Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our (...) engagement with these kinds of questions. This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition? What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner ? How are memory, empathy, and moral agency related in Blade Runner ? How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance? Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies. Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve. (shrink)

Widely acclaimed upon its release as a future classic, Denis Villeneuve’s Blade Runner 2049 is visually stunning, philosophically profound, and a provocative extension of the story in Ridley Scott’s Blade Runner. Containing specially commissioned chapters by a roster of international contributors, this fascinating collection explores philosophical questions that abound in Blade Runner 2049, including: -/- What distinguishes the authentically "human" person? How might natality condition one’s experience of being-in-the-world? How might shared memories feature in (...) the constitution of personal identities? What happens when created beings transcend the limits intended in their design? What (if anything) is it like to be a hologram? Can artificial beings participate in genuinely romantic relationships? How might developing artificial economics impact our behaviour as prosumers? What are the implications of techno-human enhancement in an era of surveillance capitalism? -/- Including a foreword by Denis Villeneuve, Blade Runner 2049: A Philosophical Exploration is essential reading for anyone interested in philosophy, film studies, philosophy of mind, psychology, gender studies, and conceptual issues in cognitive science and artificial intelligence. (shrink)

What is the “miracle” that protein farmer Sapper Morton mentions when he says to K: “You never saw a miracle”? It is the transformation of inorganic life into organic life. Rachael, who was a replicant in the old Blade Runner gave birth to twins. Tyrell had “perfected procreation,” in the words of Niander Wallace, but his knowledge has been lost. The theme of 2049 revolves around the scientific and philosophical question whether machines can become organic. Is a human (...) only an accumulation of parts or cells, or does the quality of being human denote more than the sum of its parts? Is a bioengineered human a real human or simply a sophisticated machine? Furthermore, the film associates the organic with the real. Real humans as well as real memories are linked to a larger whole. The article reflects these constellations against various philosophical stances. (shrink)

© 2015 Macmillan Publishers Ltd. Many have pointed to Blade Runner's humanization of its 'replicants' as a compelling statement against exploitation and domination. I argue, however, that the film has another kind of agenda: a Rousseauvian concern about the dangers of representation, about confusing the imitation with the real and confusing the consumption of images with political action. Rather than humanizing the other, Blade Runner's central concern is to humanize our own social and political relationships, which (...) are in danger of falling into the same trap Rousseau outlined in his Letter to D'Alembert. To do so, we must learn to appreciate the difference between mutual surveillance and mutual regard. To live freely in any regime, we must understand the dangers of representation, even if, in a large state, we must continue to make use of it. (shrink)

The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In §4, (...) I explain the cognitive value of the peripeteia. (shrink)

Thanks to its brilliant melding of film noir, science fiction, and cyberpunk motifs, not to mention its stirring music and unprecedented visual density, Ridley Scott’s Blade Runner (1982/2007) has become an influential cultural icon. What really sets the film apart from most movies, however, are the ways in which it encourages philosophical questions. Virtually all commentators agree that “What does it mean to be human?” – understood as asking something like “What characterizes the real (or authentic) human being?” (...) – is the central philosophical question the film raises. Attempting to answer that question can be a fertile approach to the film, with moral implications for how to think about the qualifications for inclusion in the human community. That is not, however, the only way to appreciate the philosophical significance of Blade Runner. The film also encourages viewers to ponder the question, “What fundamental experiences constitute the uniquely human mode of self-consciousness?” Showing how the latter question leads to a richer appreciation of Blade Runner as philosophy is the aim of this chapter. (shrink)

Despite its oft-noted ambiguities, critical reception of Ridley Scott's Blade Runner ; Director's Cut ; Final Cut ) has tended to converge upon seeing it as a futuristic sci-fi film noir whose central concern is what it means to be human, a question that is fraught given the increasingly human-like replicants designed and manufactured by the Tyrell Corporation for human use on off-world colonies. Within the terms of this way of seeing things a great deal of discussion has (...) been devoted to putative criteria of being human and the question whether the once-retired blade runner, Rick Deckard, is or is not a replicant. I aim to explore a radically different course of interpretation, which sees the film in fundamentally moral and religious terms. Put in the starkest light, the film is not about what makes us human but whether we can be saved from ourselves, from our terrifying inhumanity, our moral blindness. (shrink)

