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)

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.

On the Move presents a rich history of one of the key concepts of modern life: mobility. Increasing mobility has been a constant throughout the modern era, evident in mass car ownership, plane travel, and the rise of the Internet. And typically, people have equated increasing mobility with increasing freedom. However, as Cresswell shows, while mobility has certainly increased in modern times, attempts to control and restrict mobility are just as characteristic of modernity. Through a series of fascinating historical episodes (...) Cresswell shows how mobility and its regulation have been central to the experience of modernity. (shrink)

A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and ...

Car cultures have social, material and, above all, affective dimensions that are overlooked in current strategies to influence car-driving decisions. Car consumption is never simply about rational economic choices, but is as much about aesthetic, emotional and sensory responses to driving, as well as patterns of kinship, sociability, habitation and work. Through a close examination of the aesthetic and especially kinaesthetic dimensions of automobility, this article locates car cultures (and their associated feelings) within a broader physical/material relational setting that includes (...) both human bodies and car bodies, and the relations between them and the spaces through which they move (or fail to move). Drawing on both the phenomenology of car use and new approaches in the sociology of emotions, it is argued that everyday car cultures are implicated in a deep context of affective and embodied relations between people, machines and spaces of mobility and dwelling in which emotions and the senses play a key part – the emotional geographies of car use. Feelings for, of and within cars (‘automotive emotions’) come to be socially and culturally generated across three scales involved in the circulations and displacements performed by cars, roads and drivers: embodied sensibilities and kinaesthetic performances; familial and sociable practices of ‘caring’ through car use; and regional and national car cultures that form around particular systems of automobility. By showing how people feel about and in cars, and how the feel of different car cultures generates habitual forms of automobilized life and different dispositions towards driving, it is argued that we will be in a better position to re-evaluate the ethical dimensions of car consumption and the moral economies of car use. (shrink)

This book uses the philosophy of Wittgenstein as a perspective from which to challenge the idea of a critical social theory, represented pre-eminently by Giddens, Habermas and Bhaskar.

Any Baedeker will tell us where we ought to travel, but only Alain de Botton will tell us how and why. With the same intelligence and insouciant charm he brought to How Proust Can Save Your Life, de Botton considers the pleasures of anticipation; the allure of the exotic, and the value of noticing everything from a seascape in Barbados to the takeoffs at Heathrow. Even as de Botton takes the reader along on his own peregrinations, he also cites such (...) distinguished fellow-travelers as Baudelaire, Wordsworth, Van Gogh, the biologist Alexander von Humboldt, and the 18th-century eccentric Xavier de Maistre, who catalogued the wonders of his bedroom. The Art of Travel is a wise and utterly original book. Don’t leave home without it. (shrink)