A practiced-informed critique of technological posthumanism and its ideologies

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dc.contributor.authorCecchetto, David
dc.contributor.supervisorRoss, Stephen
dc.contributor.supervisorGibson, Steve
dc.date.accessioned2010-06-02T16:11:43Z
dc.date.available2010-06-02T16:11:43Z
dc.date.copyright2010en
dc.date.issued2010-06-02T16:11:43Z
dc.degree.departmentDepartment of English
dc.degree.levelDoctor of Philosophy Ph.D.en
dc.description.abstractWith the recent emergence of copious and diverse scholarship that considers the discursive valence of the term "human", posthumanism has emerged as a timely and powerful interdisciplinary discourse. This study is a critical analysis of three dominant strains of the technologically oriented segment of this discourse; namely "scientific" (Ollivier Dyens), "humanist" (N. Katherine Hayles), and "organismic" (Mark B. N. Hansen) constructions of technological posthumanism. In each case, the study desublimates (and often deconstructs) the particular ideological claims that underwrite a given perspective, emphasizing the specific elements that such presumptions enable or foreclose. To this end, particular emphasis is given throughout the essay to the critical capacity of performativity, a perspective that is enacted through analyses of selected new media artworks.en
dc.description.embargo10000-01-01
dc.identifier.bibliographicCitation“Sounding the Hyperlink: Skewed Remote Musical Performance and the Virtual Subject” in Mosaic: a Journal for the Interdisciplinary Study of Literature. Vol.42, no. 1 (March, 2009).en
dc.identifier.bibliographicCitation“Ethical and Activist Considerations of the Technological Artwork” in Transdiscplinary Digital Art: Sound, Vision, and the New Screen. Eds. Randy Adams, Steven Muller Arisona, and Steve Gibson. Communications in Computer and Communication Science Series. USA: Springer, June 2008.en
dc.identifier.bibliographicCitation“Melancholy and the Territory of Digital Performance” in Collision: Interarts Practice and Research. Eds. David Cecchetto, Nancy Cuthbert, Julie Lassonde, and Dylan Robinson. UK: Cambridge Scholars Publishing, 2008.en
dc.identifier.bibliographicCitation“Introduction,” co-authour, in Collision: Interarts Practice and Research. Eds. David Cecchetto, Nancy Cuthbert, Julie Lassonde, and Dylan Robinson. UK: Cambridge Scholars Publishing, 2008.en
dc.identifier.bibliographicCitationCollision: Interarts Practice and Research. Eds. David Cecchetto, Nancy Cuthbert, Julie Lassonde, and Dylan Robinson. UK: Cambridge Scholars Publishing, 2008.en
dc.identifier.bibliographicCitation"vagant(ana)music: Three (four) Plateaus of a Contingent Music" in Radical Musicology, Volume 2 (International Centre for Music Studies at Newcastle University, December 2007): http://www.radical-musicology.org.uk/en
dc.identifier.urihttp://hdl.handle.net/1828/2829
dc.languageEnglisheng
dc.language.isoenen
dc.rights.tempAvailable to the World Wide Weben
dc.subjectposthumanismen
dc.subjecttechnology and cultureen
dc.subjectart and technologyen
dc.subjectdeconstructionen
dc.subjectaestheticsen
dc.subjectmedia arten
dc.subject.lcshUVic Subject Index::Humanities and Social Sciences::Communication and the Artsen
dc.titleA practiced-informed critique of technological posthumanism and its ideologiesen
dc.typeThesisen

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