The 1982 film, Blade Runner, presents many questions conceming the position and relevance of the human being in the postmodern epoch. The audience is confronted with androids, called replicants, incredibly handsome "beings" whose language rises at times to poetic beauty, while the humans in the film are embarrassing physical and moral examples of the species. With whom will the audience identify or sympathize, the human or the simulacrum? The film further complicates this issue by incorporating traditional Christian symbols (...) and language in relation to the replicants. The film seems to suggest that consciousness is the defining characteristic of humanness, whether one speaks of an organic human being or a replicant. Current debate between scientists, philosophers, and theologians centers on the question of consciousness and its relationship to the brain and, for some, the soul This essay addresses the dilemmas in the film, while keeping in mind the central question: What is a human being? (shrink)

In this essay I provide a reading of Ridley Scott's Blade Runner that focuses upon the question of the kind of creatures the Replicants are depicted as being, and the meaning that depiction should have for us. I draw upon Stanley Cavell's account of the problem of other minds to argue that the empathy test is in fact a mode of resisting the acknowledgment of others. And I draw upon Martin Heidegger's account of authenticity and mortality to argue (...) that this acknowledgment is crucial if one would become human. The film does not so much suggest that Replicants are, as such, human, but rather that humanity is won through the encounter with the inauthentic. (shrink)

This paper sets Scott’s original film Blade Runner (1982) and Villeneuve’s Blade Runner 2049 (2017) in a ‘disjunctive synthesis’ in order to provide critical analyses of both films with respect to some complex configurations of the body along two axes: bio-politics and the spectacle. We offer a reading of these configurations by focusing on the relationships between the human (organic), the non-human (android) and the immaterial (holographic); the eye (optics), the hand (haptics), and aesthetics; slavery, instrumental (...) labour and free-play; the politics of bodies and of memories; the potentialities of revolution and the transmission of ‘tradition of the oppressed’. In this, we foreground two seemingly marginal characters – J. F. Sebastian and Ana Stelline. These ‘little people’ embody and inhabit the convolutions of Blade Runner’s ‘more human than human’ world through ‘free use’ of the body and playfulness which, superficially innocent, nevertheless bear within them the promise of radical political change. (shrink)

We introduce a construct called “humanness sensitivity,” which we define as the ability to recognize uniquely human characteristics. To evaluate the construct, we used a “concurrent study design” to conduct an internet-based study with a convenience sample of 42,063 people from 88 countries (52.4% from the U.S. and Canada).We sought to determine to what extent people could identify subtle characteristics of human behavior, thinking, emotions, and social relationships which currently distinguish humans from non-human entities such as bots. Many people were (...) surprisingly poor at this task, even when asked simple questions about human relationships or anatomy. Participants were best at identifying subtle aspects of human cognition and worst at identifying subtle aspects of human communication. Test scores were good predictors of whether someone was employed and modest predictors of other self-reported criterion measures. We also found that people identifying themselves in marginal societal categories (e.g., in the “other” category for gender or sexual orientation) identified themselves as less human and also scored lower on our test. As computers continue to become more human-like, our study suggests that the vast majority of humankind will likely have great difficulty distinguishing them from people. Can methods be devised for improving this ability? Might humanness sensitivity help people to make such distinctions? Will people who excel at differentiating humans and non-human entities—like the “blade runners” in the 1982 and 2017 feature films—someday hold a special place in society? (shrink)

