This paper begins with the examination of some premises of Mary Shelley's novel, Frankenstein or the Modern Prometheus, and briefly revisits some of the concepts or ideas that she had adapted and that will allow to determine the premises that characterize what we named as Frankenstein Paradigm. Such a paradigm, as we suggested, allows us to perceive, on the one hand, the avant-garde vision of Mary Shelley about human condition (regardless of literary immersion in gothic subjects), and on (...) the other hand, the complexity of themes that would mark what is termed by post-human, that we will give some examples whether in contemporary art or in the framework of figures and representations of daily life (some illustrations on movies will be given). In this regard, we will notice the prosthetic transformations that have already occurred and, therefore, to verify the practical application of the premises contained in the Frankenstein paradigm. Next, it is necessary to carry out a reflection on the ethical and social implications posed by post-humanism as the well-known paradox of the ship of Theseus (which, as we all know, illustrates the problem of identity). (shrink)

Durante uma competição que envolveu Lord Byron, Polidori e Percy Shelley, numa prova de quem seria capaz de criar a melhor história de horror, nasce o rascunho de o que conhecemos hoje como Frankenstein. Aprovado e exaltado pela crítica, o novo romance de horrores, que marca o início da segunda fase do gótico, é tido por Walter Scott como uma obra que investiga as condições e implicações do conhecimento e da imaginação humana. Não é novidade que o gênero gótico (...) é tido como uma marca e um local no qual temas marginalizados e silenciados podem ser tratados de forma aberta, os ideais deixados por grandes filósofos como, por exemplo, Bacon e Descartes passam a ser questionados e têm suas implicações levadas às últimas consequências. Frankenstein não foge dessa regra. O romance se distingue por conta da formação do arquétipo do cientista louco, do medo dos avanços científicos e a superação de limites através da artificialidade que são caracterizados, em última instância, no ato de "brincar" de Deus e tentar conferir vida a uma matéria morta. Dito isso, meu objetivo é explorar, em primeiro lugar, de que maneira este romance se posiciona perante os ideais filosóficos (especialmente científicos); em segundo lugar, como recusa tais ideais e, por fim, de que maneira se difere dos romances góticos que o antecedeu. (shrink)

In Mary Shelley’s Frankenstein the brilliant scientist Viktor Frankenstein constructs and animates a gigantic and superhumanly powerful man. But upon animation, Frankenstein discovers he neglected beauty, and beholding his hideous creation flees in horror without even naming the man. Abandoned and alone the monster leaves society, yet secretly observing humanity learns language and philosophy and eventually discovers humanity’s self-understanding and his own self-understanding to be grounded in beauty rather than reason.

This commentary suggests that the ongoing malaise of biomedical research results from adopting a doctrine that is incompatible with the principles of creative scientific discovery and thus should be treated as a mental rather than somatic disorder. I overview the progression of the malaise, outline the doctrine and the history of its marriage to science, formulate the diagnosis, justify it by reviewing the symptoms of the malaise, and suggest how to begin to cure the disease.

Horizontal gene transfer (HGT) has been a paramount mechanism of interest in recent literature addressing the origins of biological evolution. However, research on lightning-triggered electroporation represents the innovative and still insufficiently grasped approach to HGT (Kotnik, 2013). On the other hand, prebiotic synthesis is a fundamental process for chemical evolution. Recently, the effects of volcanic lightning on nitrogen fixation and phosphate reduction have also been considered (NavarroGonzález and Segura, 2004). This paper aims to present a top-down approach to the question (...) of the origin of life on early Earth. By considering the conditions necessary for the emergence of biological and chemical evolution, emphasizing electrostatic discharges, we will attempt to link previous theoretical and experimental research. Furthermore, we will present a recent endeavor at applying the Drake equation to calculating the probability of volcanic lightning impact on the prebiotic synthesis and derive a similar use in estimating the contribution of lightning to HGT (Weaver, 2013). We will also display that choosing a type of probability appropriate for the context of life sciences is not necessarily a quantitative issue. Finally, we will show that significant conceptual constraints, like determining the relevant factors and sources of uncertainty when considering the origin of life on early Earth, are fundamentally philosophical issues. We hope that the results of our research – deriving Drake’s equation in the domain of chemical evolution and considering Bayesian and counterfactual types as potentially more suitable candidates for calculating probabilities in the evolutionary framework – will contribute to developing new discussions in life sciences. (shrink)

The Internet is like a new country, with a growing population of millions of well educated citizens. If it wants to keep track of its own cultural achievements in real time, it will have to provide itself with an infostructure like a virtual National Library system. This paper proposes that institutions all over the world should take full advantage of the new technologies available, and promote and coordinate such a global service. This is essential in order to make possible a (...) really efficient management of human knowledge on a global scale. (shrink)

A proposed plan to rescue US biomedical research from its current ‘malaise’ will not be effective as it misdiagnoses the root cause of the disease.

