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1
Llorens, Serrano Jaume. "La transcendencia del homo sapiens: el icono del posthumano en la ciencia ficción." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400376.
Testo completoAbstract (sommario):
El principal objetivo de esta tesis es estudiar la representación del posthumano en la ciencia ficción. Teniendo en cuenta la influencia de distintas corrientes en la historia del género, se expondrá que el posthumano se consolida como un icono de la ciencia ficción a partir de los años ochenta y noventa. Separándose del cyborg, el posthumano representa de forma más específica cómo la tecnociencia puede transformar nuestra especie. A rasgos generales será definido como el icono que, partiendo del concepto del mejoramiento humano, imagina la evolución o creación de una nueva versión del ser humano, normalmente a través de medios tecnológicos pero a veces también a causa de fenómenos naturales, y que plantea un conflicto con nuestro concepto de la identidad humana. Asimismo, se pretende estudiar la relación y el encaje entre la ciencia ficción y el campo interdisciplinario del posthumanismo, que en la actualidad constituye un ámbito clave para interrogar el impacto de la tecnología en nuestra sociedad, cultura, identidad e incluso nuestro futuro como especie. Para ello se abordarán distintos aspectos de la representación del posthumano compartidos por el posthumanismo y la ciencia ficción. El objeto de estudio principal será la literatura de ciencia ficción escrita en inglés, del periodo 1995 a 2015, sin ignorar el desarrollo de la idea del posthumano en la historia del género. Cinco casos de estudio específicos ilustrarán los aspectos tratados: las novelas Old Man’s War (2005) de John Scalzi, Altered Carbon (2002) de Richard Morgan, The Windup Girl (2009) de Paolo Bacigalupi, Fairyland (1995) de Paul McAuley, y Darwin’s Children (2003) de Greg Bear.<br>The main aim of this dissertation is to study the depiction of the posthuman in the science fiction genre. Taking into consideration the significance of the genre’s history, this thesis will contend that the posthuman flourishes after the eighties and nineties. Evolving from the cyborg, the posthuman portrays the ways in which technoscience may alter and improve humanity. Broadly, it will be defined as an enhanced human —normally through technological means but also as the result of natural phenomena— that becomes the next stage in human evolution. In addition, this thesis will look into the interrelation between science fiction and the field of posthumanism, the key area in the debate of how technology is changing our society, culture and identity, and how it can even shape our future as a species. The subject of study, then, will be the science fiction literature written in English from the period 1995-2015, taking also into account the development of posthuman fiction during the genre’s history. Five specific case studies will illustrate the topics discussed: the novels Old Man’s War (2005) by John Scalzi, Richard Morgan’s Altered Carbon (2002), Paolo Bacigalupi’s The Windup Girl (2009), Paul McAuley’s Fairyland (1995), and Greg Bear’s Darwin’s Children (2003).
2
Maureira, Velásquez Marco. "La reconceptualización de lo vivo: de las epidemias al posthumanismo." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399851.
Testo completoAbstract (sommario):
La vida es un tópico de gran relevancia en nuestra contemporaneidad. El creciente interés por temáticas relacionadas con la bioseguridad, la biotecnología, el bioterrorismo o la bioética, por parte de disciplinas tan diversas como la economía, la medicina, la ingeniería o la filosofía dan cuenta de este importante fenómeno. Pero, ¿de qué hablamos cuando hablamos de “bio”? Para responder a esta pregunta, la presente investigación indagará en dos campos de estudio: a) los trabajos sobre epidemiología y bioseguridad en las ciencias sociales; y b) los debates sobre el posthumanismo que actualmente se despliegan en el campo de la filosofía.
En esta línea, el primer paso del recorrido será la realización de una breve genealogía histórica de los vínculos establecidos entre ciencia y política en el campo de la epidemiología. A partir de esto, se analizarán las nuevas modalidades mediante las cuales la epidemiología contemporánea aborda la prevención, control y gestión de riesgos bióticos. Específicamente, se destacará la emergencia de una nueva inteligencia epidemiológica que deja de bascular prioritariamente sobre el método científico tradicional y el cálculo estadístico. Es decir: se estudiará la influencia que ostentan actualmente las “técnicas de construcción de escenarios” en los procesos de reconceptualización de lo vivo. Posteriormente, y habiendo cumplido con dar una breve panorámica de la vida desde la condiciones históricas de emergencia que provee la epidemiología, se problematizará la conceptualización de la misma que se maneja en el posthumanismo. En este sentido, se concluirá la investigación ofreciendo una alternativa que, en apariencia, puede resultar anacrónica: la elaboración de una metafísica para la vida.<br>Life as bios has become a relevant topic in the way we project politics, science and the social. The framing of scientific work in terms of biosecurity, bioeconomy, bioengineering, and bioterrorism, by diverse disciplines from medicine, and economy to ecological studies tell us about the new importance of Bios (life).
However, what does “bio” actually mean here? To answer this question, this work analyses two important fields: a) epidemiology and biosecurity from a social sciences perspective; and b) contemporary discussions about posthumanism in philosophy.
The first step of this work has been the elaboration of a historical genealogy of the links between medicine and politics in the field of epidemiology. New modalities by the help of which contemporary epidemiology addresses the prevention, control and management of biotic risks has been analysed. A special focus has been on the influence of "scenario-planning" in the reconceptualization power and the world of bios in the context of epidemics. A reflection on posthumanist philosophy has allowed to analyse the (new) importance of life as bios with a more theoretical approach. The thesis will be concluded by offering a kind of a synthesis between both lines that can be found in what I would call a metaphysics of life.
3
Karlsson, Marie, and Jonas Vigstrand. "Posthumanism i förhållande till digitala spel." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2429.
Testo completoAbstract (sommario):
Detta kandidatarbete undersöker hur digitala spel kan skapas med någon annans synsätt. Vi ville se vad som hände om vi försökte göra spel på ett posthumanistiskt sätt och om detta hade förändrat något. Det har uppkommit speciella möjligheter och konsekvenser under processen, det har även dykt upp frågor. En av dessa frågor är hur skapandet av varelser inom digitala spel kan utföras. Likväl har det under projektet skett diskussioner och tester runt hur ett verktyg för detta ändamål skulle kunna fungera. Vårt arbete resulterade i en spelprototyp som fokuserar på tillblivelse. Med denna som utgångspunkt diskuterade vi sedan möjligheter och konsekvenser med våra speltestare. Undersökningen visar att det vi designat inte bara är en varelseskapare, utan det kan också bli något mer tillsammans med spelarna. This Bachelor Thesis examines how digital games can be created with someone else's point of view. We wanted to see what would happen if we tried to make games in a post humanistic manner and whether this would change anything. The process has raised special opportunities and consequences, new questions have also emerged. One of these questions is how the creation of the creatures within digital games can be performed. During the project there have been discussions and tests around how a tool with this purpose could work. Our work resulted in a game prototype that focuses on creation. With this as a starting point, we then discussed its possibilities and implications together with our game testers. The analysis shows that what we have designed is not only a creature creator, but it can also be something more along with the players.
4
Johansson, Jonathan, and Jonathan Larsson. "Det Tvehövdade Monstret : Mytologi mot Posthumanism." Thesis, Blekinge Tekniska Högskola, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18187.
Testo completoAbstract (sommario):
Detta kandidatarbete handlar om hur ämnen som parodi, posthumanism och mytologi kan kombineras för att skapa en spelprototyp där dessa tre agerar som pelare, vare sig dessa manifesteras inom narrativet, estetiken eller mekaniken. Med hjälp av parodi som designperspektiv kan man granska ämnen som mytologi och posthumanism, för att skapa något som länkar samman dem. Denna text går igenom alla projektets utvecklingsfaser, hur själva arbetsprocessen har utvecklats och olika iterationer vi skapade för att ge en klar bild vilka tankebanor det var som ledde till vilka kreativa val och hur slutprototypen kom till. Synopsis: 300 år efter mänsklighetens förfall, världen är bebodd av monster, men en dag släpps de rastlösa själarna av mänskligheten lös, tar över monstren och gör dem mer mänskliga.<br>This bachelor thesis will cover how the subjects of parody, posthumanism and mythology can be combined to create a game prototype where these three serve as pillars, whether they take the form of design perspective, esthetics or mechanics. By using parody as a design perspective, one can examine subjects such as mythology and posthumanism in order to create something that connects them. This thesis will go through all the stages of development, how the working procedure has evolved and different iterations we created in order to give a clear image of which lines of thought it was that led to which creative choices and how it led to the creation of the final prototype. Synopsis: 300 years after the fall of mankind, the world is inhabited by monsters, but one day the restless souls of humanity are unleashed, possess the monsters and make them more human.
5
Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.
Testo completoAbstract (sommario):
Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.
6
Curry, Elizabeth. "Refiguring the Animal: Race, Posthumanism, and Modernism." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24546.
Testo completoAbstract (sommario):
This dissertation explores the entanglements of racialized histories and experiences in America with conceptions of animals and animality and examines how African American and Native American writers render these intersections in early-twentieth-century American literature. While animals, with their physical and behavioral features and subordinate status within Western cultural frameworks, were fundamental figures in the US racial imaginary, which relied on dehumanization as a weapon of control, animals (and conceptions about them) also curiously offered a way around and outside of the categorically demeaning declarations of “the human.” Through literary explorations of the nonhuman, the writers in this project reveal forms of interspecies affinity and understanding that affirm biotic connection and also make fantastically strange creatures with whom humans share domestic and proximal space. The figure of “the human” as separate, above, and radically distinct from other life becomes not only strange as well through these readings, but becomes visible as a prominent obstacle to social egalitarian and ecologically cooperative ways of living. I build on research in animal studies and critical race studies approaches to posthumanism to observe how race inflects literary animal representations while also tracking how animality interacts with various notions of personhood. While animalization often coincides with racialized and dehumanized personhood status, writers like Anita Scott Coleman and Zitkala-Ša rupture those associations and engage the animal (comparisons to it and becomings with it) as a fundamentally humanizing figure. On the flip side, Zora Neale Hurston’s Their Eyes Were Watching God demonstrates how a racialized animalization trope operates in the novel to defend the killing of a black man. These writers all collapse the binary between human and animal while demonstrating how that binary operates in concert with racial binaries in an American context that extols the human. Reading animals through a lens that acknowledges how race and animality intersect ultimately opens routes for rethinking what it means to be human and defining how we view the nonhuman.