Abstract:Frantz Fanon is best known as the author of two monographs: Black Skin, White Masks (1952), a literary and psychological account of Black experience and anti-Black racism, and The Wretched of the Earth (1961), a political manifesto arguing for the need to respond to colonial oppression with revolutionary violence. His critics contend that the disciplinary division evinces a failure to successfully integrate the psychological with the political, which detracts from his intellectual legacy. In this article, I employ criminologist Jon Frauley’s (...) theory of the analytic value of fictional film to demonstrate that Denis Villeneuve’s Blade Runner 2049 (2017) not only provides an empirical referent for Fanon’s psychological and political theories but also reveals an underlying coherence that is not always obvious. I begin with a summary of Frauley’s theory and then alternate between Fanon’s theories and the way in which the film provides those theories with empirical referents. My conclusion, which highlights an essential continuity between individual transcendence and collective action in Fanon, draws on both Blade Runner 2049 and the military tactic of pseudo operations, which was employed to devastating effect against anti-colonial struggles in Africa in the second half of the twentieth century. (shrink)

Introduction -- Being human -- Persons -- Identity -- Consciousness -- Freedom -- Being good -- God -- Death -- Time and meaning.

"I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulderof Orion. I watched c-beams glitter in the dark near the Tanhauser Gate. Allthose… moments will be lost… in time. Like… tears… in rain. Time… to die." . With these lines Roy testifies to his memories and to his death, a death that has, in a sense,already taken place, and one that is, by definition, prohibited. While one cannotexperience one’s own death, death is not strictly a limit (...) on the ‘other side’; it comes to usfrom the grave, haunting our lives here and now. If there is a being-towards-death, there isa death-towards-being, and in this interminable aporia, Roy, the ‘replicant’, testifies toDeckard, the ‘human’ – who might himself be a replicant. Roy gives his memories, and doesnot ask for return. He gives, he dies. And he has become immortal, `tears in rain’ havingbecome the film’s signature to which the fans continue to countersign,attesting to Roy’s testimony. Between the signature and countersignature there is aresonance and an affiliation, to the point, as paradoxical as this may seem, where it cannotbe properly distinguished which came first. Did Roy’s signature call for itscountersignature, or did Roy and the film ‘follow’ the fans? Frankly, there is no‘first’ here. This is not a sequential history. This is a story about ‘humanity’–technology. (shrink)

This article critically engages with Denis Villeneuve’s Blade Runner 2049, focusing on the relationship between colonial logics and biological engineering that understands the natural world as property. First, it discusses the connections between the film and the shifting status of biopolitics becoming thanatopolitics, prompted by advances in synthetic biology. It argues that the film’s preoccupation with the reproductive capacity of its replicants retraces a racialized colonialism and reconfigured slavery, or the voluntary labour of the occupied – as normalized (...) in synthetic biology and the ongoing processes of devaluing of some lives over others for socioeconomic reasons. Second, and relatedly, the film reveals how deeply the thanatopolitics of a biopolitical economy is rooted in an intensification of racialized and colonial logics. The film thus doubles as a medium in which to grasp the centrality of colonial and racial logics to the ongoing real subsumption of life by capital, and the ways in which it continues to shape the present. (shrink)

Seventy-five years before Niander Wallace brutally kills a newborn replicant in Blade Runner 2049, the National Commission for the Protection of Human Subjects of Biomedical and Behavioral Research was formed. Its formation led to the creation of the Belmont Report, which established guidelines for the treatment of human subjects. Wallace uses a scalpel as the instrument of disposal, of the newborn replicant, stabbing her in the womb, thereby ending her life moments after wishing her a happy birthday. The (...) conjunction of 2049 and the Belmont Report leads us to important questions concerning biomedical research, given that replicants are “bioengineered humans.” For example, is the “defective” replicant a human subject, and thus protected by research guidelines, or is she a product or consumer good that did not meet expectations? (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were (...) all damaged in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