Hailed as "a feast" (Washington Post) and "a modern-day bestiary" (The New Yorker), Stephen Asma's On Monsters is a wide-ranging cultural and conceptual history of monsters--how they have evolved over time, what functions they have served for us, and what shapes they are likely to take in the future. Beginning at the time of Alexander the Great, the monsters come fast and furious--Behemoth and Leviathan, Gog and Magog, Satan and his demons, Grendel and Frankenstein, circus freaks and headless children, (...) right up to the serial killers and terrorists of today and the post-human cyborgs of tomorrow. Monsters embody our deepest anxieties and vulnerabilities, Asma argues, but they also symbolize the mysterious and incoherent territory beyond the safe enclosures of rational thought. Exploring sources as diverse as philosophical treatises, scientific notebooks, and novels, Asma unravels traditional monster stories for the clues they offer about the inner logic of an era's fears and fascinations. In doing so, he illuminates the many ways monsters have become repositories for those human qualities that must be repudiated, externalized, and defeated. (shrink)

Bioethical discourse on organ donation covers a wide range of topics, from informed consent procedures and scarcity issues up to ‘transplant tourism’ and ‘organ trade’. This paper presents a ‘depth ethics’ approach, notably focussing on the tensions, conflicts and ambiguities concerning the status of the human body. These will be addressed from a psychoanalytical angle. First, I will outline Lacan’s view on embodiment as such. Subsequently, I will argue that, for organ recipients, the donor organ becomes what Lacan refers to (...) as an object a, the ‘partial object’ of desire, the elusive thing we are deprived of, apparently beyond our grasp. Within the recipient’s body an empty space emerges, a kind of ‘vacuole’, once occupied by a faltering organ. This space can only be filled by a ‘gift’ from the other, by an object a. Once implanted, however, this implant becomes an ‘extimate’ object: something both ‘external’ and ‘intimate’, both ‘embedded’ and ‘foreign’, and which is bound to remain an object of concern for quite some time, if not for life. A Lacanian analysis allows us, first of all, to address the question what organ transplantation has in common with other bodily practices involving bodily parts procured from others, such as cannibalism. But it also reveals the basic difference between the two, as well as the distance between the ‘fragmented body’ of Frankenstein’s ‘monster’—as an aggregate of replaceable parts—and the multiple organ recipients of today. (shrink)

My analysis takes as its point of departure the controversial assumption that contemporary ethical theories cannot capture adequately the ethical and social challenges of scientific and technological development. This assumption is rooted in the argument that classical ethical theory invariably addresses the issue of ethical responsibility in terms of whether and how intentional actions of individuals can be justified. Scientific and technological developments, however, have produced unintentional consequences and side-consequences. These consequences very often result from collective decisions concerning the way (...) we wish to organise our economies and society, rather than from individual actions. It has been apparent for a long time now that it is not sufficient to construct an ethics of science and technology on the basis of the image of a scientist who intentionally wants to create a Frankenstein. Thus, as a minimum we would require an ethical framework that addresses both the aspect of unintentional side consequences (rather than intentional actions) and the aspect of collective decisions (rather than individual decisions) with regard to complex societal systems, such as the operation of our economy. We do not have such a theory available. More disturbing than the principle shortcomings of ethical theory are the shortcomings of conventional ethical practice with respect to technological developments. Below I will suggest how four different developments can illustrate these shortcomings, which centre around the fact that individuals in our society can simply not be held fully accountable for their individual role within the context of scientific technological developments. I will call these shortcomings of a theory (and practice) of individual role responsibility. This may help us to reflect on robotics too, insofar as robots may be perceived as replacements for “roles”. From there, I will argue why we have to shift our attention to an ethics of knowledge assessment in the framework of deliberative procedures. (shrink)

This paper analyzes the proposal that central banks should issue digital currencies (CBDC) to provide a public alternative to private digital accounts and cryptocurrencies. We build on some The promises and perils of central bank digital currencies recent themes in political economy research to give a broader and more balanced perspective than the existing literature, highlighting both the promises and perils of CBDC. We argue that, on the one hand, the present state of the private financial sector is problematic and (...) regulators should seek to tackle the issues of financial power, financial instability and lack of adequate monetary policy options. On the other hand, implementing CBDC comes with risks of its own, such as that of creating a “Frankenstein scenario” where too much power is given to unelected technocrats. Our tentative conclusion is therefore that CBDC should be seen as a second-best option, while the primary focus of policy makers should be on the possibility of financial re-regulation. (shrink)

