Transhumanism: Push Start to See Your Future Death
1.introduction
In the words and eyes of writer Gustave Flaubert, the death of a friend was described as, “A friend who dies, it’s something of you who dies.” There are various solutions however: in the eyes of some individuals, transhumanism(h+) is a viable solution to said problem. Of course, some view transhumanism closer to a fantasy than reality but transhumanism does directly answer death as an issue and is supported by the likes of Max More, Nick Bostrom, and Ray Kurzweil. While living in a society where many view the possibilities of a transhumanist world to be likely and, as members of a race in constant fear of death, it would be responsible to educate ourselves and pave a harmonious mindset to transhumanism in order to pave the a future where we may
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Posthuman by Nicholas Gane is a comparison of thoughts from selected scholars on the subject of the increasingly complex relationship between mankind and technology and how these technologies are breaking down the barriers that make us human. He starts by introducing us to the history of the concept of the Posthuman, which started with the cybernetic movement of the 1940’s and most influentially the writings of Norbert Wiener. The real popularity of the subject has its roots with Donna Haraways concept of the cyborg. Her concept is a postive rendition of the idea of posthumanism, which focuses on cybernetic technology and genetic modification and how these technologies could radically change humanity. Gane then defines Posthuman as when the
Bissell, Tom. "Extra Lives: “Why Video Games Matter.” They Say / I Say 2nd Ed. Birkenstein, Cathy, Russel Durst, and Gerald Graff New York: W.W. Norton & Company, (2012). 349-361. Print.
Today’s world is full of robots that vacuum the floor and cars that talk to their drivers. People can ask their phones to send a text or play a song and a cheerful voice will oblige. Machines are taking over more and more tasks that are traditionally left to people, such as cleaning, navigating, and even scheduling meetings. In a world where technology is becoming increasingly human, questions arise about whether machines will eventually replace humankind altogether. In Ray Bradbury’s short stories, “The Veldt” and “August 2026,” he presents themes that technology will not only further replace the jobs of humans, but it will also outlast humankind as a whole. Although this is a plausible future, computers just cannot do certain human jobs.
Grand Theft Auto IV promotes hetronormative hierarchical distinctions between feminity and masculinity through its framing of female and male bodies, its presentation of females as objects of the male gaze and its encouragement of players to adopt and act out a hypermasculine role. It is of vital importance that we do not exclude race, gender or sexuality from discussions of videogames, because as Leonard (2006, pp. 84) asserts, doing so ‘contributes to problematic, if not faulty, understandings of video games and their significant role in contemporary social, political, economic, and cultural organization.’ Instead as players we must engage in discussion regarding videogames and, as Jenkins writes, we must ‘find a way to move beyond our existing categories and to once again invent new kinds of virtual play spaces’ (1999, pp.
Dylan Thomas sets the tone of his iconic poem with the title, which is also one of the recurring lines in the poem. When the speaker says “Do not go gentle into that good night”(1,6,12,18), he is saying that you should not peacefully accept death. In most cases, many people would consider a peaceful death as good of a death as there can be, but Thomas urges the reader to not accept it. While it may seem like an odd stance, one must consider that towards the end of the poem we learn the speaker is speaking to his father. In context of the poem, this is someone struggling to accept that his father is dying therefore he is begging his father to also not accept it. Another way Dylan Thomas is able to not only reinforce the defiant tone, but also reinforce the central message, is his repetition of critical
Today there are strong debates and questions about the extraordinary breakthroughs in science such as cloning, in communications through the Internet with its never ending pool of knowledge, and the increasing level of immersion in entertainment. People facing the 21st century are trying to determine whether these new realities of life will enhance it and bring life as they know it to a great unprecedented level, or if these new products will contribute and perhaps even cause the destruction of society and life. To many cloning, censoring, and total immersion entertainment are new, but to those who have read Brave New World by Aldous Huxley, the topics are reminiscent of the horror that is found in Huxley's fictional utopian world where the dehumanizing of man is achieved in the interests of "Community, Identity, Stability," the world state's motto.