In the film classic Blade Runner, the story explores the notion of personal identity through that of carefully crafted androids. Can an android have a personality; can androids be persons? The title of the original story by Philip K. Dick is Do Androids Dream of Electric Sheep? The story suggests that our sense of being a person depends on our having memories that connect us with our childhood. In the movie, the androids are only a couple of years (...) old, but have adult bodies. To complete them as persons they are given simulated memories of childhood. Some psychiatrists have decided that even humans dream only of electric sheep. I explore how Popper’s world 3 can help to defend a notion of personhood that can be used to criticize the thesis that persons are simply complex physical processes and that all their serious life-problems can be conceptualised as a form of physical illness. (shrink)

The enactive approach provides a perspective on human bodies in their organic, sensorimotor, social, and linguistic dimensions, but many fundamental issues still remain unaddressed. A crucial desideratum for a theory of human bodies is that it be able to account for concrete human becoming. In this article I show that enactive theory possesses resources to achieve this goal. Being an existential structure, human becoming is best approached by a series of progressive formal indications. I discuss three standpoints on human becoming (...) as open, indeterminate, and therefore historical using the voices of Pico della Mirandola, Gordon W. Allport, and Paulo Freire. Drawing on Gilbert Simondon’s philosophy of individuation we move from an existential to an ontological register in looking at modes of embodied becoming. His scheme of interpretation of the relation between modes of individuation allows us to understand human becoming in terms of a tendency to neotenization. I compare this ontology with an enactive theoretical account of the dimensions of embodiment, finding several compatibilities and complementarities. Various forms of bodily unfinishedness in enaction fit the Simondonian ontology and the existential analysis, where transindividuality corresponds to participatory sense-making and Freire’s joint becoming of individuals and communities correlates with the open tensions in linguistic bodies between incorporation and incarnation of linguistic acts. I test some of this ideas by considering the plausibility of artificial bodies and personal becoming from an enactive perspective, using the case of replicants in the film Blade Runner. The conclusion is that any kind of personhood, replicants included, requires living through an actual history of concrete becoming. (shrink)

This article analyses and compares the classical science fiction film Blade Runner and its recent sequel Blade Runner 2049 from the perspective of Zizek's subjectivity theory. Through Zizek's tracing and weaving the concept of subjectivity from Descartes' radical doubt to metaphysical subject and then death drive in Lacanian psychoanalysis, it will argue that the principle concern of this film is the issue of subjectivity, and while carefully scrutinizing replicants in the films with the multi-faceted conception of (...) Zizekian subject, a detailed comparison between these two films could be accomplished. Subsequently, by analyzing from the genre, namely noir and cyberpunk, it will point out the world delineated in both film is a claustrophobic and paranoid one, as well as a postmodern multicultural world. The denizens of this world lead a machine-like and unreflecting life due to the decline of the Big Other. Finally, by associating subjectivity with death drive, the ultimate significance of subjectivity is revealed as a weapon to antagonize the repressing symbolic order and redeem our world from an apocalyptic future presaged in the films. (shrink)

The Philosopher at the End of the Universe demonstrates how anyone can grasp the basic concepts of philosophy while still holding a bucket of popcorn. Mark Rowlands makes philosophy utterly relevant to our everyday lives and reveals its most potent messages using nothing more than a little humor and the plotlines of some of the most spectacular, expensive, high-octane films on the planet. Learn about: The Nature of Reality from The Matrix, Good and Evil from Star Wars, Morality from Aliens, (...) Personal Identity from Total Recall, The Mind-Body dilemma from Terminator, Free Will from Minority Report, Death and the Meaning of Life from Blade Runner, and much more. A search for knowledge about ourselves and the world around us with a star-studded cast that includes: Tom Cruise, Plato, Harrison Ford, Immanuel Kant, Arnold Schwarzenegger, Friedrich Nietzsche, Sigourney Weaver, René Descartes, and Keanu Reeves. Rowlands anchors his discussions in easily understood everyday terms and relates them in a manner easy to identify with. Interspersed with a ready joke or two, he wonderfully explains why those SciFi movies we love so much are much deeper than they appear to be on the surface. Mark Rowlands's entertaining and stimulating guide is perfect for anyone searching for knowledge of the world around us. If Keanu can understand Descartes surely everyone can. (shrink)

