Capital as Artificial Intelligence

This article examines science-fictional allegorizations of Soviet-style planned economies, financial markets, autonomous trading algorithms, and global capitalism writ large as nonhuman artificial intelligences, focussing primarily on American science fiction of the Cold War period. Key fictional texts discussed include Star Trek, Isaac Asimov\u27s Machine stories, Terminator, Kurt Vonnegut\u27s Player Piano (1952), Charles Stross\u27s Accelerando (2005), and the short stories of Philip K. Dick. The final section of the article discusses Kim Stanley Robinson\u27s novel 2312 (2012) within the contemporary political context of accelerationist anticapitalism, whose advocates propose working with “the machines” rather than against them

Importance of Storytelling and Speculative Fiction in the Transition into A Posthuman Ecosystem

Storytelling is one of the most powerful tools the Homo sapiens species have at their disposal. Considered one of the oldest forms of art and an evolutionary adaptation for survival, storytelling will surely have an important role in the challenging transition into a posthuman ecosystem. This article argues that Homo sapiens will eventually evolve and fragment into other species much due to our natural proclivity towards enhancing technologies; we propose that empathic storytelling might be paramount to reduce otherness and othering in-between human, transhuman, and posthuman sentient beings. The importance of storytelling as a deterrent for othering future complex artificial intelligence, augmented humans, and posthuman species has not been properly explored and studied in-depth, therefore, we collected data and points of view on vital concepts pertinent to the discussion. This paper’s main goals are to contribute to the debate of storytelling and posthumanism and to understand how the action of telling empathic, appealing, and engaging stories, be it through books, moving images, or videogames could be used for the betterment of future societies and their relations. We concluded that by creating and disseminating big quantities of beautiful, touching, empathic, direct from the heart, speculative, truthful, and thought-provoking stories, in all available media, it is possible to combat the nefarious act of othering and prepare contemporary societies for the emergence of transhuman and posthuman species; we further argue that speculative fiction and audiovisual content production systematically explores concepts such as androids, artificial intelligence, cyborgs, robots, and what it means to be human, making them an efficient genre and media to achieve the above-mentioned inspiring goal of connecting people empathically and reducing future othering

The imperfect observer: Mind, machines, and materialism in the 21st century

The dualist / materialist debates about the nature of consciousness are based on the assumption that an entirely physical universe must ultimately be observable by humans (with infinitely advanced tools). Thus the dualists claim that anything unobservable must be non-physical, while the materialists argue that in theory nothing is unobservable. However, there may be fundamental limitations in the power of human observation, no matter how well aided, that greatly curtail our ability to know and observe even a fully physical universe. This paper presents arguments to support the model of an inherently limited observer and explores the consequences of this view

Colonial world-making in future technological landscapes: a qualitative comparative case study of the Sophia the Robot and Miquela Projects

Future technologies are being produced by private actors in projects promising radical societal changes. Little attention is given to the intention of these private actors. This increases the risk of missing the ways in which private political and economic interests shape future technological imagining. From Jeff Bezos floating space coloniesto Mark Zuckerberg's reality bending ‘metaverse', private companies envision futures that will be far better than present society. However, factors that caused the need for societal transformation are being reworked into the imaginings of future landscapes promising. Through a comparative case study analysis of the robot projects of Sophia the Robot and Miquela Sousa, the argument presented in this research study is thatthe improved and inspiring future landscapes each robot project presents cannot be achieved. This is because the ideological framing of each project replicates the logic of modernity, which functions on structures of oppression. By applying colonial and modern examples from the past and present, this study illustrates the ways in which systems of oppression – such as white supremacy and enslavement- are reproduced in the imaginings of the future in private actors' technological projects as well as the technologies itself

Problematizing the Human-Technology Relationship through Techno-Spiritual Myths Presented in The Machine, Transcendence and Her

This article explores three common techno-spiritual myths presented in three recent science fiction films, highlighting how the perceived spiritual nature of technology sets-out an inherently problematic relationship between humanity and technology. In The Machine, Transcendence and Her, human-created computers offer salvation from human limitations. Yet these creations eventually overpower their creators and threaten humanity as a whole. Each film is underwritten by a techno-spiritual myths including: “technology as divine transcendence” (where technology is shown to endow humans with divine qualities, “technological mysticism” (framing technology practice as a form of religion/spirituality) and “techgnosis” (where technology itself is presented as a God). Each myth highlights how the human relationship to technology is often framed in spiritual terms, not only in cinema, but in popular culture in general. I argue these myths inform the storylines of these films, and spotlight common concerns about the outcome of human engagement with new technologies. By identifying these myths and discussing how they inform these films, a techno-spirituality grounded in distinctive posthuman narratives about the future of humanity is revealed

Cinema of poverty: Independence and simplicity in an age of abundance and complexity

Over the past 25 years of writing, producing and directing, my aspirations as a creative artist in film have shifted from a paradigm in which the scale and scope of financial and human resources shaped not only the creative intentions of a project, but the very definition of what made something ‘cinematic’, to a new paradigm in which poverty - both in terms of resources and, more philosophically, in terms of artistic expression - has become one of the defining features of my artistic aspiration and my understanding of a new cinema. This development has interacted with parallel developments in technologies of production, distribution and exhibition, of a kind and scale I never envisaged when first embarking on a career in film, and has, for me, led to a kind of creative liberation which I am only now beginning to fully understand. Traditionally, human and financial resources have been considered essential for the production of quality, creative narrative films. In this article, I shall reflect on my own practice to explore how poverty can enhance the creative engagement with the medium and lead to the development of new and innovative approaches to, amongst other things, narrative imagery and, in so doing, explore how poverty can introduce new and original approaches to cinematic story-telling

The Emergence and Development of the Sentient Zombie: Zombie Monstrosity in Postmodern and Posthuman Gothic

The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. The use of an epitomised zombie voice, I argue, results in the potential for the embodiment of a zombie subject. Chapter Four explores the development of this embodied zombie subject through the introduction of the Zombie Memoire narrative and examines the figure as a representation of Agamben’s Homo Sacer or ‘bare life’: though often configured as a non-sacrificial object that can be annihilated without sacrifice and consequence, the zombie, I argue, is also paradoxically inscribed in a different, Girardian economy of death that renders it as the scapegoat to the construction of a sense of the ‘human’. The final chapter of this thesis argues that both the traditional zombie and the sentient zombie function within the realm of a posthuman potentiality, one that, to varying degrees of success, attempts to progress past the restrictive binaries constructed within the overruling discourse of humanism. In conclusion, this thesis argues that while the zombie, both traditional and sentient, attempts to propose a necessary move towards a posthuman universalism, this move can only be considered if the ‘us’ of humanism embraces the potential of its own alterity