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards (...) and folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

Predictions about autonomous weapon systems are typically thought to channel fears that drove all the myths about intelligence embodied in matter. One of these is the idea that the technology can get out of control and ultimately lead to horrifi c consequences, as is the case in Mary Shelley’s classic Frankenstein. Given this, predictions about AWS are sometimes dismissed as science-fiction fear-mongering. This paper considers several analogies between AWS and other weapon systems and ultimately offers an argument that nuclear (...) weapons and their effect on the development of modern asymmetrical warfare are the best analogy to the introduction of AWS. The fi nal section focuses on this analogy and offers speculations about the likely consequences of AWS being hacked. These speculations tacitly draw on myths and tropes about technology and AI from popular fi ction, such as Frankenstein, to project a convincing model of the risks and benefi ts of AWS deployment. (shrink)

Despite the fact that Mary Shelley and E. M. Cioran have never been previously analyzed in the same context (they belong not only to different ages but also to divergent genres), we will find that they share at least two similar themes. The motif of solitude, common among Romantic poets (Coleridge, Byron, Poe), finds a deep expression in Shelley’s Frankenstein and in Cioran’s early oeuvre. A more thorough investigation of the British novelist and the Romanian-French self-described “anti-philosopher” discloses that (...) hatred (a theme that is not frequently researched from a philosophical point of view) might be another of their obsessions. The concept of the nihilistic not-man becomes useful when we will follow the tripartite shape of hatred (of others, of myself and of God) not only in literature or philosophy but also in pop culture. (shrink)

The versions of Nietzschean and Cioranian Antihumanism start from different presuppositions than Foucault’s Antihumanism, adding misanthropy to their nihilistic project. The Cioranian term of the not-man, a darker counterpart to Nietzsche’s Übermensch, can be “tested” through forays into the Romantic and Post-romantic literature, considering for instance Shelley’s Frankenstein (1818), Maupassant’s “Horla” (1887), Lorrain’s “The Possessed” (1895) or the poems of Lautréamont. In this paper we compare Cioran’s Antihumanism with the nihilism of Thomas Bernhard’s first novel, Frost (1963).

In Byron, Shelley, and Goethe’s Faust, author Ben Hewitt has provided us with a carefully done and convincing study. Given this, it would have been interesting to see Hewitt’s effort to integrate Mary Shelley’s work into his narrative. Apart from any similarities between Faust and Frankenstein, it bears remembering that Goethe himself remained unconvinced by efforts to clearly demarcate works as “tragic” or “epic”; a fact that becomes especially clear in the number of works he’d devoted to rewriting the (...) story of Prometheus. One cannot help but wish that Hewitt had considered the connection between these works and Shelley’s own “Modern Prometheus” in juxtaposition to his reading of P.B. Shelley’s Prometheus Unbound, for this would have made for an especially good ending to Hewitt’s story. Wayne Deakin’s consideration of Hegel and the English Romantic Tradition does indeed close with a brief consideration of Mary Shelley’s Prometheus, but this comes only at the end of a much longer set of considerations. In this book Deakin adopts a similar strategy as that of Hewitt, namely, foregoing any historical recovery of Hegel’s direct influence on the English Romantics—in Deakin’s case, Coleridge, Wordsworth, and P.B. Shelley—to focus instead on a reading of key poetic works in concert with their Hegelian framework. This reading essentially flows from Deakin’s effort to rethink Hegel’s relatively early notion of self-consciousness through his late lectures on aesthetics. For Deakin, this leads to “aesthetic recognition”; a situating of the self in relation to the world that remains in tension so far as the subject’s drive for autonomy will automatically be humbled by its reception of and to alterity—be that other “Nature” or other subject. (shrink)

Una primera recomendación para arrancar la lectura de cualquier obra de Byung-Chul Han es saber que no hay ahí, metodológicamente hablando, principio o final alguno. No existe eso de “léete tal libro suyo que de ahí en adelante entenderás todo con mucha más claridad”, o aquel otro consejo de “a partir de tal idea puedes conectar las partes con el todo”. No. En la acaparadora obra de Han no hay nada de eso. Por el contrario, toda su producción intelectual parece (...) estar guiada más por un ánimo apocalíptico de anunciaciones fatalistas que por un sistema lógico de relaciones de ideas. La palabra, como medio para comunicar y enunciar ideas con cierta claridad, es (re)emplazada en su obra por un discurso emotivo donde prima la cicatriz sobre la herida, el moretón sobre el golpe, el efecto sobre la causa. (shrink)