Mimesis: the idea of imitation. Alterity: the idea of difference, the opposition of Self and Other. In his most accomplished work to date, Michael Taussig explores these complex and often interwoven concepts. Arguing that mimesis is the nature that culture uses to create second nature, he maintains that mimesis - variously experienced in different societies - is not only a faculty but also a history. That history, Taussig writes, is deeply tied to "Euroamerican colonialism, the felt relation of the civilizing (...) process to savagery, to aping, sensateness caught in the net of passionful images spun for several centuries by the colonial trade with wildness." For anthropologists, social scientists, cultural critics, artists and everyone else caught up in the enigma of the postmodern, framing the question "What is Reality" is crucial to gaining an understanding of what it is we know and who we are. Why is it important to understand that traditions are inventions and that social life is a construction when they grip us with all the force of the "natural"? And how is it that we understand reality as both real and really made up? In Mimesis and Alterity Taussig undertakes an eccentric history of the mimetic faculty. He moves easily from the nineteenth-century invention of mimetically capacious machines, such as the camera, backwards to the fable of colonial "first-contact" and alleged mimetic prowess of "primitives," and then forward to contemporary time, when the idea of alterity is increasingly unstable. Utilizing anthropological theory, Taussig blends Latin American ethnography and colonial history with the insights of Walter Benjamin, Adorno and Horkheimer. Vigorous and unorthodox, Taussig's understanding of mimesis in different cultures deepens our meanings of ethnography, racism and society. (shrink)

Writer and filmmaker Laura Mulvey is widely regarded as one of the most challenging and incisive contemporary feminist cultural theorists. Part of the 1970s generation of British film theorists and independent filmmakers, she came to prominence with her classic work on the pleasures, and displeasures, of narrative cinema, Visual and Other Pleasures. This new collection contains her most recent writings, ranging from analyses of Xala, Citizen Kane, and Blue Velvet to an extended engagement with the work of the American Indian (...) artist Jimmie Durham and the feminist photographer Cindy Sherman. (shrink)

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)

By insisting on the importance of materiality, this volume breaks new ground in philosophy, feminist theory, cultural studies, science studies, and other fields where the body and nature collide.

Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art and Agency (...) was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation. (shrink)

A theoretical physicist and feminist theorist, Karen Barad elaborates her theory of agential realism, a schema that is at once a new epistemology, ontology, and ethics.

Modest_Witness@Second_Millennium. FemaleMan_Meets_OncoMouse explores the roles of stories, figures, dreams, theories, facts, delusions, advertising, institutions, economic arrangements, publishing practices, scientific advances, and politics in twentieth- century technoscience. The book's title is an e-mail address. With it, Haraway locates herself and her readers in a sprawling net of associations more far-flung than the Internet. The address is not a cozy home. There is no innocent place to stand in the world where the book's author figure, FemaleMan, encounters DuPont's controversial laboratory rodent, OncoMouse. (...) Haraway sees the world of contemporary technoscience as a drama. Information sciences and life sciences are at the center of the dramatic action. Scenes are set in landscapes where maps of human genetic differences are stored in databases, racialized bodies are reconfigured by morphing for photographs in popular magazines, and transgenic mice important to breast cancer research are patented intellectual property. The actors are many, and not all are human. Beginning with the Modest Witness, the key figure in the Science Revolution, Haraway shows us the trouble lurking in race and gender- marked practices for attesting to matters of fact. In later scenes, Haraway explores the kinship relations among the many cyborg creatures produced in the late twentieth-century--in nuclear research, genetic engineering, reproductive technologies, computer-mediated representational practices, and mutations in biological approaches to "race.". (shrink)

In humans, gender is both a concept and performance embodied by females and males, a corporeal technology that is produced dialectically. The process of gendering robots makes especially clear that gender belongs both to the order of the material body and to the social and discursive or semiotic systems within which bodies are embedded. This article explores and interrogates the gendering of humanoid robots manufactured today in Japan for employment in the home and workplace. Gender attribution is a process of (...) reality construction. Roboticists assign gender based on their common-sense assumptions about female and male sex and gender roles. Whereas the relationship between human bodies and genders is a contingent one, I argue that gendered robots render that relationship a necessary one by conflating bodies and genders. Humanoid robots are the vanguard of posthuman sexism, and are being developed within a reactionary rhetorical climate. (shrink)

Researchers in artificial intelligence and robotics often include a timeline stretching into the future in which they predict the convergence between human and artificial intelligence. Ray Kurzweil, for example, predicts that in a mere 100 years humans and intelligent machines will become indistinguishable from one another, both ceasing to have permanent corporeal forms. This article argues that the one thing we can know for sure about the future is that when it arrives, it will be different from what we imagined. (...) The cultural work that predictions like Kurzweil’s perform is less to prognosticate the future than to shape our understanding of what it means to be human in the present. Working from the ‘sense-think-act’ paradigm foundational to work in artificial intelligence and robotics, this article argues that predictions in all three areas (sensing, thinking, acting) feed back to affect how the human is envisioned in the present. The reconfigurations these predictions bring about are to downplay consciousness, embodied cognition, and evolutionary inertia. The article concludes by critically evaluating contemporary resistances to the posthuman, especially in the writings of Rodney Brooks and Francis Fukuyama. (shrink)

