Domestic space can be considered a cross-disciplinary subject, not only of art and architecture but also of philosophy, sociology, geography, and anthropology, thanks to the multidirectional ...correlations. This paper examines domestic space as a cross-disciplinary subject, too, with a qualitative phenomenological research method because this research approaches space as the collection of experiences, like in phenomenology, concerning the perception and the body. Through an interdisciplinary literature review, the notions of domesticity and dwelling are investigated focusing on the notion of experience. Following these notions, the concepts of becoming and machine are explored by Deleuze and Guattari to reach the arguments on co-living that connect to critical posthuman thought. Braidotti’s concept of becoming-machine is interpreted together with Haraway’s and Grosz’s contemporary arguments on becoming and co-living. In this scope, the research has reached the concepts on metastability and performativity in relation to posthuman experiences of co-living. These concepts are associated with the examples from the contemporary performance artworks. The performances of Schweder & Shelley, Gómez-Egaña and McRae are analyzed focusing on the experience that includes the posthuman possibilities for domesticity as a result of this research, aiming to rethink the relations between human and non-human in domestic space.
Technology evolves together with humans. Across industrial revolutions, its role has evolved from that of a simple tool used by humans to that of intelligent decision-maker and teammate. In the ...post-digital era where ongoing advances in artificial intelligence are widely visible, the question arises regarding the extent to which technology will be “upgraded” into roles previously filled by human supervisors, thereby replacing persons in managerial positions. This text aims to delineate how the organizational role of technology has been transformed across decades and the forms that it currently takes within companies, with an eye to the future. We draw on posthuman managerial literature and known cases of organizations where some forms of supervisory artificial intelligence are already used. The text is conceptual-reflective by nature; it seeks to initiate a discussion on the many challenges that humanity will face in connection with the deployment of empowered posthuman agents in companies.
This autotheoretical paper exploring a collaborative project we engaged in during the early days of the COVID-19 pandemic (March-May 2020) is structured as two intertwined stories. The first, a ...series of autotheoretical vignettes, expresses our process of sense-making about affect as well as multiple affective productions that spurred learning, personal and relational growth, and becomings-otherwise. The second delves into posthuman methodology, autotheory, affect, and affirmative ethics. Together these highlight the ways that our collaborative work of attending to affect helped us enact an affirmative ethics by tapping into traumatic lived experiences of COVID-19, isolation, and academic work, and transforming them into knowledge-producing, connection-creating, hopeful encounters. These encounters gesture to ways that enacting affirmative ethics as a collaborative critical posthuman praxis can help us collectively thrive in neoliberal conditions.
This paper investigates the representation of bodies in two contemporary Japanese works, namely Murata Sayaka’s Seimeishiki (生命式 , Life Ceremony, 2013) and Ono Miyuki’s Karada o uru koto (身体を売ること ...“Selling the Body,” 2020). Both novellas are set in the future and share the trope of the ‘uncanny,’ heightened through the transgression of boundaries thanks to the presence of what I refer to as ‘consumed bodies,’ and female protagonists as an ‘unhinged woman,’ the anti-heroine interpreted as a feminist icon recently emblazoned in social networks. In Life Ceremony, the Japanese government has approved anthropophagy as a social practice; in “Selling the Body,” healthy flesh bodies are sold to survive in polluted environments and replaced by robotic ones. Present anxieties concerning the control over bodies and their reproductivity, as well as the fear of objectification are expressed through the practices of cannibalism and cyberization. Consequently, readers are forced to rethink the human nature and ethics in a posthuman dialectic within a hyper-capitalistic society.
The concept of "cyborg" in Donna Haraway's much-discussed "A Cyborg Manifesto" (1985) is outstanding in its depiction of the hybrid body that is untouched by long-standing polar dichotomy stemming ...from a hierarchal mode of thinking founded on prehistoric anthropocentricism: a worldview embedded mostly in western cultures which considers (normal
1
) human beings to be superior to nature and has often resulted in victimization of the so-called other. Haraway's cyborg is capable of "becoming" animal or machine and is, hence, better suited to the Posthuman world. Following in Haraway's footsteps, we intend to discuss that autistic people - labeled/stigmatized as intellectually disabled - are able bodies that share close affinities with animals, robots, nature, and environment. To this purpose, Sabina Berman's debut novel Me, Who Dove into the Heart of the World (2012)
2
is examined to help us draw an analogy between a cyborg figure and an autistic body to bring to light the necessity of inclusion of all as prescribed by Posthumanism.
The polysemous nature of the term “posthuman” has inspired contentious debates in critical theory, leading both to the term’s miscomprehension and misapplication. Despite its somewhat misleading ...prefix, the “post” of posthumanism is not to be understood solely in futural terms. Rather than simply encompassing conceptualisations of humanity following the alarming technological, scientific, and environmental developments of late capitalism, the term instead enacts a decentring of the human in order to attain a richer sense of what it means to be human amidst these developments. For Missy Molloy, Pansy Duncan, and Claire Henry, authors of Screening the Posthuman, three core theoretical strands—cultural, deconstructive, and materialist—constitute their understanding of critical posthumanism, developed primarily by theorists such as Donna Harraway, Cary Wolfe, and Rosi Braidotti, among others.
Although Lawrence was clearly a forerunner of ecological awareness, he predated the conscious crisis of planetary destruction and the ecocritical turn retains an ambiguity as to whether it refers to ...a thematic concern or a distinctive mode of reading and writing. The same ambiguity lurks in Martin Heidegger’s use of Friedrich Hölderlin’s auratic formula “Poetically man dwells upon the earth.” I consider the possible shift between Lawrence’s time and the present on the question of poetic dwelling by comparing Lawrence’s writing on trees in Fantasia of the Unconscious with Peter Wohleben’s The Hidden Life of Trees (2015) and Richard Powers The Overstory (2018).
Accounts by geographers of the ways in which urban spaces are digitally mediated have proliferated in the last few years. This significant body of work pays particular attention to the production of ...urban space by software and digital hardware, and geographers have drawn on various kinds of posthumanist philosophies to theorize the agency of the technological nonhuman. The agency of the human, however, has been left undertheorized in this work, often appearing in the form of excessive resistance to the agency granted to the digital. This article contributes to understanding the digital mediation of cities by theorizing a specifically posthuman agency; that is, a human agency both mediated through technics and diverse. Drawing on the philosophy of Stiegler as well as a range of feminist digital scholarship, the article conceptualizes posthuman agency as always already coconstituted with technologies. Posthumans are simultaneously individuated and exteriorized in that coconstitution, and this permits agency understood as reinvention. The article also insists that such sociotechnical agency is differentiated, particularly in terms of the spatialities and temporalities through which it is organized. It concludes by arguing that geographers must reconfigure their understanding of digitally mediated cities and acknowledge the inventiveness and diversity of urban posthuman agency.
PDF
