates their liberatory and humanizing aspects. For Flusser, existence was akin to being thrown into an abyss of absurd experience or "bottomlessness"; becoming human required creating meaning out of this painful event by consciously connecting with others, in part through such technologies. Other essays present Flusser’s thoughts on the future of writing, the revolutionary nature of photography, the relationship between exile and creativity, and his unconventional concept of posthistory. Taken together, these essays confirm Flusser’s importance and prescience within contemporary philosophy.Vilém Flusser was born in Prague and taught philosophy in Brazil. Andreas Ströhl is director of the film department at the Goethe-Institut Inter Nationes in Munich. Erik Eisel works for a software technology company in Southern California. (shrink)

Vilém Flusser was one of the most fascinating and original European thinkers of the late twentieth century. In this collection of his essays on emigration, nationalism, and information theory, he raises questions about the viability of ideas of national identity in a world whose borders are becoming increasingly arbitrary and permeable. Flusser argues that modern societies are in flux, with traditional linear and textual epistemologies being challenged by global circulatory networks and a growth in visual stimulation. Beyond globalization, Flusser's ideas (...) about communication and identity are rooted in the Judeo-Christian concept of self-determination and self-realization through recognition of the other. (shrink)