7
McBlane, Angus. "Corporeal ontology : Merleau-Ponty, flesh, and posthumanism." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/56960/.
Testo completoAbstract (sommario):
As posthumanism has developed in the last twenty-five years there has been hesitation in elucidating a robust posthumanist engagement with the body. My thesis redresses this gap in the literature in three intertwined ways. First, it is a critical assessment of posthumanism broadly, focusing on how the body is read in its discourse and how there is a continuation of a humanist telos in terms which revolve around the body. Second, it is a philosophical interrogation, adaptation, and transformation of aspects of the work of Maurice Merleau-Ponty, focusing its reading on Phenomenology of Perception and The Visible and the Invisible, with additional material drawn from his works on language, aesthetics, and ontology. Third, it is a critical analysis of four films drawn from that seemingly most posthumanist of genres, science fiction: Cronenberg's eXistenZ, Spielberg's A.I.: Artificial Intelligence, Rusnak's The Thirteenth Floor, and Oshii's Ghost in the Shell. Science fiction is the meeting place of popular and critical posthumanist imaginaries as the vast majority of texts on posthumanism (in whatever form) ground their analyses in a science fiction of some kind. By reading posthumanism through the work of Merleau-Ponty I outline a posthumanist ontology of corporeality which both demonstrates the limitations of how posthumanism has done its analyses of the body and elucidates an opening and levelling not adequately considered in posthumanist analyses of the body. Following Merleau-Ponty I argue that there is a ‘belongingness of the body to being and the corporeal relevance of every being’, yet, the body is not the singular purview of the human. There are alternative embodiments and bodies which have been previously overlooked and that all bodies (be they embodied organically, technologically, virtually or otherwise) are corporeal.
8
Motala, Siddique. "Critical posthumanism in geomatics education: A storytelling intervention." University of the Western Cape, 2018. http://hdl.handle.net/11394/6219.
Testo completoAbstract (sommario):
Philosophiae Doctor - PhD (Post-School Studies)<br>This study is located in engineering education at a South African university of technology,
and is theorised using relational ontologies such as critical posthumanism, feminist new
materialism and non-representational theory. It explores the potential of a digital storytelling
intervention in an undergraduate geomatics diploma programme. Geomatics qualifications in
South Africa are critiqued for their embedded humanism and subtle anthropocentrism despite
attempts at post-apartheid curricular reform. Additionally, these qualifications are focused on
technical content, and heavily influenced by Western knowledges.
9
Doing, Karel Sidney. "Ambient poetics and critical posthumanism in expanded cinema." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12393/.
Testo completoAbstract (sommario):
Posthumanism is a contested term, seen by some as leading towards a merging of human bodies and technology and by others, more critically, as a renewal of the ethical debate regarding human exceptionalism. Through a study of this critical approach and its potential relation to expanded cinema, a set of propositions is formulated. New knowledge emerges through the application of these propositions towards the expression of critical posthumanism. By looking at formal, conceptual and methodological underpinnings, existing tendencies in expanded cinema are analysed and reviewed. Firstly, aided by Timothy Morton's 'ambient poetics', environmental orientations in artist film and expanded cinema are investigated. Secondly, conceptual ideas 'beyond the human' in this field are discussed. Finally, the environmental footprint of moving image production is considered. Central to this investigation is the desire to change prevailing narratives regarding nature and environment. Instead of regarding environment as a subject outside the cultural domain, environmental immanence and shared consciousness are regarded as central cultural values within a productive posthuman debate. This theoretical approach is set in motion through a practice-based project in which organic processes are applied to generate images on discarded and outdated 35mm film. By using plants, mud and salt in conjunction with alternative photochemistry, images are 'grown' on motion picture film. Moreover, digital images are gathered using a camera extension that allows a point of view beyond the human. Background and foreground are reversed in order to reveal the prominence of natural elements in an urban setting. These images are used in a performative or spatial context that places the viewer within the work. By bringing together theory and practice a conclusion emerges, opening up further possibilities to develop and apply the newly found knowledge, not only in expanded cinema but also to other fields.
10
Lin, Lidan. "The Rhetoric of Posthumanism in Four Twentieth-Century International Novels." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278990/.
Testo completoAbstract (sommario):
The dissertation traces the trope of the incomplete character in four twentieth-century cosmopolitan novels that reflect European colonialism in a global context. I argue that, by creating characters sharply aware of the insufficiency of the Self and thus constantly seeking the constitutive participation of the Other, the four authors E. M. Forster, Samuel Beckett, J. M. Coetzee, and Congwen Shen all dramatize the incomplete character as an agent of postcolonial resistance to Western humanism that, tending to enforce the divide between the Self and the Other, provided the epistemological basis for the emergence of European colonialism. For example, Fielding's good-willed aspiration to forge cross-cultural friendship in A Passage to India; Murphy's dogged search for recognition of his Irish identity in Murphy; Susan's unfailing compassion to restore Friday's lost speech in Foe; and Changshun Teng, the Chinese orange-grower's warm-hearted generosity toward his customers in Long River--all these textual occasions dramatize the incomplete character's anxiety over the Other's rejection that will impair the fullness of his or her being, rendering it solitary and empty. I relate this anxiety to the theory of "posthumanism" advanced by such thinkers as Marx, Bakhtin, Sartre, and Lacan; in their texts the humanist view of the individual as an autonomous constitution has undergone a transformation marked by the emphasis on locating selfhood not in the insular and static Self but in the mutable middle space connecting the Self and the Other.
11
Kaiser, Kevin Richard. "Variable kindness : Posthumanist ethics in the fiction of Georges Saunders." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/663378.
Testo completoAbstract (sommario):
This thesis examines the fiction of contemporary American author George Saunders in terms of how it presents situations applicable to the chief notions of posthumanist ethics and how these conceptions of ethics concern nonhuman animals, which are prevalent in his writing. Posthumanist ethics can help us understand what is at play in Saunders’s fiction. Meanwhile, his fiction can help us understand what is at stake in posthumanist ethics. This interdisciplinary project may be beneficial both to conceiving new notions of ethics that are more inclusive and, more implicitly, to understanding the relevance of Saunders’s fiction to the current American sociocultural climate.<br>Aquesta tesi analitza la ficció de l'escriptor nord-americà contemporani George Saunders, tot centrat-se en com presenta situacions aplicables als principals conceptes de l’ètica posthumanista i en com aquests conceptes ètics afecten els animals no humans, que apareixen amb freqüència en els seus escrits. L'ètica posthumanista pot ajudar-nos a entendre el que està en joc en la ficció de Saunders. Mentrestant, la seva ficció pot ajudar-nos a comprendre el que està en joc en l'ètica posthumanista. Aquest projecte interdisciplinari pot esdevinir beneficiós tant per concebre noves nocions d'ètica més inclusives com, més implícitament, per comprendre la rellevància de la ficció de Saunders dins el context sociocultural nord-americà actual.
12
Verdier, Antoine. "Le dispositif posthumain comme vanité contemporaine." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30101.
Testo completoAbstract (sommario):
La figure de l’homme a traversé l’histoire de la représentation, mais les valeurs signifiantes du mondecontemporain ne sont plus compatibles avec les conditions d’une histoire de l’idéal humain classique. Eneffet , face à l’évidence des changements induits par les avancées technologiques, nano et biotechnologiques,numériques, cognitives et génétiques, l’apparition d’une humanité augmentée semble irréversible. Entrel’angoisse d’un avenir profondément détérioré par les assauts d’un ultra libéralisme et le messianisme destechnoprohètes , l’expression d’un corps autre, « posthumain », conjugue émancipation narcissique, recherchescientifique, et hybridation corporelle. Le dispositif posthumain, qui émerge comme une des manifestations de«l’esprit du temps » dominant, peut se comprendre comme une « Vanité contemporaine ». Ce dispositif entenddépasser l’humain, construire un nouvel imaginaire, et chemin faisant, inventer une nouvelle représentationfigurative de l’individu.Dans le champ des arts plastiques, « le dispositif posthumain » donne lieu à de multiples expressionsqui en soulignent les incohérences, et surtout dénoncent certains déterminismes scientifiques. Conscient del’importance de ces enjeux scientifiques, culturels et idéologiques et souhaitant demeurer dans la logiqueinterrogative qui définit le champ des arts plastiques<br>In front of the changes inferred by technological breakthroughs, nano and biotechnological, digital,cognitive and genetic, the appearance of a « increased » humanity seems inflexible. Between the anxiety of afuture profoundly damaged by the assaults of ultra liberalism, and the messianism of « technoprohets », theexpression of an other body, « posthuman « , conjugates narcissistic emancipation, scientific research, andphysical hybridization. The figure of the man crossed the history of the representation, but the significantvalues of the contemporary world are not compatible any more with the conditions of a history of the idealclassic human being. The « posthuman plan », which emerges as « spirit of the times », can understand as a« contemporary Vanity ». This device intends to overtake the human being, to build a new imagination, andcertainly to invent a new history of the representation of the individual. In the field of the plastic arts, « theposthuman device » give rise to multiple expressions who underlines the incoherence, and especially denouncescertain scientific determinisms. Aware of the importance of these scientific problems, but wishing to remainin this inquiring logic which defines the field of the plastic arts, I wanted to propose a plastic expression inall these questions. Three attitudes were respected to succeed for confining this question of the representationof the posthuman being. These attitudes could correspond in a kind of declension of the time : the end of thehumanism, the birth of a « increased » humanity, and finally, the appearance of a « posthuman being »
13
Bodén, Linnea. "Present absences : Exploring the posthumanist entanglements of school absenteeism." Doctoral thesis, Linköpings universitet, Lärande, Estetik, Naturvetenskap (LEN), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130460.