The truth of the matter is that our deficiency does not lie in the want of well-verified "facts." What we lack is our bearings. The contemporary experience of things technological has repeatedly confounded our vision, our expectations, and our capacity to make intelligent judgments. Categories, arguments, conclusions, and choices that would have been entirely obvious in earlier times are obvious no longer. Patterns of perceptive thinking that were entirely reliable in the past now lead us systematically astray. Many of our (...) standard conceptions of technology reveal a disorientation that borders on dissociation from reality. And as long as we lack the ability to make our situation intelligible, all of the "data" in the world will make no difference.;From the Introduction. (shrink)

This book demonstrates how and why vitalism—the idea that life cannot be explained by the principles of mechanism—matters now. Vitalism resists closure and reductionism in the life sciences while simultaneously addressing the object of life itself. The aim of this collection is to consider the questions that vitalism makes it possible to ask: questions about the role and status of life across the sciences, social sciences, and humanities and questions about contingency, indeterminacy, relationality and change. All have special importance now, (...) as the concepts of complexity, artificial life and artificial intelligence, information theory, and cybernetics become increasingly significant in more and more fields of activity. (shrink)

The discussions about the ethical, political and human implications of the postmodernist condition have been raging for longer than most of us care to remember. They have been especially fierce within feminism. After a brief flirtation with postmodern thinking in the 1980s, mainstream feminist circles seem to have turned their back on the staple notions of poststructuralist philosophy. Metamorphoses takes stock of the situation and attempts to reset priorities within the poststructuralist feminist agenda. Cross-referring in a creative way to Deleuze's (...) and Irigaray's respective philosophies of difference, the book addresses key notions such as embodiment, immanence, sexual difference, nomadism and the materiality of the subject. Metamorphoses also focuses on the implications of these theories for cultural criticism and a redefinition of politics. It provides a vivid overview of contemporary culture, with special emphasis on technology, the monstrous imaginary and the recurrent obsession with 'the flesh' in the age of techno-bodies. This highly original contribution to current debates is written for those who find changes and transformations challenging and necessary. It will be of great interest to students and scholars of philosophy, feminist theory, gender studies, sociology, social theory and cultural studies. (shrink)

In 1738, Jacques Vaucanson unveiled his masterpiece before the court of Louis XV: a gilded copper duck that ate, drank, quacked, flapped its wings, splashed about, and, most astonishing of all, digested its food and excreted the remains. The imitation of life by technology fascinated Vaucanson's contemporaries. Today our technology is more powerful, but our fascination is tempered with apprehension. Artificial intelligence and genetic engineering, to name just two areas, raise profoundly disturbing ethical issues that undermine our most fundamental beliefs (...) about what it means to be human. In The Vital Machine, David Channell examines the history of our relationship with technology and argues that, while the resolution of these issues may not be imminent, a philosophical framework for dealing with them is already in place. The source of our fears, he suggests, lies in an outmoded distinction between organic life and machines, a distinction rooted in the two world-views that have defined and guided Western civilization: the mechanical and the organic. The mechanical view holds that the universe is basically a machine--we can understand it by breaking it down into its smallest components. Even organisms are machines. The organic view claims that there is something more, some vital, directive force. The whole is more than just the sum of its parts. Even machines are organisms. Channell presents these polar views in a fascinating chronicle of human thought and achievement, ranging over the discoveries of Galileo, Copernicus, Newton, and Einstein, the philosophies of Plato, Descartes, Kant, and Marx, the fields of alchemy, physics, astrology, and biology. We see not only how the two views progressed independently, but also how they influenced each other, not only how they persisted, but also how they changed. Most fascinating of all, we follow the emergence of a third, all-embracing world view as developments in genetics, relativity, quantum mechanics, and computer intelligence force both science and philosophy to come to a more complex understanding of the universe. As a central metaphor for this third view Channell proposes "the vital machine." And in this stimulating work by the same name, he reveals how this new metaphor may provide us with the philosophical understanding we need to address the ethical issues our science has created. (shrink)

A comprehensive examination of the aesthetics of animation in its many forms. This work is a useful resource for researchers, students and anyone with a serious interest in animation. It provides analyses of animation produced throughout the world. It overviews the relationship between animation studies and media studies.