:Within the literature surrounding nonhuman animals on the one hand and cognitively disabled humans on the other, there is much discussion of where beings that do not satisfy the criteria for personhood fit in our moral deliberations. In the future, we may face a different but related problem: that we might create beings that not only satisfy but exceed these criteria. The question becomes whether these are minimal criteria, or hierarchical, such that those who fulfill them to greater degree should (...) be afforded greater consideration. This article questions the validity and necessity of drawing divisions among beings that satisfy the minimum requirements for personhood; considering how future beings—intelligent androids, synthezoids, even alternate-substrate sentiences—might fit alongside the “baseline” human. I ask whether these alternate beings ought to be considered different to us, and why this may or may not matter in terms of a notion of “human community.” The film Blade Runner, concerned in large part with humanity and its key synthezoid antagonist Roy Batty, forms a framing touchstone for my discussion. Batty is stronger, faster, more resilient, and more intelligent than Homo sapiens. His exploits, far beyond the capability of normal humans, are contrasted with his frailty and transient lifespan, his aesthetic appreciation of the sights he has seen, and his burgeoning empathy. Not for nothing does his creator within the mythos term him “more human than human.”. (shrink)

The concept of revolution remains relevant both for social-political debates and for academic studies. But at the same time many left thinkers as well as Neo-Marxist theorists have some problems with this concept, as it is nolonger possible to reflect on revolution in terms of laws of history. For this reason, supporters of revolution consider revolution as a kind of utopian condition. Another difficulty is connected to the fact that today it is no longer possible to make a bet on (...) this or that social class as the subject of revolutionary changes. Utopia once again becomes a helping hand for supporters of radical social transformations. At the same time cinema as well as technological forecasting suggest to researchers that at least in futurology one can consider the possibility of the subject of revolution being not humans but robots, cyborgs, or artificial intelligence. Seen in this light, revolution not just ceases to be a Marxist concept, but it also drops out of left political rhetoric. But what is more important - it becomes a matter of antiutopian phantasies. In this article the author relying on social philosophy and rich empirical material from contemporary sci-fi cinema reflects on the possibility of the revolution of the robots. He wants to understand under what conditions and why can artificial intelligence organize a revolution. He also reflects on the ethical problems connected to exploitation of machines and wide implementation of robotics in everyday human life. A special emphasis is laid on contemporary anti-utopias, as well as on early movies by Ridley Scott "Alien" and "Blade Runner", which, as the author claims, are very good illustrations of robots' disposition to revolutionary activities. (shrink)

I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of (...) taste. If art criticism is an enterprise of providing evaluations of artworks supported by reasons, then it is hard to see what the Kantian art critic can do for us. If I cannot defer to the critic’s judgment that she loved Blade Runner and there are no feasible general principles linking the depiction of futuristic cityscapes, or the accompaniment of a haunting minimalist soundtrack to the goodness of a film, then it does not seem to matter whether the critic communicates to me her evaluation of Blade Runner or supports her evaluation with descriptions of Blade Runner scenes. Nevertheless, the assumption that these Kantian tenets preclude the possibility of art criticism is mistaken and it is my aim to show how this can be. The project has two phases. In the first phase I develop a new interpretation of Kant’s theory of artistic beauty. In the second phase I make use of this interpretation to put forward a Kantian account of art criticism. Central to my interpretation is the notion that judgments of perfection, e.g., Blade Runner is an excellent neo-noir science fiction film, inform our aesthetic evaluations and receive support from descriptions of non-aesthetic properties of the film. It is precisely this underappreciated role of judgments of perception that I exploit in making room for Kantian art criticism. (shrink)