Testo completoAbstract (sommario):
The aim of the study is to explore how school absenteeism as a material-discursive phenomenon is produced in the practices of humans and nonhumans, when absences and presences are registered and managed through digital technologies. How is the phenomenon of school absenteeism produced when absences and presences are digitally registered? How does the phenomenon of school absenteeism emerge when both human and nonhuman entanglements are included in the apparatuses of knowing? Through a posthumanist approach, the study engages empirically with two types of software for the registration of absences and presences at three Swedish schools. The results show that digital registration blurs the division between absences and presences, and queers what is absent and what is present. Digital registration produces school absenteeism as a phenomenon for all students every day, and at the same time as mainly for the students who are present most of the time. A conclusion that is drawn from the study is that digital registration makes absences present, by the visualization and performative repetition of the registration. The study points to how school absenteeism is always ‘in the making’, and proposes the concept of school absenteeing as a productive way to open up new possibilities in relation to students’ absences.<br>Syftet med studien är att undersöka hur skolfrånvaro som materiellt-diskursivt fenomen produceras i mänskliga/icke-mänskliga praktiker, när frånvaro och närvaro hanteras och registreras med hjälp av digitala system. Hur produceras fenomenet skolfrånvaro när elevers frånvaro och närvaro registreras digitalt? Hur framträder fenomenet skolfrånvaro när människor såväl som icke-människor inkluderas i kunskapsproduktionen? I studien skapas empiriska engagemang tillsammans med två digitala system för registrering av frånvaro och närvaro på tre svenska skolor. Genom ett posthumanistiskt perspektiv visar studien att den digitala registreringen suddar ut gränserna mellan frånvaro och närvaro. I sammanvävningar med digitala system blir fenomenet skolfrånvaro mer komplext, eftersom den digitala registreringen producerar skolfrånvaro som ett fenomen för alla elever, varje dag. Samtidigt reducerar den digitala registreringen skolfrånvarons komplexitet och skapar ett fenomen för de elever som för det mesta är närvarande. En slutsats från studien är att registreringen gör vad som är osynligt – det frånvarande – synligt. Studien pekar på hur skolfrånvaro alltid är ett görande och introducerar begreppet school absenteeing [skolfrånvarogöra]. Detta begrepp möjliggör en förståelse av skolfrånvaro som en pågående produktion i mänskliga/icke-mänskliga relationer, snarare än något som elever har eller är och öppnar upp för nya sätt att engagera sig i den alltid närvarande frånvaron.
14
Al-Hamed, Hajer Saud. "Becoming nothing, becoming everything : quantum posthumanism and the writing of J.M. Coetzee." Thesis, Durham University, 2017. http://etheses.dur.ac.uk/12279/.
Testo completoAbstract (sommario):
Drawing on both posthumanism and quantum theory, this thesis introduces what I am calling a framework of quantum posthumanism. Based on the epistemic and ontic aspects of entanglement, nonseparability, and becoming, and a reworking of ideas of agency and objectivity, the thesis embarks on an interdisciplinary (entangled) reading of J. M. Coetzee’s texts that seeks to move beyond the current historicist framing of his work. Utilising some of the key concepts and laws from various quantum interpretations, it seeks to show how such concepts effectively deconstruct boundaries between self/other, human/animal, animate/inanimate, body/environment and therefore, by extension to the literary, between fact/fiction, story/history, external/internal, and ultimately author/character/reader/text. The thesis approaches Coetzee’s writing by focussing on the centrality in his fiction of becoming, not only on the level of characters, but also in terms of the agencies of meaning within the literary event (the transactions amongst reader, author, and text). Quantum posthumanism deconstructs the fixed role and positionality of the external observer/Cartesian subject, represented as the reader/author outside the literary event. It proposes the term phenomenon of meaning to address the entanglement of reader/text/author that become part of the meaning they claim to own. The thesis also challenges traditional uses of concepts such as time, linearity, and origin with quantum posthumanist ideas such as multiplicity, emergence, contingency, and parallelism. Finally, through the framework of quantum posthumanism, the thesis hopes to support the argument for the entanglement of human knowledge and the detrimental illusion of the divide between the humanities and the sciences by demonstrating and exemplifying how inevitably entangled human knowledge is.
15
Leung, Jason Cham Sum. "Posthumanism, singularity, and the anthropocene : a thematic perspective on posthuman science fiction." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/713.
Testo completoAbstract (sommario):
When speaking of the future of the human, our attention is often on human beings themselves as a species and their capability to survive in the face of the changes of the world. Our understanding of the human body, space and even our connection with technoscience are vastly transformed by the changes brought by the close and interconnected relationship of human and technology in the contemporary world. From Donna J. Haraway's cyborg to N. Katherine Hayles and Cary Wolfe's discussions on posthumanism, it is undeniable that we have already entered the age of the posthuman. Science fiction as a form of creative writing explores various possible futures of the human species augmented by the advent of technology while posthumanism looks into how the human should respond in view of the changing connection between human and technology, human and animals, human and the earth, and human and nonhuman. Science fiction with a posthuman theme is a unique genre that deals with the human condition in the world of science and technology and its relation to the nonhuman world. This dissertation examines posthumanism, the singularity, and the Anthropocene in science fiction from a thematic perspective. Chapter One reviews the history of cyborg and posthuman theories and the connection between posthumanism and science fiction to illustrate how posthuman discourses and science fiction works develop together. Chapter Two examines the representations of the posthuman body in science fiction along the development of posthuman discourses. Discussions on Mary Shelley's Frankenstein, Bicentennial Man (1999), A.I. Artificial Intelligence (2001), Blade Runner (1982), Blade Runner 2049 (2017), William Gibson's Neuromancer, eXistenZ (1999), and Robert J. Sawyer's WWW Trilogy: Wake, Watch, and Wonder demonstrate four main types of imaginations to illustrate different visions of the posthuman in science fiction: (1) the technologically-made monster, (2) artificial intelligence in an organic body, (3) plugging one's body into the digital realm, and (4) embodiment of the nonhuman. Chapter Three argues for an alternative perspective other than the insistent privileging of the human in posthuman science fiction. From humanistic values and anthropocentric biases to the WWW Trilogy's embrace of the singularity, there is a paradigm shift from humanism to the concern of the nonhuman. The chapter examines Vernor Vinge and Ray Kurzweil's visions of the Singularity with reference to the WWW Trilogy and other singularity science fiction works which portray possible worlds of symbiosis, coexistence, and coevolution. Last but not least, Chapter Four focuses on the Anthropocene and science fiction to illustrate the coevolution of human and nonhuman in relation to the environment and climate change with discussions on Paul Di Filippo's short story "Life in the Anthropocene" and Kim Stanley Robinson's science fictions New York 2140 and 2312. By examining the development of posthuman discourses, concepts of the singularity and the Anthropocene along the creative narratives of posthuman science fiction, this dissertation aims to affirm science fiction's role in exploring the posthuman condition and reimagining our future. It also puts science and humanities together in developing new perspectives and ethics for the world we are in.
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Ha, Bokju. "Reading Bernstein and Critical Posthumanism Diffractively Through One Another: Intra-activity Pedagogy." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29872.
Testo completoAbstract (sommario):
Diffractive methodology has been developed by Donna Haraway and Karen Barad as a methodology to read two (or more) different thoughts or works without criticism. The diffractive methodology allows us to see and reinforce connections which seemly opposed to each other (Van der Tuin, 2011:27). This is based on the ontological shift from interaction, where we start with separate entities which then interact, to intra-action, an event through which subject and object emerge (Barad, 2007)). With the help of this posthuman methodology, I read Bernstein’s sociological theory of education that is based on the important concept of boundary and a 'tree-like’ structuring of concepts the structure of trees diffractively through knowledge as conceptualised by critical posthumanists. The latter philosophical orientation (Braidotti, 2013) is based on the structuring of concepts like 'rhizomes’, that is, shooting in all directions without middle or end and with its blurred and indeterminate ontological boundaries. This study aims to answer the following questions through diffraction: What new insight may be realised in terms of knowledge and pedagogy by reading Bernstein and critical posthumanism diffractively? How does critical posthumanism problematise knowledge and pedagogy as theorised by Bernstein? What is a posthuman pedagogy? In what way can each theory contribute to solving the inequalities of education today? Bernstein, who has devoted himself to the analysis of power and control in relation to inequalities in the school, has described inequalities in relation to unequal distribution of power, and social groups and strength of boundaries. In this regard, I will address four concepts related to this egalitarianism through Bernstein and critical posthumanism and suggest the notion of trans-material egalitarianism in relation to equality in education. The four concepts are subject, boundaries, power and causality. Reading these two theories diffractively gives rise to an interference pattern or superposition (Barad, 2007), especially about trans-species egalitarian education. Critical posthumanism offers another perspective that includes transdisciplinary approaches to investigate inequality in schooling. This study will focus on this navigational tool (Braidotti, 2013) in order to combat injustice through the reproduction of inequality. In conclusion, I suggest that the trans-species egalitarianism education has existed in Eastern philosophy for a long time, and that trans-species egalitarianism education in the post - human era will be achieved by reading Eastern and Western education as a diffraction.
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Chkhaidze, I. "Posthumanism in the works of Patricia Piccinini, Matthew Barney and Charles Avery." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1468812/.
Testo completoAbstract (sommario):
This thesis conceptualises instances of posthumanism in contemporary art. As an interdisciplinary critique in the humanities and social sciences, posthumanism is set against the anthropocentric discourse of humanism and its speciesist structures that reproduce the normative human subject through the dichotomy of humanity/animality. The analysis focuses on Patricia Piccinini's video work The Gathering, Matthew Barney's Cremaster cycle and Charles Avery's ongoing multimedia project The Islanders. The otherwise diverse works of these three artists similarly combine media such as film, sculpture, drawing and photography to generate complex fictional universes inhabited by various animal or animal-human hybrids, alongside morphs, blobs, machine-organisms and amalgams of plant and inorganic matter, so as to negotiate a space of continuity and rupture between human and animal, animate and inanimate, living and dead, natural and artificial. While examining how posthumanism plays out in the above-mentioned artistic projects and discussing its implications for the wider culture, I argue that these works engage with the destabilisation of anthropocentrism, the reconsideration of ethics based on species membership, and more generally interrogate animal-human distinctions. These themes are explored in relation to Cary Wolfe's theorisation of posthumanism and anti-speciesism, Giorgio Agamben's writing on potentiality and human-nonhuman relations, Niklas Luhmann's notions (following Humberto Maturana and Francisco Varela) of autopoiesis, the "blind spot" and form-medium distinctions, and Jacques Derrida's rethinking, under the pressing "question of the animal", of humanist ethical postulates based on ability and power.