...e. How We Became Posthuman: Virtual Bodies in Cybernatics, Literature and Informatics. Chicago: The University of Chicago Press, 1999.
Since the humble origins of the video gaming industry, individuals used it as a challenge of their abilities. In modern day, this industry is just a popular as any other media which exists in the mainstream world. Video games reflect society’s changing views of the normalities of which individuals and/or groups must abide to. This is exemplified in the evolving representation of the queer individuals within the virtual world. As the video game industry came into focus, so did the LGBT rights movement. This illustrates that society’s views on the LGBT community were reflected in the video games made, however, it was rare that such characters existed as protagonists until the twenty first century. Due to the extreme lack of asexual and non-binary
Cyberpunk is, as its authors would have it, a revolutionary new genre. The Movement is made up of radical new authors breaking from traditional SF ideology and prose. The style evokes a sense of fear and paranoia while overloading the reader with information. Aside from these indefinable feelings evoked by the genre, cyberpunk contains several concrete, identifiable themes in every story. The central theme is about fringe characters -- outsiders -- living in a grimy, seedy world ruled over by huge, all-encompassing megacorporations. The megacorps permeate the world of these characters with an impersonal, hopeless aura. One can either work for them as a wage-drone in mediocrity, or against them as against gods in a pitiful fight to outwit them. The cyberpunk world is completely overwhelmed, infused, and inundated by corporate technology such as decks, the Matrix, "prosthetic limbs, implanted circuitry, cosmetic surgery, genetic alteration" (Sterling xiii), and artificial intelligences. The megacorporate philosophy that everything can be bought and sold, like the technology that is bought and sold, makes human life cheap and worthless. Technology has replaced humans, much like machines today have already replaced workers on the assembly line.
Donna Haraway’s essay, ‘A Cyborg Manifesto’ is an analysis of women and advanced technology in a postmodern world. Haraway uses various illustrations to focus on women’s relation to the technologically scientific world, she uses the metaphor of a cyborg to challenge feminists and engage in a politics beyond naturalism and essentialisms. She also uses the idea of the cyborg to offer a political strategy for the dissimilar interests of socialism and feminism. In her manifesto, Haraway describes a cyborg as a hybrid of machine and organism or a cybernetic organism, created by the advances in technology.
In The Matrix, technology dominates society. The push to automate and link the world is a perpetual theme of modern society. As technology rapidly advances, implementation of computer-driven robotic devices and software programming has inundated the world and changed human perspective. There is a cost to pay when redefining the population with AI technology. This cost is identified in Barlett and Byer’s, “Back To The Future: The Humanistic Matrix” “The Matrix metaphorizes our willingness to fantasize that the ‘freedom’ rhetoric of e-capitalism accurately reflects our
Haraway’s provocative proposal of envisioning the cyborg as a myth of political identity embodies the search for a code of displacement of "the hierarchical dualisms of naturalized identities" (CM, 175), and thus for the breakdown of the logic of phallogocentrism and of the unity of the Western idealized self.
In Conclusion William Gibson created a cyberpunk/ postmodernism tale that has blurred not only the physical state between mechanics and human anatomy, but has as well blurred the line between the natural and virtual world. He is making the reader contemplate how both software and hardware have influenced the natural world. Gibson’s fictional world would have not been possible without the existence of software and hardware, that is why the distinction between them is very crucial and play a different part within the text. Without these two things, the reader would not be able to comprehend and relate to Gibson’s view on how our society is interlocking with the advances of technology and the normality of today will no longer exist in the future.
Death is a central focus of conversation that individuals and society discuss when analyzing the meaning of life. It is an aspect of life that everyone at some point must become acquainted with. There is one thing that every living thing can be sure of: “I will eventually die.” This paper will examine a number of issues that can arise once an individual reflects on their own mortality.
In fact, the marketers of technology present it in a way that conceiving life without seems impossible. At present, it’s the artificial intelligence dictating people how life should be lived. Humans resort to mach...