By Neil Badmington
Alien Chic presents a cultural heritage of the alien because the Nineteen Fifties, asking ourselves why our attitudes to extraterrestrial beings have shifted from worry to affection, and what this may let us know approximately how we now see ourselves and others.
Neil Badmington explores our courting with extraterrestrial beings, inscribed in motion pictures comparable to The struggle of the Worlds, Mars Attacks!, Mission to Mars and Independence Day; and the way thinkers similar to Descartes, Barthes, Freud, Lyotard and Derrida have conceptualised what it potential to be human (and post-human).
Alien Chic examines the the concept that of posthumanism in an age whilst the strains among what's human and what's non-human are more and more blurred by means of advances in technology and know-how, for instance genetic cloning and engineering, and the advance of AI and cyborgs.
Questioning no matter if our present embracing of all issues 'alien' - within the kind of extraterrestrial instruments or abduction narratives, for example - stems from a wish to reaffirm ourselves as 'human', this can be an unique and thought-provoking contribution to the examine of posthumanism.
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Extra info for Alien Chic: Posthumanism and the Other Within
If The Savage Mind identified what it names ‘the first step’ beyond humanism, the work of Louis Althusser would soon propose nothing short of a giant leap. For Marx, which first appeared three years after Lévi-Strauss’s book, contained a bold essay entitled ‘Marxism and humanism’, in which anthropocentric interpretations of Marx’s work were forcefully denounced. While the influence of Hegel31 upon his early writings meant that Marx once subscribed to the dominant principles of humanism, there was, Althusser insisted, a moment of maturity at which Marx suddenly came to see things very differently: Beginning in 1845, Marx breaks radically with all theory that founds history and politics on an essence of man.
Its IT LIVES 45 ‘histoire’ is both story and history The book, that is to say, quietly subscribes to the principles of humanism. The accuser stands accused of the crime against which he speaks with such passion. The outside sides with the inside. Just as an absolute break with humanism is announced, humanism affirms its presence. In a devastating final blow, Derrida concludes that Foucault ‘has already passed over to the side of the enemy, the side of order’47 as soon as he begins to write. It is probably fair to say that a ‘symbolic murder of the master’48 occurred on 4 March 1963.
Whereas the killings in Mars Attacks! are played purely for laughs, the attempt on Morgan’s life in Signs is, by comparison, a moment of extreme tension and pathos. There is, in short, a difference of tone and balance that distinguishes Signs from Mars Attacks! In Shyamalan’s film, the laughs are not at the expense of the 1950s; they are, rather, brief moments of relief from a familiar scene of terror. 1 happened to be in Las Vegas at the time of its release, and even though the Strip had countless other distractions to offer, every screening of the film seemed to sell out.
Alien Chic: Posthumanism and the Other Within by Neil Badmington