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Nilsson, Anna. "Cyborgkvinnan och korrespondenserna : Posthumanism och esoteriska inslag i Majgull Axelssons roman Aprilhäxan." Thesis, Linköpings universitet, Avdelningen för språk och litteratur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-157597.
Testo completoAbstract (sommario):
Syftet med studiet är att undersöka hur romanens protagonist kan läsas som en posthumanistisk karaktär, där det granskas hur hon relaterar till Haraways cyborg, men också till delar av Barads teori om agentiell materialism. En alternativ läsning utförs genom att granska karaktären utifrån ett esoteriskt perspektiv, där tonvikten ligger på andliga inslag. De två perspektiven möjliggör en läsning utifrån två till synes mycket olika synvinklar, vilka dock tycks bestå av vissagemensamma tendenser. Målet med studien blir således även att granska hur posthumanism och esoterism kan knytas samman, och hur April häxans huvudperson Desirée kan betraktas som ett center för denna sammanföring. Frågeställningarna lyder enligt följande: Hur kan huvudpersonen Desirée läsas utifrån en posthumanistisk teoribildning? Vilka esoteriska inslag manifesteras i karaktären? Vilka esoteriska inslag manifesteras i karaktären?Hur relaterar posthumanism och esoterism till varandra?
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Knox, Jeremy. "Posthumanism and the Massive Open Online Course : contaminating the subject of global education." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15895.
Testo completoAbstract (sommario):
The Massive Open Online Course (MOOC) has surfaced as one of the most prominent developments in digital education in recent years, attracting significant media attention and involving some of the world’s elite universities. MOOCs are fully online courses that attract high numbers of enrolees, often in the tens of thousands, and are typically publicised as offering free participation. To date, critical analysis of the MOOC has been rare in the academic literature: this thesis will address the need for more nuanced discussions by critiquing and theorising MOOCs from the position of critical posthumanism. Posthumanist challenges to the foundationalism of the humanist subject have been well established around ecological (Pedersen 2010, 2011, Braidotti 2013), cultural (Badmington 2000a, 200b, 2003) and philosophical (Pepperell 2003, Fuller 2010) agendas, however this approach is underrepresented in digital education, and largely absent in studies of the MOOC. Thus, the MOOC project has tended to assume problematic and uncritical forms of humanism, maintaining an orthodox educational position in a field that claims innovation and disruption. The theoretical framework of critical posthumanism will be utilised to highlight the limitations of the humanist subject, and suggest a value in looking beyond this framework as the underlying rationale for MOOC education. This thesis draws upon discourse analysis, visual analysis and a post-qualitative methodology that challenges the assumption of a knowing subject in social science research to consider a broad view of the MOOC, as well as a focussed examination of two specific courses. Firstly, the corporate promotion of MOOCs is shown to tend towards a colonialist orientation that assumes a universal desire for education, and adopts a strategy of maximising global reach. This strategy is underpinned, not by the quest for territory, but for the personal data of MOOC participants. Secondly, emerging research and theories of learning that are attempting to understand the behaviours of MOOC participants are suggested to adopt normative views of participation that prohibit difference and establish particular routines as the dominant and privileged form. Thirdly, orthodox notions of authentic and sedentary educational space will be examined and shown to pervade this emerging online format, working to maintain, rather than counter, elitism and inaccessibility. Finally, notions of hybrid educational space, contaminated communities and monstrous (re)articulations of the human subject will be drawn on in suggesting alternative ways of viewing and engaging with the ‘massive’ education of the MOOC.
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Gutiérrez, Privat José Carlos. "L’homme à la fabrique du vivant : biotechniques à la recherche d’une philosophie de la vie." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040063/document.
Testo completoAbstract (sommario):
Les techniques biologiques actuelles, en particulier celles qui concernent le génie génétique, sont devenues un domaine de discussion philosophique très actif. Elles soulèvent un nombre considérable d’inquiétudes dont le centre problématique réside dans cette interrogation : doit-on laisser à la technique la possibilité d’une fabrication intégrale de l’homme ? Les réponses habituelles avancées se heurtent soit aux problèmes philosophiques de l’essentialisme naturaliste, soit aux limitations des discours utopiques qui prônent l’arrivée du posthumain. Nous tenterons d’emprunter dans cette recherche une perspective différente, impliquant une double démarche conceptuelle : d’une part, une interrogation de l’image de l’homme à l’oeuvre dans les différents projets biotechniques ; d’autre part, la formulation d’une philosophie de la vie capable d’élucider la signification biologique et humaine de ces projets. Nous affirmerons à cet égard que l’image de l’homme-machine élaborée aux XVIIe et XVIIIe siècles trouve son accomplissement dans les biotechniques actuelles, dans lesquelles l’homme acquiert la condition de locus technicus par excellence. À l’intérieur de cet espace, il s’ouvre la possibilité d’une production technique de l’homme où les capacités normatives de la vie sont mises en question. Nous soutiendrons que les biotechniques s’offrent à l’homme comme une forme d’activité vitale paradoxale, dans la mesure où elles travaillent pour dépasser ou supprimer la polarité dynamique propre au vivant. Il s’agira donc d’analyser– à l’aune de Canguilhem – les fondements de la « fabrique » biotechnique et ses répercussions à l’égard de la valeur biologique de la vie<br>Current biological techniques, in particular those concerning genetic engineering have become a veryactive domain of philosophical discussion. These raise a series of significant concerns amongst which thefundamental problem lies in the following issue: should we or should we not allow the technique toassume on its own human improvement in all its dimensions? The customary answers to such matter,encounter with either the philosophical problems of naturalist essentialism, or else, the limitations ofutopian discourses which advocate the virtues of the arrival of the post-human concept. In this research,however, we will attempt to answer through a double conceptual approach. On one hand, a questioningof man’s image, at work in the diverse biotechnical projects; and on the other, the formulation of aphilosophy of life capable of clarifying the human and biological significance of these projects. In thisregard, we will claim that the image of the man-machine outlined in the XVIIth and XVIIIth centuries isfully accomplished by present ongoing biotechnologies in which man acquires the condition of locustechnicus par excellence. This scenario opens up the possibility of a technical production of man, one inwhich life’s normative capacities are currently questioned. We will affirm that biotechnologies imply avital yet paradoxical form of activity insofar as these work towards surpassing or suppressing thedynamic polarity peculiar to living beings. Therefore, our approach will analyse – from the standpoint ofCanguilhem – the basis of the “biotechnical fabric” of the human body and its repercussions regardingthe biological value of life itself
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Robin, Cindy. "Archéographie et ingénierie du corps." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20048/document.
Testo completoAbstract (sommario):
Animé par les évolutions industrielles et les prouesses scientifiques, technologiques et biologiques, l’homme contemporain semble préparer le terrain de sa métamorphose. Après avoir cherché à contrôler son environnement, il semble désormais vouloir contrôler son être et devenir maître et cause de lui-même. En effet, aujourd’hui plus que jamais l’homme bricole, traite, cultive, modifie son anatomie de toutes les manières possibles, chirurgies esthétiques, interventions génétiques ou encore opérations technologiques. Le corps du XXIe siècle, dont il est question d’analyser les mutations, les causes et les éventuelles conséquences, devient – comme le soulèvent de nombreux artistes contemporains au travers de nouvelles poïétiques – de plus en plus un élément composite, un amalgame de substances, de normes scientifico-culturelles et de manipulations techno-biologiques, il se fait artefact. Ce travail théorique soutenu par une pratique artistique se propose de nous interroger sur la condition humaine contemporaine, inscrite dans un contexte sociétal qui semble être sous la coupe d’un phénomène de scientifisation très marqué. Une condition humaine, menacée par des idéologies post-humanistes souhaitant prendre en main l’évolution et organiser les générations artificiellement<br>Led by industrial developments as well as scientific, technological and biological prowess, modern man seems to lay the ground for his metamorphosis. Having sought to gain control over his environment, he now apparently wants to control his own being and become his own master and cause. As a matter of fact, today more than ever, man tinkers with his anatomy, processes it, cultivates and changes it, be it through aesthetic surgery, genetic intervention or technological operations. The 21st century body, that of which the mutations, causes and possible consequences are being analyzed, increasingly becomes – as many contemporary artists have shown through new poietics – a composite element, a hotchpotch of scientific-cultural norms and techno-biological manipulations, it becomes an artefact. This theoretical work, backed by an artistic practice, seeks to raise questions about the contemporary human condition in a societal context that is seemingly dominated by a very strong scientification phenomenon. A human condition threatened by post-humanist ideologies wishing to take evolution into man’s own hands and to artificially organize generations
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Lundin, Emelie. "Flax in flux : Dress flax in a state of flux." Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7773.
Testo completo
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Yamashita, Ströberg Chikako. "How Plants Think : Rethinking human-plant relationships by theorising using concepts from posthumanism and design." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-77739.
Testo completoAbstract (sommario):
Today, ecology-oriented thinking is increasing in people’s minds. However, urbanisation, with its accompanying character of environmental depletion, impacts on society, ecology, and economy. It makes me think about where places in nature are situated in our everyday lives. What is nature in our lives? In our mind now, how do we think about nature? My project, How Plants Think is to address the question how city inhabitants can begin to recognise a new way of looking at plants, the human relationship to nature in everyday life in the urban domestic space. This thesis examines the design field in the context of sustainability on the environmental and societal aspects. Observing relationships between humans and plants makes a different design perspective from emotion and design to posthumanism and design that enables designers to engage with complex issues. The resulting project displays a space where people to rethink about human-plant relationships, as well as the meaning of we, humans and nature, are tangled. It is not so much about design does itself, itis about what it can show us about what it has not been done.
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Åsman, Sofia. "Människan och Naturen i Mary Shelleys Frankenstein or the Modern Prometheus." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-16426.