Cutting across Chicago's South Side in a broad swath of concrete, steel, and overpasses, the Dan Ryan Expressway is one of America's busiest, and perhaps most chaotic highways. Yet underneath the cacophony of its ten lanes lies an intriguing world of urban ecology and human networks. In The Dan Ryan Expressway, artist and photographer Jay Wolke unearths an ecosystem unto itself that weaves human and industrial elements into an essential feature of Chicago's identity. Between 1981 and 1985, Wolke shot thousands (...) of photographs on and along the Dan Ryan during the day and night, traveling up and down the expressway in an effort to accurately capture it. In the twenty years since the photographs were taken, Wolke has organized his pictures into a complex and fascinating portrait of this iconic highway, which he characterizes as an "arterial organism" with its own "cycles and flows, causes and effects." The book is a dynamic narrative that explores the Dan Ryan's enormous influence over the people who drive on it, the neighborhoods lined alongside it, and the industrial environs it weaves through. As Chicago transportation officials prepare to launch a massive renovation of the Dan Ryan Expressway, Wolke here presents a historical chronicle of the development of the Dan Ryan and its rapid integration into Chicago's urban life. His photographs create an arresting visual representation of the expressway that provides an important window into the structure of Chicago's urban landscape and culture. The Dan Ryan Expressway ultimately examines where the highway fits within the trope of the American road and explores how it became "a massive expression of the urban lexicon." "As chilling as Blade Runner--unfortunately this is not a dytopian vision set in a distant, fictional future--this is Chicago, and this is America now. The automobile has utterly changed the landscape and our lives--Jay Wolke has found a powerful way to record this historic transformation in this unique, important photographic achievement."--Joel Sternfeld. (shrink)

Oscar Pistorius was born without fibulas and had both legs amputated below the knee when he was 11 months old. A business student at the University of Pretoria, Pistorius runs with the aid of carbon-fibre artificial limbs and is the double amputee world record holder in the 100, 200 and 400 metres events.1“I don’t see myself as disabled,” says Oscar, “There’s nothing I can’t do that able-bodied athletes can do.”2 But then the question is: do prosthetic limbs simply level the (...) ground for Pistorius—“Blade-runner”, compensating for his disability, or do they give him an unacceptable advantage? As Jeré Longman nicely put it: is he disabled, or too-abled?3Athletics’ world governing body, the International Association of Athletics Federations , shares the latter opinion, and assigned to German Professor Brüggemann the task of monitoring Oscar’s performances and analysing the information. According to his study, Pistorius’ limbs use 25% less energy than able-bodied athletes to run at the same speed.4 On the strength of these findings, on 14 January 2008 the IAAF ruled …. (shrink)

To begin with, it is analysed the representation of the urban space which is articulated in some classical and utopian stories (Moro, Campanella). In these stories we are facing with a proposal of ideal society as expression of an organizing will of human reason which faces with nature and bets for the construction of a better future. In this context, those cities dreamt by utopias must be considered as imaginary skethes in a concept of real construction which determined a large (...) extent of urban modernity. Such utopian will has suffered an important break throughout the second half of XX Century, such as it is testified by a serial of anti-utopia stories both in literature (Orwell, Huxley or Dick); and above all, in the recently filmography (Blade Runner, Brazil or Matrix). This displacement in future cities´desing entails not only a reversal on the utopian speech codes, which would be the real reflection of the contemporary experience of the subject inside the urban space, but also a consequence of the development and crisis in Western modernity. In addition, this involves a decisive mutation in the concept of future which would affect substantially to our civilization in the beginning of the XXI Century. (shrink)

This paper considers Baudrillard’s thought in relation to cinema. It begins with a discussion of the way in which Baudrillard’s work typically invokes film and of the consequent paucity of Baudrillardian studies of cinema, making reference to the literature on Blade Runner and The Matrix . It proceeds to excavate a fuller account of Baudrillard’s conception of cinema, drawing, initially, on Baudrillard’s use of the 1926 German silent film, The Student of Prague , in his conclusion to The (...) Consumer Society . At first blush, this leads to a somewhat dismissive assessment of film qua simulation. Having reached the point where the importance of seduction to Baudrillard’s conception of cinema makes itself evident, however, the paper continues to evoke the other side of Baudrillard’s thought, where additional reference to his remarks on photography allows greater purchase on his understanding of cinema. (shrink)

