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BACKspace: Historical/Theoretical Intersections

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Part of the Performance Interventions book series (PIPI)

Abstract

The twenty-first-century “Y2K” millennial turn provoked significant anxieties about global dependencies on technologized systems, signaling changing questions about the place of the human in contemporary culture. A desire to rethink both humanness and bodies springs up in provocative theoretical investigations such as Donna Haraway’s “cyborg,” Gilles Deleuze and Félix Guattari’s “becoming-animal,” Katherine Hayles’s “post-human,” and Rosi Braidotti’s “figurations” to name but a few; arguments for alternate subjectivities — nomadic, non-unitary, hybrid, cyborgean — permeate a theoretical technological landscape reflecting a need for radical rethinking about human positioning in the world. A proliferation of the prefix “post-” now dots theoretical landscapes as a move beyond, or away from what it modifies, but in the new millennium, “posts” reflecting technological anxiety also seek a return towards notions of embodiment. Two publications in 1999, for example, use “post” to signify changing human-technological relations that underpin some of the theoretical and theatrical concerns of this book, Katherine Hayles’s How We Became Posthuman, and Hans-Thies Lehmann’s Postdramatic Theatre (although the latter was not translated into English until 2006). In the use of the prefix “post-” each author identifies already shifting understandings of the root — human or dramatic — perhaps prompted by the “post-” in that slipperiest of terms, “postmodernism.”

Keywords

Double Helix Science Fiction Osmotic Pump Object Body Subject Technology 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Copyright information

© Jennifer Parker-Starbuck 2011

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