Testo completoAbstract (sommario):
Denna uppsats ämnar med hjälp av av teorier från ekokritik och posthumanism besvara frågorna hur Mary Shelley i sin roman skildrar relationen mellan natur och människa, samt hur man med utgångspunkt i Frankensteins monster (i uppsatsen refererad till som Skapelsen) kan diskutera begreppet människa. Med ekokritik menas här att studera det mänskliga jämfört med det ickemänskliga samt att också diskutera detta mänskliga, vilket är en av huvudpoängerna inom posthumanism. Den vetenskapssyn och natursyn som var gällande på Mary Shelleys tid var antropocentrisk, en världsåskådning som alltid utgår ifrån människan, och som oftast ger människan högre status än allt annat. I romanen skildras detta genom Kapten Waltons syn på sitt upptäcktsresande, och Victor Frankensteins önskan att besegra döden, eller naturen, genom att skapa en ny varelse, för vilket han får plikta med sitt liv, då han inte klarar det hårda klimatet vid Nordpolen. Det blir alltså naturen som dödar honom. I detta kan ses Mary Shelleys kritik mot ett oansvarigt utforskande av naturen och dess processer. Vid försök att diskutera konceptet människa kan upptäckas att en definition lätt motarbetas genom att inte alla människor passar in på denna definition, och att det också kan finnas andra varelser som helt eller delvis gör det. Saken kompliceras dessutom av att en maskin, en robot, eller en artificiell intelligens, numera kan fungera mycket likt en hjärna, och att den mänskliga hjärnan beskrivs som en serie elektrokemiska impulser. Vi leds att acceptera Derridas tanke att människa inte är något som går att definiera. Även denna diskussion kan ses som antropocentrisk, vilket är en av svårigheterna; att bortse från sin egen kulturs världsåskådning.<br>The main focus of this essay is to attempt to answer the questions of how Mary Shelley, in her novel Frankenstein or the Modern Prometheus, portrays the relationship between man and nature, and how Frankensteins creature can serve as a starting point in a discussion of the term human. The theories of ecocriticism - here described as the study of the relationship between human and nonhuman - and poshumanism, which contains the premisses for discussing this human, reveal many interesting things about the novel. The scientific approach to the world, and by extension, nature, can in Shelleys novel be considered anthropocentric, which is portrayed as a damaging world-view. Attempts to discuss the concept of human reveals that any definition can be met with resistence and objections. Not all humans meet the criteria of a certain definition, and there may be other creatures that do. The conclusion here may be that the human simply cannot be defined properly.
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Smitz, Mikael. ""En by är ingen lagård" : en undersökning av människa/djur-relationen i Sara Lidmans Tjärdalen." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29237.
Testo completoAbstract (sommario):
The intention of this study is to investigate the human/animal-relation as a power relation in Sara Lidman’s novel The Tar Pit (Tjärdalen, 1953). With regard to the contemporary theory of posthumanism and its critique of the centrality of “the human” in the humanities, the aim is to seek and produce more-than-anthropocentric knowledge. Using queer and feministic theoretical concepts concerning dichotomy and hierarchy voiced by Yvonne Hirdman, Val Plumwood, Greta Gaard and Ann-Sofie Lönngren, this study gets to grips with anthropocentrism as a structure of power. In literary scholarship animals are often expected to serve as metaphors, and thus, the possibility of animals signifying “actual” animals tend to be overlooked. This study’s objective is therefore, using a text interpretation modelled by Eve Kosofsky Sedgewick and a method proposed by Ann-Sofie Lönngren, to focus on the surface of the text. In the analysis of The Tar Pit it appears that animals is attributed “low status” in relation to the human and that the humans ascribe animals with instrumental value. The power relation between humans and animals in the novel is based on the split between “the human” and “the animal”, and also the notion that humans constitute the norm and are hierarchically superior. Furthermore the analysis show that transgressive activity between categories “human” and “animal” is illustrated as something wrong and the concept of “the animal” and “animality” is displayed as an imperative function in telling the story of The Tar Pit. Finally the analysis depicts examples of animal acts of resistance against the prevalent order of things.
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Kotyczka, Marzena. "Mieszkając ze zwierzętami : domowa koegzystencja ludzi i zwierząt w perspektywie posthumanizmu." Doctoral thesis, Katowice : Uniwersytet Śląski, 2015. http://hdl.handle.net/20.500.12128/5795.
Testo completoAbstract (sommario):
The dissertation’s aim is to present the relationships between humans and animals that form and evolve in home. Using the view of posthumanism allowed to address such issues as interspecies affections, modes of representation of the animal, food taboos, the differences between the biological systematics and volk taxonomy, redefinition of language. The construction of the definition of pets and companion animals was an important part of the work, as well as the discussion about the posthuman optics.
The dissertation contains a theoretical part, four analytical parts and summary.
Sequence of the analysis sections corresponds to the chronology of the relationships between human and animal, and presents itself as follows: Zoonatologies present the birth of the companion species, namely the creation of pets for man and man for pets. I made reinterpretation of the major myths standing at the
beginning of the human-animal relation, I presented the places, where human and animal
meet, and I analyzed their semiotics. An important element was to discuss the problem of love
as affection, which can constitute the existence of the categories of pets and companion animals.
Zoadolescence is about the adolescence of the human relationship with pets. I discussed the basics of the animal rights that refer to pets, as well as the food taboos and shame as an influence on human-animal relationship. Zooptics show how looking at animals confuses the ontological and epistemological
questions. The main goal of the four sections was to revise the concept of animal gaze,
extremely popular in animal studies in recent years. Zoonekrographies are an attempt to restore the death of the animal. I discussed in this part the philosophical voices about the difference between the death of the human and the death of the animal. I analyzed the function of pet cemeteries, and I introduced the myth of the return of the animal, which, in various forms, reflects the condition of the human-animal relationship.
The study analyzed a variety of sources: literature, video, tv shows, advertising and graphic. The taken analysis were mostly inspired by thinkers such as Jacques Derrida, Bruno Latour, Cary Wolfe, Donna Haraway, Erica Fudge, Yi-Fu Tuan, Sarah Ahmed.
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Ahlqvist, Robin, and Djerf Raymond. "En posthumanistisk animerad framtid." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-17064.
Testo completoAbstract (sommario):
Detta kandidatarbete undersöker hur man med animering och ljuddesign i en designprocess kan illustrera en jämställd och ansvarsfull teknologisk framtid utifrån posthumanistiska teorier och filosofier. Under arbetets gång har vi undersökt animationsmetoder, deltagande design, ljuddesign och teknik samt den teknologiska utvecklingen. I detta kandidatarbetet presenterar vi processen och de metoder vi använt oss av för att skapa vår gestaltning som är en animerad kortfilm.<br>This Bachelor Thesis examines how animation and sound design in a design process can illustrate an equal and responsible technological future, based on post-humanist theories and philosophies. During the work we have examined animation methods, participatory design, sound design and technology as well as technological developments. In this thesis, we present the processes and methods we used to create our conformation, which is an animated short film.
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Andréasson, David. "En annan upplaga av oss : Cyborgens implementation i samhället." Thesis, Blekinge Tekniska Högskola, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-994.
Testo completoAbstract (sommario):
Cyborgen, en samansättning av orden cybernetik och organism, en gestalt vars innebörd bör ses som mer än en fiktiv gestaltning. Cyborgen är idag enligt forskare och filosofer en samhällelig verklighet och dess inverkan på individen är mycket större än vi tror. Det här kandidatarbetet undersöker vad som definierar en cyborg, med stöd ifrån forskning och filosofin summeras tankar och synsätt för att få en mer definitiv bild av begreppet. Arbetet studerar även hur den sociala kontexten kan komma att förvrängas när tekniken letar sig in i den köttsliga kroppen. De resultat och insikter arbetet resulterat i sammanfattas och står som grund för en gestaltning vars mål har varit att kategorisera öppen data från individer med inbyggda Rfid-chip, en diskussion av begreppet och dess innebörd sammanfattas i en resultatdel för att få en bred bild av cyborgen som helhet. Metoder såsom workshop och litteraturstudier har bidragit till att arbetet fått en bredare bild av människans sätt att leva tillsammans med tekniken.<br>Cyborg, a shared setting of the words cybernetics and organism, a figure whose meaning should be seen as more than a fictional creation. The cyborg is today, according to scientists and philosophers a social reality and its impact on the individual is much greater than we can imagine. This bachelor thesis investigates what defines a cyborg, with support from research and philosophy thoughts and approach are summed up to get a more definitive picture of the concept. The work also studies how the social context may be distorted when the technology finds its way into the physical body. The results and insights this work resulted in is summarized and stands as the basis for a design whose goal has been to categorize open data from individuals with built-in RFID chip, a discussion of the concept and its meaning is summarized in the results section to get a broad picture of the whole cyborg. Methods such as workshops and literature studies have helped to get a broader picture of the human way of living together with technology.
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Norman, Joseph S. "The culture of 'the Culture' : utopian processes in Iain M. Banks's space opera series." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14388.
Testo completoAbstract (sommario):
This thesis provides a comprehensive critical analysis of Iain M. Banks’s Culture series, ten science fiction (SF) texts concerned with the Culture, Banks’s vision of his “personal utopia”: Consider Phlebas (1987), The Player of Games (1988), Use of Weapons (1990), The State of the Art (1991), Excession (1996), Inversions (1998), Look to Windward (2000), Matter (2008), Surface Detail (2010), and The Hydrogen Sonata (2012). I place this series within the context of the space opera sub-genre, and – drawing upon a critical toolkit developed by Istvan Csicsery-Ronay Jr. in The Seven Beauties of Science Fiction (2008) – I explore the extent to which Banks achieved his goal of reshaping the sub-genre for the political Left. Due to the complexity and ambiguity of Banks’s creation, this research addresses the central question: what is the Culture? I argue that the Culture constitutes a utopian variation of Csicsery- Ronay’s technologiade, challenging the notion that Banks’s creation represents an empire or imperialist project. I consider the Culture as a culture: peoples linked by a shared value system and way of life; a method of development and nurturing; a system of utopian processes. Drawing on Archaeologies of the Future (2005), I argue that the Culture series demonstrates Frederic Jameson’s notion of ‘thinking the break’, with Banks’s writing constantly affirming the possibility and desirability of radical sociopolitical change. I identify six key radical moves away from the nonutopian present – characterised as shifts, breaks or apocalypses – which form the Culture’s utopianprocesses, with each chapter exploring the extent to which the Culture has overcome a fundamental obstacle impeding the path to utopia. The Culture has moved beyond material scarcity, alienated labour, capitalism, and the class-system, maintaining State functions. Culture citizens are notable for significantly adapting their own bodies and minds – controlling senescence and ultimately death itself – but motivated by the desire to improve rather than transcend their humanity. The Culture has achieved a form of equality between the sexes and removed patriarchy, yet is still coping with the implications of sex and gender fluidity. Despite relying upon seemingly quasi-religious innovations, the Culture is entirely secular, having moved beyond any kind of religious or faith-based worldview. Finally, the Culture is perhaps an example of what Jameson has called ‘the death of art’, as creative and artistic practice seems to have become part of everyday life, which contrasts with the numerous artworks produced on its margins.