The Culture and Philosophy of Ridley Scott, edited by Adam Barkman, Ashley Barkman, and Nancy Kang, brings together eighteen critical essays that illuminate a nearly comprehensive selection of the director’s feature films from cutting-edge multidisciplinary and comparative perspectives. Each chapter’s approach correlates with philosophical, literary, or cultural studies perspectives. Using both combined and single-film discussions, the contributors examine a wide variety of topics including gender roles and feminist theory, philosophical abstractions like ethics, honor, and personal responsibility, and historical memory and (...) the challenges of accurately rendering historical events on screen. Chapters examine such signature works as Alien, Blade Runner, Thelma and Louise, Gladiator, Hannibal, Black Hawk Down, and American Gangster. (shrink)

A timely volume that uses science fiction as a springboard to meaningful philosophical discussions, especially at points of contact between science fiction and new scientific developments. Raises questions and examines timely themes concerning the nature of the mind, time travel, artificial intelligence, neural enhancement, free will, the nature of persons, transhumanism, virtual reality, and neuroethics Draws on a broad range of books, films and television series, including _The Matrix, Star Trek, Blade Runner, Frankenstein, Brave New World, The Time (...) Machine,_ and _Back to the Future_ Considers the classic philosophical puzzles that appeal to the general reader, while also exploring new topics of interest to the more seasoned academic. (shrink)

Critical posthumanists have observed that technoscientific developments are in the process of rewriting human ontology, fundamentally changing what it means to be human. While they argue that the posthuman breaks with the Cartesian liberal subject and embraces a more decentered ontology, their analyses remain firmly situated in a Cartesian world that marginalizes if not completely ignores questions about natality. This essay examines two filmic texts, Blade Runner 2049 and the AMC television show Humans, that are situated firmly in (...) a posthuman environment in which technoscience is seemingly rewriting the conditions of being human and blurring the boundary between human and machine, but which focus on natality and childhood and emphasize themes of parenting and growth and development. In doing so, they disclose shortcomings in critical posthumanism that can only be addressed when we give more serious attention to how natality shapes being human. (shrink)

The discussion around artificial empathy and its ethics is not a new one. This concept can be found in classic science fiction media such as Star Trek and Blade Runner and is also pondered on in more recent interactive media such as the video game Detroit: Become Human. In most depictions, emotions and empathy are presented as the key to being human. Misselhorn's new publication shows that these futuristic stories are becoming more and more relevant today. We must (...) ask ourselves whether we are socially responsible enough to deal with the consequences of artificial empathy/awareness. If we create artificial life, we should be prepared to treat them accordingly as living beings with respect and no longer categorize them as objects. The author does not rule out the idea that machines might one day become more human than humans themselves and that we humans might even lose our own specific cognitive, emotional and social abilities. (shrink)

Drawing on a wide range of films from around the world, and the ideas of a diverse selection of thinkers from Plato and Descartes to Marcuse and Foucault, _Philosophy Goes to the Movies_ introduces and discusses central areas of philosophical concern, including: *the theory of knowledge *the self and personal identity *ethics *social and political philosophy *critical thinking Ideal for beginners, this book guides the reader through philosophy using lively and illuminating cinematic examples including _A Clockwork Orange_, _Mulholland Drive_, _Blade (...) Runner_, _Modern Times_, _Wings of Desire_ and _The Lord of the Rings_. This fully revised and updated second edition features an expanded introduction providing guidance on teaching and discussing philosophy through film, as well as new material on notable philosophers such as Rousseau, Aquinas and Nietzche, and discussion of a wide range of recent films. (shrink)

