Performing The Posthuman

Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally human domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans be they technology, objects, animals, or other forms of being works on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.

By revealing the fragility of mainstream narratives of the 'human, ' each author in this collection contributes to an unsettling vision of a posthuman world

The Posthuman offers both an introduction and major contribution to contemporary debates on the posthuman. Digital 'second life', genetically modified food, advanced prosthetics, robotics and reproductive technologies are familiar facets of our globally linked and technologically mediated societies. This has blurred the traditional distinction between the human and its others, exposing the non-naturalistic structure of the human. The Posthuman starts by exploring the extent to which a post-humanist move displaces the traditional humanistic unity of the subject. Rather than perceiving this situation as a loss of cognitive and moral self-mastery, Braidotti argues that the posthuman helps us make sense of our flexible and multiple identities. Braidotti then analyzes the escalating effects of post-anthropocentric thought, which encompass not only other species, but also the sustainability of our planet as a whole. Because contemporary market economies profit from the control and commodification of all that lives, they result in hybridization, erasing categorical distinctions between the human and other species, seeds, plants, animals and bacteria. These dislocations induced by globalized cultures and economies enable a critique of anthropocentrism, but how reliable are they as indicators of a sustainable future? The Posthuman concludes by considering the implications of these shifts for the institutional practice of the humanities. Braidotti outlines new forms of cosmopolitan neo-humanism that emerge from the spectrum of post-colonial and race studies, as well as gender analysis and environmentalism. The challenge of the posthuman condition consists in seizing the opportunities for new social bonding and community building, while pursuing sustainability and empowerment.

What does it mean to think beyond humanism? Is it possible to craft a mode of philosophy, ethics, and interpretation that rejects the classic humanist divisions of self and other, mind and body, society and nature, human and animal, organic and technological? Can a new kind of humanities—posthumanities—respond to the redefinition of humanity’s place in the world by both the technological and the biological or “green” continuum in which the “human” is but one life form among many? Exploring how both critical thought along with cultural practice have reacted to this radical repositioning, Cary Wolfe—one of the founding figures in the field of animal studies and posthumanist theory—ranges across bioethics, cognitive science, animal ethics, gender, and disability to develop a theoretical and philosophical approach responsive to our changing understanding of ourselves and our world. Then, in performing posthumanist readings of such diverse works as Temple Grandin’s writings, Wallace Stevens’s poetry, Lars von Trier’s Dancer in the Dark, the architecture of Diller+Scofidio, and David Byrne and Brian Eno’s My Life in the Bush of Ghosts, he shows how this philosophical sensibility can transform art and culture. For Wolfe, a vibrant, rigorous posthumanism is vital for addressing questions of ethics and justice, language and trans-species communication, social systems and their inclusions and exclusions, and the intellectual aspirations of interdisciplinarity. In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. In doing so, Wolfe reveals that it is humanism, not the human in all its embodied and prosthetic complexity, that is left behind in posthumanist thought.

Can a monkey own a selfie? Can a chimp use habeas corpus to sue for freedom? Can androids be citizens? Increasingly, such difficult questions have moved from the realm of science fiction into the realm of everyday life, and scholars and laypeople alike are struggling to find ways to grasp new notions of personhood. Posthuman Folklore is the first work of its kind: both an overview of posthumanism as it applies to folklore studies and an investigation of “vernacular posthumanisms”—the ways in which people are increasingly performing the posthuman. Posthumanism calls for a close investigation of what is meant by the term “human” and a rethinking of this, our most basic ontological category. What, exactly, is human? What, exactly, am I? There are two main threads of posthumanism: the first dealing with the increasingly slippery slope between “human” and “animal,” and the second dealing with artificial intelligences and the growing cyborg quality of human culture. This work deals with both these threads, seeking to understand the cultural roles of this shifting notion of “human” by centering its investigation into the performances of everyday life. From funerals for AIBOs, to furries, to ghost stories told by Alexa, people are increasingly engaging with the posthuman in myriad everyday practices, setting the stage for a wholesale rethinking of our humanity. In Posthuman Folklore, author Tok Thompson traces both the philosophies behind these shifts, and the ways in which people increasingly are enacting such ideas to better understand the posthuman experience of contemporary life.

Covering key terms and concepts in the emerging field of posthumanism and literacy education, this volume investigates posthumanism, not as a lofty theory, but as a materialized way of knowing/becoming/doing the world. The contributors explore the ways that posthumanism helps educators better understand how students, families, and communities come to know/become/do literacies with other humans and nonhumans. Illustrative examples show how posthumanist theories are put to work in and out of school spaces as pedagogies and methodologies in literacy education. With contributions from a range of scholars, from emerging to established, and from both U.S. and international settings, the volume covers literacy practices from pre-K to adult literacy across various contexts. Chapter authors not only wrestle with methodological tensions in doing posthumanist research, but also situate it within pedagogies of teaching literacies. Inviting readers to pause, slow down, and consider posthumanist ways of thinking about agency, intra-activity, subjectivity, and affect, this book explores and experiments with new ways of seeing, understanding, and defining literacies, and allows readers to experience and intra-act with the book in ways more traditional (re)presentations do not.

From AI to climate change, recent technological, ecological, cultural, and social transformations have unsettled established assumptions about the relationship between the human and the more-than-human world. Screening the Posthuman addresses a heterogenous body of twenty-first century films that turn to the figure of the "posthuman" as a means of exploring this development. Through close analyses of films as diverse as Kûki ningyô [Air Doll] (dir. Hirokazu Koreeda 2009), Testrol és lélekrol[On Body and Soul] (dir. Ildiko Enyedi 2017) and Nomadland (dir. Chloé Zhao 2020), this wide-ranging volume shows that, while often identified as the remit of science fiction, the "posthuman on screen" crosses filmic genres, national contexts, and industrial settings. In the process, posthuman cinema emphasizes humanity's entanglement in broader biological, technological, and social worlds and exposes new models of subjectivity, politics, community, relationality and desire. In advancing these arguments, Screening the Posthuman draws on scholarship associated with critical posthumanist theory-an ongoing project unified by a decentering of the "human". As the first systematic, full-length application of this body of scholarship to cinema, Screening the Posthuman advocates for a rigorous posthumanist critique that avoids both humanist nostalgia and transhumanist fantasy in its attention to the excitements and anxieties of posthuman existence.