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Козинцева, Тетяна Олександрівна, Татьяна Александровна Козинцева та Tetiana Oleksandrivna Kozyntseva. "От гуманизма к постгуманизму". Thesis, Сумский государственный университет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/31240.
Testo completoAbstract (sommario):
Гуманизм – европейская традиция, зародившаяся в условиях формирования антропоцентрической установки эпохи Возрождения и в различных интерпретациях дошедшая до наших дней.
При цитировании документа, используйте ссылку http://essuir.sumdu.edu.ua/handle/123456789/31240
31
McCarthy, Rebecca Leah. "Perfection: United Goal or Divisive Myth? A look into the concept of posthumanism and its theoretical outcomes in science fiction." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1311.
Testo completoAbstract (sommario):
As science races to keep up with science fiction, many scientists are beginning to believe that the next step in human evolution will be a combination of human and machine and look a lot like something out of Star Trek. The constant pursuit of perfection is a part of the human condition, but if we begin to stretch beyond the natural human form can we still consider ourselves human? Transhumanism and posthumanism are only theories for now, but they are theories that threaten to permanently displace the human race, possibly pushing it into extinction. This thesis will look at the theories of transhumanism and posthumanism through the lens of science fiction and ask the question of whether or not technology holds the key to humanities next evolutionary step or its demise.
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Baran, Ceyda. "Avant-garde Modernism In Architecture: A Re-analysis Of The Neue Sachlichkeit Architecture Within The Framework Of Posthumanism." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605539/index.pdf.
Testo completoAbstract (sommario):
This thesis aims to re-analyze the early twentieth century modern architecture, with in the frame work of posthumanism. Referring to the materialist and socioconstructive architecture of Hannes Meyer, the study proposes a shift from humanist ways of production and reception to posthumanism, where the centrality of human in the productive processes of both art and life is questioned. With this respect, the thesis proposes a historical continuity with the post 1960&<br>#8217<br>s posthumanist involvement of the postmodern architecture with the early twentieth century modern architecture. Moreover, it is argued that the ideal of modern architecture&<br>#8217<br>s break with tradition could be realized through a move towards posthumanism referring posthumanist shift occurred in the avant-garde modernism. Within this framework the thesis, via proposing the book by Michael Hays: Modernism and the Posthumanist Subject: The Architecture of Hannes Meyer and Ludwig Hilberseimer as a pretext, argues that the modern architecture&<br>#8217<br>s ideal of break with tradition is realized through the Neue Sachlichkeit architecture of Hannes Meyer within which the architectural production is integrated with the social and productive determinants of life.
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Arnett, Lyn M. "A Reexamination Of What It Means To Be Human: A Comparative Study Of The Ties Between German Romanticism And Posthumanism." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321894207.
Testo completo
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Eriksson, Julia. "Water world : An artificial shape of meaning." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-156166.
Testo completoAbstract (sommario):
Water World is a water reservoir in the shape of a mountain, with a steel grid body and a shell of shot concrete. It is situated in the national city park Lill-Jansskogen in Stockholm and the emergence of this project is the disrepair of an existing reservoir. Humans, like all things alive, are dependent on water. We survive approximately three days without water. The stored water is the start of civilization, the first of all functions in society we would not cope without in case of collapse. Instead of habitually reshaping nature in accordance with our needs and wishes, this reservoir mimics nature with synthetic means. It questions the idea that we by technical means could create an equilibrium between nature and late capitalist society. Our systems handling water enables modern life. Water World celebrates this function, and life. After construction the man-made surface is exposed to decay and with time the interior structure will stand as a ruin marking the end of the era of globalisation.<br>Water World är en vattenreservoar inkapslad i ett konstgjort berg, med en stomme av stål och ett yttre av betong. Reservoaren är belägen i Lill-jansskogen i centrala Stockholm, Sveriges enda nationalstadspark. Människan liksom alla levande varelser är beroende av vatten för sin överlevnad. Vi överlever ca tre dagar utan vatten. Det lagrade vattnet är början påcivilisationen, den första av samhällets funktioner vi inte skulle klara oss utan vid en eventuell kollaps. Istället för att vanemässigt forma naturen efter våra behov och önskningar försöker reservoaren efterlikna naturen med syntetiska medel. Den ifrågasätter idén om att vi med teknikens hjälp kan skapa en balans mellan natur och vår senkapitalistiska kultur. De system människan har utvecklat för att lagra vatten möjliggör våra moderna liv. Water World hyllar denna funktion, och livet. När konstruktionen är färdig kommer den av människan formade ytan med tiden förfalla och interiörens struktur lämnas som en ruin att markera slutet av eran av globalisering.
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Ehlin, Lisa. "Becoming Image : Perspectives on Digital Culture, Fashion and Technofeminism." Doctoral thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-121923.
Testo completoAbstract (sommario):
Departing from a technofeminist perspective, Becoming Image, places the digital image in a broader context of modern and postmodern technological discourses and fashion. In four articles, the compilation dissertation expands a contemporary and imagistic tech discourse by questioning the ideology of ”masculinity”―specifically the idea of it as a historically male domain. Through interviews, discourse analysis and feminist critique, as well as an interdisciplinary focus on digital media, the project investigates how everyday image practices open up for new embodied experiences. Focusing on women and social media, the articles examines the way material and immaterial aspects of images overlap in everyday life. Rather than artistic intention, emotions and basic human interaction often lie at heart of becoming image. Fashion is, however, highly present in this critical transformation. Not only as collaborative projects emerge out of combining new technologies and dress―such as using your smartphone to elevate your clothing―but also how fashion is a technology itself. Fashion highlights the body as medium, but fashion is also always (mostly) image. Previous research around the digital image and its meaning has often stressed the banality of everyday image practices as taking selfies. However, these debates represent deeper cultural values and norms, which the dissertation reaches beyond. As women, and also queer and trans-people increasingly innovate and interfere with normative technological usage, it becomes evident that such groups have been excluded from communities organized around technological power and skill. As with language, technology and digital imagery are not neutral media. Women have hence been excluded―and been forced to use instruments and apps seemingly made for strict masculine purposes. Arguably, image practices such as selfies or image micro-blogging encourage women to “write” themselves out of a world they have not constructed themselves. Thus, Becoming Image simultaneously illuminates the structural and fundamental levels of technology and gender―while also suggesting new methodological and theoretical ways of studying and approaching digital media.<br><p>At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 4: Accepted.</p><p> </p>
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Sasse, Julie Rae. "Blurred Boundaries: A History of Hybrid Beings and the Work of Patricia Piccinini." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311191.
Testo completoAbstract (sommario):
Hybrid beings have been a part of the artistic imagination since art was first made on cave walls and rock faces. Yet their visual makeup and symbolic meanings have changed over time from deities, demons, and oddities of nature to unconscious states of being and the socially and culturally marginalized. This dissertation will examine a history of hybrid beings and the work of Australian artist Patricia Piccinini. Her silicone sculptures, photographs, installations, and videos are hyperrealistic representations of composite beings that appear to have blended rather than fragmented characteristics of human and animal, which sets them apart from their historic precedents. Piccinini suggests that her hybrids are products of genetic engineering, ostensibly created to serve human beings as comforters, nurturers, protectors, and surrogates for humans and endangered species alike. I argue that Piccinini's hybrids shed light on the hubris and commercialism inherent in bioscientific advances, yet they also reveal a kind of societal ambivalence regarding the posthuman era. Her works suggest utopian aspirations for the future while mourning the loss of humanity as it has been known. Examining Piccinini's art through the lens of liminality and the body, I will contextualize her hybrids within cultural and art historical models from ancient Egypt and Greece through the Victorian eras. In particular, I will establish common ground with Mary Shelley's Frankenstein (1818), which served as an early inspiration for Piccinini's images and conceptual aims. I will also highlight hybrid imagery in Dada and Surrealism and feminist art to reveal the similarities and differences in their approaches and intent. Piccinini's works operate within Donna J. Haraway's notion of the cyborg; therefore, I will also analyze her art within that theoretical model. In addition, I will compare and contrast Piccinini's art to early hyprerrealist sculptors and contemporary artists working in this manner. Piccinini's hybrids establish that both humans and animals are social constructs, and that society has a responsibility for the life forms it creates. Ultimately, this project demonstrates that Piccinini's hybrids are not cautionary tales of a dystopian future but representations of the biotechnological sublime.
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Elg, Eva-Marie // Emie. "Kan konstnären använda desorientering som metod för att krossa fördomar? : ESSÄ i Praktisk Konstnärlig Självreflektion." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-187.
Testo completoAbstract (sommario):
SLUTSATS: För att nå min egen, djupaste, svarta spegel hade jag behövt ”möta mitt eget mörker”, som Soran Ismail beskriver det i Absolut Svensk… Gjorde jag det? Njae… Jag hade gärna utforskat mina fördomsfulla sidor mer, för att se var jag själv står på skalan mellan Tes och Antites. Soran gjorde i avsnitt 1 ett vetenskapligt fördomstest, där reaktioner registrerades för att ta reda på fördomar en ”inte vet om att den har”. Någon liknande miljö eller metod (vetenskaplig, existentiell eller psykoanalytisk) möttes jag inte av under kursen där jag kunde ta mitt fördomsprojekt så mycket längre, däremot synliggjordes en undangömd identitet hos mig själv som jag har haft fördomar kring, baserat på ett internaliserat förtryck. I min vilsenhet kunde jag orientera mig mot att börja utforska detta ämne parallellt i samband med självreflektionen. Jag vill alltså hävda att desorientering, att gå vilse, är startpunkten för självreflektion. Och att självreflektion i samband med kommunikation och kunskap är det som krävs för att krossa fördomar. Konst bör därför sträva efter att inleda en process av självreflektion, för att det betraktande subjektet ska kunna spegla sig i sin egen svartaste spegel – där fördomen existerar inom en.<br>Svarta speglar - magisterutbildningen i konstnärlig självreflektion
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Karlsson, Mikaela. "Identitetskris : En posthumanistisk läsning av Hjalmar Söderbergs Doktor Glas." Thesis, Linköpings universitet, Avdelningen för svenska och litteratur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-134371.