This book explores the changing tactics, technologies and terrains of 21st century war. It argues that the world in 2049 is unlikely to look like the climate change/AI dystopia depicted in Blade Runner 2049; but nor will it be a world where conflict and war has been transformed by a 'civilizing process' that eradicates violence and conflict from the human condition. 2049 is also the year that the US Department of Defense has suggested China will become a world-shaping (...) military power. All states will be engaged in 'arms races' across a variety of new tools and technologies - from drones, robotics, AI and quantum computing - that will transform politics, economy, society and war. Drawing on thinkers such as Zygmunt Bauman and Paul Virilio, the book suggests that future war will be shaped by three broad tendencies that include a broad range of tactics, technologies and trends; the Impure, the Granular and the Machinic. Through discussions of cybersecurity, urban war, robotics, AI, climate change, science fiction and new strategic concepts, it examines how these tendencies might evolve in the different geopolitical futures and types of war ahead of us. The book provides a thought-provoking and distinctive framework through which to think about the changing character of war. It concludes that for all the novel and dangerous challenges ahead, the futuristic possibilities of warfare will likely continue to be shaped by problems familiar to students of international relations and the history of war - albeit problems that will play out in geopolitical and technological contexts that we have never encountered before. This book will be of much interest to students of critical war studies, security studies, science and technology studies, and International Relations in general. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 54-82 [Access article in PDF] Seeing With The Body The Digital Image In Postphotography Mark B. N. Hansen In a well-known scene from the 1982 Ridley Scott film Bladerunner, Rick Deckard scans a photograph into a 3-D rendering machine and directs the machine to explore the space condensed in the two-dimensional photograph as if it were three-dimensional [see fig. 1]. Following Deckard's commands to zoom in (...) and to pan right and left within the image space, the machine unpacks the "real" three-dimensional world represented by the two-dimensional photograph [see figs. 2-3]. After catching a glimpse of his target—a fugitive replicant—reflected from a mirror within the space, Deckard instructs the machine to move around behind the object obstructing the two-dimensional photographic view of the replicant and to frame what it sees [see figs. 4-5]. Responding to the print command issued by Deckard, the machine dispenses a photograph of the replicant which is, quite literally, a close-up of an invisible—indeed nonexistent—part of the two-dimensional original [see fig. 6]. And yet, following the fantasy of this scene, this impossible photograph is—or would be—simply the image of one particular data point within the data set comprising this three-dimensional data space. As fascinating as it is puzzling, this scene of an impossible rendering—a rendering of two-dimensional data as a three-dimensional space—can be related to the crisis brought to photography by digitization in two ways. On the one hand, in line with the film's thematic questioning of photography as a reliable index of memory, this scene foregrounds the technical capacity of digital processing to manipulate photographs. In this way, it thematizes the threat posed by digital technologies to traditional indexical notions of photographic realism. On the other hand, in what has turned out to be a far more prophetic vein, the scene presents a radically new understanding of the photographic image as a three-dimensional "virtual" space. Such an understanding presupposes a vastly different material existence of the photographic image: instead of a physical inscription of light on sensitive paper, the photograph has become a data set that can be rendered in various ways and thus viewed from various perspectives.The first position corresponds to the arguments made by William Mitchell in his now classic book, The Reconfigured Eye. In a comprehensive analysis of the techniques and possibilities of digital imaging, Mitchell concentrates on demarcating the traditional photographic image from its digital doppelgänger. While the specter of manipulation has always haunted the photographic image, it remains the exception rather than the rule: "There is no doubt that extensive reworking of photographic images to produce seamless transformations and combinations is technically difficult, time-consuming, and outside the mainstream of photographic practice. When we look at photographs we presume, unless we have some clear indications to the contrary, that they have not been reworked" [Mitchell 7]. To buttress this claim, Mitchell sketches three criteria for evaluating traditional photographic images: (1) does the image follow the conventions of photography and seem internally coherent? (2) does the visual evidence it presents [End Page 54]Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click for larger viewFigure 1Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="32" />Click for larger viewFigure 2Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click... (shrink)