"Helmreich's analysis--extensive, imaginative, rigorous, and insightful--promises to establish him as "the" cultural authority on A-Life.... He shows that, in the age of complexity, science simultaneously disenchants and re-enchants the world.... The book is written in a personal and engaging style... so full of ideas and interesting asides [that] Helmreich takes on the persona of a smart and well-informed tour guide of the A-Life world [with] an enviable ability to take very complex ideas and discuss them comprehensibly without simplifying them."--Hugh Gusterson, (...) author of "Nuclear Rites". (shrink)

Artificial Knowing challenges the masculine slant in the Artificial Intelligence (AI) view of the world. Alison Adam admirably fills the large gap in science and technology studies by showing us that gender bias is inscribed in AI-based computer systems. Her treatment of feminist epistemology, focusing on the ideas of the knowing subject, the nature of knowledge, rationality and language, are bound to make a significant and powerful contribution to AI studies. Drawing from theories by Donna Haraway and Sherry Turkle, and (...) using tools of feminist epistemology, Adam provides a sustained critique of AI which interestingly re-enforces many of the traditional criticisms of the AI project. Artificial Knowing is an esential read for those interested in gender studies, science and technology studies, and philosophical debates in AI. (shrink)

This article explores the idea that affect is collective. By emphasizing that affect does not rest in the individual, a theory of affect is foregrounded that is in conversation with Gilbert Simondon’s concept of individuation, and, more specifically, the concept of the preindividual. The preindividual, in Simondon, is aligned with what Gilles Deleuze calls ‘a life’ — the force of living beyond life itself. This force of life, I suggest, is the resonant field of life’s outside, the more-than of human (...) life where the body is but one verging surface on the field of experience, where the body is always more than One. The more-than-Oneness of the body is always already collective, cutting as it does between life-welling and life-living. It is here, at this virtual-actual juncture, that the force of affect resides, activating the body-becoming. (shrink)

The focus of my inquiry in this article is the figure of the Human that is enacted in the design of the humanoid robot. The humanoid or anthropomorphic robot is a model (in)organism, engineered in the roboticist’s laboratory in ways that both align with and diverge from the model organisms of biology. Like other model organisms, the laboratory robot’s life is inextricably infused with its inherited materialities and with the ongoing — or truncated — labours of its affiliated humans. But (...) while animal models are rendered progressively more standardised and replicable as tools for the biological sciences, the humanoid robot is individuated and naturalised. Three stagings of human— robot encounters (with the robots Mertz, Kismet and Robota respectively) demonstrate different possibilities for conceptualising these subject objects, for the claims about humanness that they corporealise, and for the kinds of witnessing that they presuppose. (shrink)

Cyberfeminism and Artificial Life examines construction, manipulation and re-definition of life in contemporary technoscientific culture. It takes a critical political view of the concept of life as information, tracing this through the new biology and the changing discipline of artificial life and its manifestation in art, language, literature, commerce and entertainment. From cloning to computer games, and incorporating an analysis of hardware, software and 'wetware', Sarah Kember demonstrates how this relatively marginal field connects with, and connects up global networks of (...) information systems. As well as offering suggestions for the evolution of [cyber]feminism in Alife environments, the author identifies the emergence of posthumanism; an ethics of the posthuman subject mobilized in the tension between cold war and post-cold war politics, psychological and biological machines, centralized and de-centralized control, top-down and bottom-up processing, autonomous and autopoietic organisms, cloning and transgenesis, species-self and other species. Ultimately, this book aims to re-focus concern on the ethics rather than on the 'nature' of life-as-it-could-be. (shrink)

This article searches for a way of theorizing the interconnectedness of processes of individuation, relationality and affect, with the aim of clearing the ground for an approach that establishes the basis of this interconnectedness by reference to mechanisms common to all living things. It establishes a number of shifts that enable us to think the categories and concepts like the individual, the subject, the group, the threshold, relationality, co-implication and so on according to a fundamental decentring, finally breaking with both (...) subject-centredness and its privilege of the individual as model or starting point; the same epistemological shift implies the rejection of the anthropocentric divide between humans and animals, while avoiding species of sociobiologism, pre-formationism, geneticism and other monocausal paradigms. What the new problematic of life enjoins us to rethink are the standpoint of singularity rather than that of the individual, coupled to the standpoint of relationality as a principle enabling us to think the self—other, human—animal, nature—culture and human—world in terms of compossibility and complex becoming. This view about the co-constitution of all life has major implications regarding responsibility for the other and responsibility for the world, grounded in the standpoint of the temporality and historicity of being as existential condition circumscribing the relation to the other. This shift at the level of ontology is explored via an engagement with the work of Simondon and his conceptual apparatus, particularly ideas of psychic and collective individuation, the pre-and transindividual, the associated milieu; this perspective is re-articulated by way of the work of Merleau-Ponty, Haraway’s notion of ‘companion species’, Ettinger’s concept of the ‘I—other plurality’, and cognate concepts that point to a new terrain for theorizing affect. (shrink)