Testo completoAbstract (sommario):
I Identitetskris undersöks ambivalensen hos den fiktiva figuren doktor Glas. En svängande osäkerhet tar sig uttryck genom såväl karaktärens självsyn som genom de större frågor som karaktären ställer sig om människan och dess varande. Dessa tankar och frågor står att finna i de dagboksanteckningar som doktorn fingeras skriva, vilka har varit föremålet för uppsatsens analys. Doktor Glas framställs i ena stunden som ensam, viljesvag och självkritisk för att i nästa stund framställas som en man fylld av självförtroende och kraft som står över sina medmänniskor. Med hjälp av ett posthumanistiskt perspektiv kopplas karaktärens ambivalenta självsyn samman med hans uttalanden om Darwins utvecklingslära och om förhållandet djur–människa. Glas uttrycker längtan efter ett tillstånd där människan inte teoretiserar hela sin tillvaro och istället lever mer ödmjukt och enkelt. På samma gång uttrycker han ett förakt mot människans ursprung bland djuren och förespråkar den civiliserade och tänkande människan. Analysen visar hur doktorns identitetsvacklande kan hänga samman med hans kluvna uttalanden kring människan som särskild från andra djur, från naturen och från sitt ursprung. Söderbergs stora idéroman visar sig innehålla mer känslogrund och fler paradoxer än vad man först kanske tror, när man väljer att se på den ur ett nytt perspektiv. Romanen kanske till och med kan sägas innehålla ett posthumanistiskt frö …
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Wood, Nicole E. "From Seed to Fruit: A Posthuman Journey From Stage to Page." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/392.
Testo completoAbstract (sommario):
This thesis uses Cybernetic Fruit: A Posthuman Fairytale (a show directed by Shauna MacDonald and Nico Wood) to explore notions of posthumanism. The thesis of this project is that every being possesses beingness (one could say, a soul), be it raccoon, raspberry, or rock; that nothing is perfect or ever can be, for perfection and imperfection (like order and disorder) are human constructions spun from human vantage points and seen with a human-level of resolution; that collaboration fosters propagation of a posthuman discourse and compassionate behavior; and finally, that staging philosophical inquiry, in the flesh and for the community, is a potent methodology for germinating new theoretical fruit.
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MacDonald, Shauna M. "Viscera(l) Views: Performing on the Brink of the Human." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/392.
Testo completoAbstract (sommario):
This dissertation is a performative exploration of experience within our technoscientific--that is, technologically and scientifically saturated--world. Drawing upon posthumanism and cyborg studies and working through specific, mutated versions of performative inquiry and phenomenology, I aim to encourage creative public participation in technoscientific discourse. That is, I apply an adapted method (cyborg phenomenology) to my own staged personae performances of nonhuman entities in order to investigate technoscientific experience from a less anthrocentric perspective. My goal is to interrogate my performance experience in order to better understand the dynamics of agency and relationship within our technologically infused world, and to employ performance and performative writing as pedagogical tools for educating others about these dynamics. This document might be best read as an example of performative inquiry as a useful approach to the study of technoscience and its consequences. As a whole, this dissertation is a call for, theorization with, and performative demonstration of artful participation in the multi-layered discourses of technology and science that impact the lives of all beings in our world. It is an experiential experiment, an exploration of possibility, and a beginning.
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Andreasson, Linnéa. "Icke-verbal kommunikation mellan människa och djur i litteratur : En interdisciplinär studie om hur David Wroblewskis The Story of Edgar Sawtelle rekonstruerar förhållandet mellan djuriskhet och funktionshinder." Thesis, Södertörns högskola, Litteraturvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-38312.
Testo completoAbstract (sommario):
In reading The story of Edgar Sawtelle, this essay applies posthuman studies with animal studies and disability studies to analyse how the communication between species occur and how boundaries are expanded. Non-verbal language is closely examined and argued to be just as viable as verbal language in the making of relationships and subjects in literature. By applying posthumanism, biological research and a non-anthropocentric way of thinking one can evolve from the notion that humans are the only subjects which matter, something that has been verified because non-human animals never have been given a voice or an acknowledgment of a language. What happens in a novel when the main protagonist is lacking the ability to speak verbally, when verbal language is what has constructed human exceptionalism over all the other species?<br>Denna uppsats tillämpar posthumanistiska studier med djurstudier och funktionshinder-studier för att analysera hur kommunikationen mellan arter äger rum och expanderar gränser i David Wroblewskis roman The Story of Edgar Sawtelle. Icke-verbalt språk undersöks och argumenteras vara lika betydande som verbalt språk vid skapandet av relationer och subjekt i litteratur. Genom att applicera posthumanism, biologisk forskning och ett icke-antropocentriskt sätt att tänka kan man avveckla tanken om att människan är det enda subjekt som räknas, detta är något som enbart verifierats eftersom icke-mänskliga djur aldrig fått någon agens eller bekräftande att de har rätten till en röst. Vad händer i en roman när protagonisten saknar förmågan till verbalt språk, när det verbala språket är central som verkning i mänsklig exceptionalism?
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Wilson-Hughes, Oliver. "'Maybe I'm tired of being human, if human is what I am' : sentimental posthumanism in the work of Martin Amis." Thesis, University of Reading, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.657601.
Testo completoAbstract (sommario):
Martin Amis is one of the most prominent figures in contemporary British fiction, and his work has been developed during a period of huge social transition. Emerging at the end of the sixties, Amis's writing has adapted to tackle the establishment of the information era and the emergence of increasingly transnational cultures. In this thesis, I will attempt to examine how Amis's work reflects these changes, as he tries to reconcile an uncertain future with a past that seems increasingly distant from the modern world. Engaging with his changing critical reputation, I will locate his work within a theoretical framework that encompasses posthumanism and other conceptual areas. In particular, I will focus on Paul Giles's concept of sentimental posthumanism. Built upon the perceived marginalisation of the human and the potentially dehumanising effects of posthumanism, I use the term to refer to a discourse that attempts to reinstate the human essence within a posthuman society. The thesis will examine four different aspects of Amis's work in the framework of sentimental posthumanism, designating a chapter to each of these topics: America and the transatlantic exchange; the increasing importance of artifice and the loss of affect within society; the posthuman conception of corporeality; and morality and mortality in the posthuman context In my conclusion, these threads are pulled together to assess the extent to which Amis's recent work represents a continuation of, or departure from, his previous work
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Finn, Richelle V. "“More Human Than Human”: Lacan’s Mirror Stage Theory and Posthumanism in Philip K. Dick’s Do Androids Dream of Electric Sheep?" ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2460.
Testo completoAbstract (sommario):
In my thesis, Philip K. Dick's Do Androids Dream of Electric Sheep? is examined using French psychoanalyst Jacques Lacan's mirror stage theory. In the novel, humans have built androids that are almost indistinguishable from humans except that they lack a sense of empathy, or so the humans believe. The Voigt-Kampff Machine is a polygraph-like device used to determine if a subject shows signs of empathy in order to confirm if one is an android or a human. Yet, should empathy be the defining quality of determining humanity?
In his article "The mirror stage as formative of the function of the ‘I’ as revealed in psychoanalytic experience," Lacan refers to a particular critical milestone in an infant's psychological development. When the baby looks in a mirror, they come to the realization that the image they are seeing is not just any ordinary image; it is actually themselves in the mirror. This "a-ha" moment of self-realization is what Lacan's Mirror Stage Theory is based on. According to Lacan's theory, the image that the child sees in a mirror becomes an "Other" through which they will always scrutinize and pass judgment on, for it is not how they have pictured themselves to be in their mind’s eye.
I hypothesize that the androids are humans' artificial and technological Other. It is my thought that Dick uses the conflict of determining the biological from the artificial, the effort to differentiate humans from androids and biological animals from artificial ones, to illustrate Lacan's psychoanalysis of the mirror stage and its importance in our continual search for determining what humanity is and who we really are.
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Linder, Charlotte, and Karin Norinder. ""Nu kan vi flyga med våra mantlar och vårt nya hår" : En kvalitativ studie om utklädningskläder som pedagogiskt material i förskolan." Thesis, Stockholms universitet, Barn- och ungdomsvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-91209.
Testo completoAbstract (sommario):
Syftet med denna studie har varit att lyfta fram utklädningskläder som pedagogiskt material i förskolan. Studien är av kvalitativ karaktär och består av fallstudier från tre förskolor med olika pedagogisk inriktning. Genom intervjuer med förskollärare och barn samt observationer av barns lek har vi undersökt vilken funktion olika utklädningskläder kan ha för barn i förskolan. Vi har även undersökt på vilket sätt placering och utbud av utklädningskläder kan påverka barns användande av dem. Med hjälp av ett posthumanistiskt perspektiv och begreppen agens och intra-aktivitet har vi sett hur utklädningskläder fått liv och gjort saker med barnen. Resultatet visar att utklädningskläder kan fungera som en inspirerande och medbestämmande deltagare i barns lek. Vi har även sett hur materialet blivit ett redskap i barns tillblivelseprocesser när de gått in i roller och utforskat olika identiteter. Ett bra utbud av utklädningskläder kännetecknas enligt denna studie av en mångfald av föränderliga kläder i gott skick och rätt storlek. Utöver detta bör materialet förvaras tillgängligt för barnen för att locka, utmana och inspirera till lek.
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Vinci, Tony M. "Ghost, Animal, Android: Trauma, Posthuman Ethics, and Radical Vulnerability in American Literature, 1940-2010." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/857.
Testo completoAbstract (sommario):
Ghost, Animal, Android: Trauma, Posthuman Ethics, and Radical Vulnerability in American Literature, 1940-2010 The dissertation argues that the literary topoi of the ghost, animal, and android function as ethical categories offering access to traces of trauma that operate beyond the boundaries of the human. The study revises the traditional argument that the literatures of trauma work to heal the victims of personal and cultural catastrophes by emphasizing work by William Faulkner, Toni Morrison, William Heyen, and Philip K. Dick that resists an oversimplified notion of healing and instead experiments with nonhuman models of subjectivity as means through which to manage open wounds. Able to register traumatic events at the very edge of understanding, canonical and popular depictions of the ghost, animal, and android disturb readers into an ethics of radical vulnerability, encouraging them to cross subjective and cultural thresholds and become vulnerable to the present but elusive pain of others.
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Hultenius, Petra. "Materialitetens betydelse i Kulturskolans dansundervisning." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-544.
Testo completoAbstract (sommario):
This is a study that looks at the teaching process of making a dance show within the Community School of Arts from a posthumanist perspective. How does the matter the students meet and the dance teacher uses make a difference? My interest in this question came to grow from my dance related work in a pre-school context where matter is given importance in relation to how children gets possibilities to experience and learn. The research material for this study, however, was generated from the Community School of Arts in Stockholm. The study identifies the matter that is making a difference for the dance teaching and learning in a process towards making a dance show at the Community School of Arts of Stockholm. The matter of importance identified was connected to the subject areas Body, Music/Sound, Clothes, Light and Space. The study investigates and articulates performative force between human and non-human matter, and further how the students and the dance teacher perceive this performative force. The study discusses how dance teaching and learning can benefit from a more reflective use of matter. In connection to the posthumanist approach the study takes a stand for, I argue that knowledge-making in the Community School of Arts can be seen from a rhizomatic perspective. That implies that learning the arts at the Community School of Arts can give students the opportunity to experience art from their different points of interest. To actively acknowledge the performative force of the different material matter involved in the process of creating a dance show, give students a way to develop dance joy. I argue that a more reflective and conscious use of matter can positively transform the dance teaching and learning of today. In a wider perspective the matter of matter in dance teaching and learning is a question that fosters environmental consciousness building on the sense that we share and are part of the same world, where matter matters.
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Persson, Emma. ""...om man typ sitter och ritar så får man väl sitta hur man vill" : En undersökning av hur stolen kan förstås i relation till kropp inom en bildpedagogisk kontext." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7348.
Testo completoAbstract (sommario):
Under min utbildning har tankar kring elevers placering i klassrummet ofta lyfts. Visualiserar jag dessa tankar ser jag framför mig en spelplan där läraren frenetiskt flyttar runt elever likt spelpjäser. Spelplanen – klassrummet – kan här ses som något passivt som fylls med mening av mänskliga aktörer – lärare och elever. Jag vill dock i denna studie närma mig en bildpedagogisk kontext utifrån ett posthumanistiskt perspektiv, där den fysiska omgivningen förstås som medskapande aktör i människors meningsskapande processer. Jag väljer därför att undersöka relationen mellan stol och kropp inom en bildpedagogisk kontext; både gymnasieelevers relation till stolar i en bildsal, samt min egen kropps relation till den röda karaktäristiska Konstfacksstolen. Studien görs i syfte att undersöka hur stolen kan förstås i relation till gymnasieelevers skapande i en bildsal, samt att tillsammans med eleverna synliggöra och utforska deras relation till stolen som materialitet. Studien blir relevant för det bildpedagogiska fältet då elevers skapande i bildsalen enligt mig ofta görs i relation till stolar. Studiens frågeställningar är Hur kan stolen förstås som konstituerande fenomen inom en bildpedagogisk kontext?; Hur kan stolen förstås som performativ aktör i tillblivelseprocesser inom en bildpedagogisk kontext?; samt Hur kan stolen förstås som orientering och materialiserad norm inom en bildpedagogisk kontext?. Undersökningen genomförs på en gymnasieskola där empiri insamlas genom: en deltagande observation, en deltagande observation där bildsalens förutsättningar modifieras, en semistrukturerad intervju med elever, samt en workshop där eleverna undersöker stolar utifrån olika påståenden och fotodokumenterar resultatet. Bilderna används sedan vid en bildelicitering. I undersökningens gestaltande del undersöker jag hur jag kan förkroppsliga elevernas utforskande strategier och koreograferar mitt varande med Konstfacksstolen genom att rikta vår relation mot det-ännu-icke-artikulerade. I undersökningen finner jag att stolen utifrån en posthumanistisk ingång kan förstås som aktör i relation till kropp inom en bildpedagogisk kontext, samt att stolen som del av fenomen oavsett bruk av mänskliga aktörer kan förstås som något som orienterar och materialiserar kroppar. Undersökningen kommuniceras genom en uppsats samt visas i Konstfacks digitala vårutställnings online-katalog. En tryckt katalog publiceras även i samband med utställningen.
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Sunnerstam, Hanna. "Food, Humans and Other Kinds of Matter : A Posthumanist and Materialist Reading of the Anime Film Spirited Away." Thesis, Linköpings universitet, Tema Genus, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97298.
Testo completoAbstract (sommario):
My aim with this thesis is to use a combination of posthumanist and feminist materialist perspectives in analysing the anime film Spirited Away (2001). The analysis is organised as follows: the first chapter of the analysis deals with the notions of agency and magic. Magic is an omnipresent force in the bathhouse depicted in the film; a force that creates connections between different bodies and that also bridges the language-matter divide. By making inanimate matter come alive, magic points to a conception of life as relations rather than as possession. However, magic also reveals the hierarchies at work, as not all animate(d) beings have the capacity or the right to use it. The first chapter is followed by three chapters focused on eating, understood as a kind of intra-action between different kinds of matter. Food is, as I will show, important in the negotiations of boundaries and agency. The question of who is eating who also reveals some of the power relationships that govern the posthuman world depicted in the film. In the two last chapters of the analysis I will, so to speak, push the food plate aside in favour of other matters. The fifth chapter will focus on the physical transformations taking place in the film and how these can be interpreted from a posthumanist and materialist perspective. I will look at embodiments, using a narratologically influenced perspective that allows for corporeal ambiguities and shuns notions of bodies as fixed and clearly separate from other bodies. The discussion will continue in the final chapter where I use 'monster theory' to further examine the leakages between categories. The monstrous corresponds not necessarily to widely-spread images of monsters (known from various cultural masterplots) or to bodies that distinctly disobey the norms. The morphological diversity exhibited by the characters in the film reveals the impossibility of clearly demarcating categories and boundaries between Self and Other.
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de, Beer Mostyn. "You First Then Me : Exploring Complexity with Art Workshops." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7475.
Testo completoAbstract (sommario):
This work takes as its starting point the idea that awareness and understanding of the complex nature of relationships, among people and the natural and built environment, is of crucial importance against the background of the ongoing environmental crisis. The author explores how holding art workshops can contribute with specific knowledge about this complexity. In early 2020, the author held art workshops in the South African port city of Durban, in a gallery area adjacent to a park. Qualitative methods, including ethnography and visual methods, were put to use in the study which developed from this project. The stages of fieldwork, processing and analysis are described in detail. The study’s posthumanist theoretical framework draws in insights from Arts-Based Environmental Education and Art Education for Sustainable Development, as well as current thinking about design and creativity. These ideas, together with the choice of methods, facilitated an awareness of correspondences, or productive similarities, among elements from the workshops and the surrounding area. Noticing correspondences like these widened the project’s focus to include informants, groups and stories from the edges of the field, and opened up possibilities for relating local insights to larger concerns. The study considers how holding art workshops can provide opportunities for research into environmental, educational and social issues. It concludes with a discussion about how thinking about complexity can be productive within the field of Art Education.
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Herrera, Altamirano Elisa. "Correr importa. Devenires coporales posthumanos desde una aproximación etnográfica al running popular en Barcelona." Doctoral thesis, Universitat Oberta de Catalunya, 2018. http://hdl.handle.net/10803/664196.
Testo completoAbstract (sommario):
Aquesta tesi se situa en la intersecció disciplinària de l'antropologia del cos, les epistemologies feministes i la geografia, i té per objectiu reflexionar des de la banda teòrica i metodològica sobre la corporalitat posthumana per mitjà de l'exploració etnogràfica del running, popular a Barcelona, com una pràctica de la vida quotidiana en l'època contemporània. La inquietud principal a la qual respon aquest treball és contribuir a la crida que des de les ciències socials crítiques es fa per a generar una nova economia de la representació del cos que parli en clau de transformacions, processos, fluxos i canvis i no de visions unitàries de l'ésser en les seves modalitats clàssiques duals i universalistes. Per això es parteix de la proposta d'una figuració anomenada contínuum cosciutat que planteja una mirada de continuïtat material entre cossos humans i contextos urbans, la qual s'activa per mitjà de les pràctiques quotidianes en moviment, en aquest cas el running no professional. Els eixos centrals d'aquesta recerca giren entorn de l'anàlisi relacional dels acoblaments entre els cossos que corren, els espais o ambients urbans i les tecnologies digitals.<br>Esta tesis se ubica en la intersección disciplinar de la antropología del cuerpo, las epistemologías feministas y la geografía, y tiene por objetivo reflexionar teórica y metodológicamente sobre la corporalidad poshumana por medio de la exploración etnográfica del running, popular en Barcelona como una práctica de la vida cotidiana en la época contemporánea. La principal inquietud a la que responde este trabajo es contribuir al llamamiento que desde las ciencias sociales críticas se hace por generar una nueva economía de la representación del cuerpo que hable en clave de transformaciones, procesos, flujos y cambios y no de visiones unitarias del ser en sus modalidades clásicas duales y universalistas. Para ello, se parte de la propuesta de una figuración llamada continuum cuerpociudad que plantea una mirada de continuidad material entre cuerpos humanos y contextos urbanos, la cual se activa por medio de las prácticas cotidianas en movimiento, en este caso el running no profesional. Los ejes centrales de esta investigación giran en torno al análisis relacional de los ensamblajes entre los cuerpos que corren, los espacios o ambientes urbanos y las tecnologías digitales.<br>This thesis is situated at the disciplinary intersection between anthropology of the body, feminist epistemology and geography, and aims to reflect theoretically and methodologically on post-human corporeality through the ethnographic exploration of the everyday habit of running in Barcelona in the contemporary era. The main concern to which this research responds is the call from critical social sciences to construct new models of body representation based on flows, mutations, transformations, processes and changes rather than maintaining unitary visions of the self in its classic dualistic and universalist modalities. For this, I begin by proposing a concept I have termed 'continuum cuerpociudad' (body-city continuum) that suggests a material continuity between human bodies and urban environments that is activated through daily practices involving movement, in this case non-professional running. The central axes of this investigation revolve around the relational analysis of the union between the bodies that run, urban spaces and environments, and digital technologies.