#98 = Volume 33, Part 1 = March
2006
ARTICLE ABSTRACTS:
TECHNOCULTURE AND SCIENCE FICTION
Edited by Roger Luckhurst and Gill Partington
- Roger Luckhurst.
Introduction
- Roger Luckhurst.
Bruno Latour’s Scientifiction: Networks, Assemblages, and Tangled Objects
- Robert Harding.
Manuel Castells’s Techocultural Epoch in The Information Age
- Laura Salisbury.
Michel Serres: Science, Fiction, and the Shape of Relation
- Gill Partington.
Friedrich Kittler’s
Aufschreibsystem
- Anthony Enns.
Media,
Drugs, and Schizophrenia in the Works of Philip K. Dick
- Stacey Abbott.
Final
Frontiers: Computer-Generated Imagery and the Science Fiction Film
- Kaye Mitchell.
Bodies That Matter: Science Fiction, Technoculture, and the Gendered Body
- Mark Bould and Sherryl Vint.
Learning from the Little Engines That Couldn’t: Transported by Gernsback,
Wells, and Latour
Roger Luckhurst
Introduction
It is now twenty-two years since the publication of the three texts that have
dominated a generation of sf criticism: Fredric Jameson’s “Postmodernism, or the
Cultural Logic of Late Capitalism,” Donna Haraway’s “A Manifesto for Cyborgs,”
and the English translation of Jean-Francois Lyotard’s The Postmodern Condition.
These works have been immensely productive, acting genuinely in Foucault’s terms
as “founders of discursivity.” In the postmodern paradigm, sf found itself in a
surprisingly powerful cultural location, the exemplary symptomatic writing of a
new epoch. Sf was diverse or ambiguous enough to support anxious accounts of the
hypercapitalized technological capture of the last elements of human freedom or
more optimistic accounts of the posthuman, anti-essential hybridization of human
and animal, animal and machine. There are now canonical sf texts associated with
these strands: vast critical literatures now attend William Gibson, Philip K.
Dick, James Tiptree Jr., Octavia Butler, Blade Runner, the Alien quartet, and a
small handful of other alleged exemplifications.
As historical materialists, although of different kinds, Jameson and Haraway
addressed a specific conjuncture in the 1980s, with specific theoretical and
writerly strategies (indeed, one of the most striking things re-reading their
work now is the exorbitant rhetorical devices in which their critical theory
inheres, a rhetoric that has often been badly imitated). But can these
frameworks, formulated in Ronald Reagan’s first term, survive across twenty-two
years of profound global transformation? Does the postmodern paradigm still work
for 2006?
The idea for this special issue was generated not from a sense of wanting to
discredit or displace the conjuncture of sf and postmodernism—indeed, several
essayists here engage with the still uncircumventable work of Jameson and
Haraway. Rather, it was to attempt to find new connections between contemporary
sf and a body of critical theory that focuses on technoculture but that has
largely been eclipsed by the exhaustive finessing of the concept of
postmodernism. There have been some striking blindspots in this regard.
The first four essays will lead readers from the familiar to (we hope) the
rather more strange. Manuel Castells, as Robert Harding explains, borrows much
of his cultural commentary from Jameson, and this thesis of a distinctive new
epoch of informationalism marked by “timeless time” and “the space of flows” is
entirely compatible with cultural ideas of the postmodern. Yet his huge
three-volume sociological work, The Information Society, reads like a compendium
of science-fictional tropes in its central emphasis on the role of technological
transformation in the 1990s. It provides the mass of sociological raw data that
updates Jameson’s 1984 sketch. The pleasingly eccentric German theorist,
Friedrich Kittler, is also prepared to use epochal markers, proposing distinct
techno-cultural “discourse networks” at 1800, 1900, and 2000. The critical
resources, however, are wildly different from the familiar array of cultural
critique: Kittler mixes up Goethe and circuit diagrams, Lacan and Victorian
pedagogic manuals, Rilke and gramophones. Kittler’s contention, that technology
and modern subjectivity are inextricably related, speaks to the core of the
cultural work undertaken by sf, yet his work has had greater impact (so far) on
media studies scholars and historians of media technologies.
Bruno Latour is perhaps the most well-known figure here, yet his wholesale
rejection of the modern/postmodern paradigm has contributed to his minimal
influence on sf criticism. The strangest silence in sf scholarship has surely
been the marginal interface between sf critics and those in Science and
Technology Studies and History of Science programs. With a very few exceptions
(most notably, N. Katherine Hayles), the revolutions inside the history of
science in the last twenty years have passed largely unnoticed in sf criticism.
Latour has been at the center of many of the disputes in the field: his
actor-network theory, and his provocative championing of a nonmodernism that
might network together humans and nonhumans in new formations, provide an
exciting matrix of ideas within which to rethink contemporary sf. Sherryl Vint
and Mark Bould also engage with Latour’s “scientifiction” book, Aramis, or the
Love of Technology (1993), in their trenchant examination of his critical
potential for sf scholars. Latour is a theoretical magpie, but a persistent
point of reference is the work of Michel Serres. Serres is of the generation
that provided the main body of French structuralists and poststructuralists, yet
his rejection of the phenomenological tradition has placed him outside this
grouping. Instead, Serres has pursued what Laura Salisbury rightly calls an
“authentically perverse” trajectory, placing literature, philosophy, quantum
physics, mathematics, and mythology in bizarre new topological and temporal
relations. Serres provides a whole set of metaphorical passageways between the
literary and scientific that again allow for new ways of negotiating the hyphen
between the technological and the cultural, that transitional space explored by
sf.
The four introductory essays on Castells, Kittler, Latour, and Serres are
designed to provide orientations to more or less unfamiliar theoretical work,
and have space to make only suggestive comments on how sf texts might be read in
relation to these very different theoretical writings. Our other contributors
have had freer rein to explore contemporary sf and its relations to the
techno-cultural. Enns, along with Vint and Bould, directly pick up from our
theoretical orientations: they read Philip K. Dick or Hugo Gernsback with and
against the matrix offered by Kittler and Latour. Sf readings are already
opening up along these new pathways. Stacey Abbott offers a genealogy of the
computer-generated image special effect, while Kaye Mitchell’s reading of the
fiction of Justina Robson and Pat Cadigan pushes the feminist debates about
cyberculture and embodiment in new directions.
The central idea that might be taken to link Castells, Kittler, Latour, and
Serres together is the network. Latour insists that the success of a scientific
statement, technological project, or indeed journal special issue comes from
making as many connections as possible to as many heterogeneous social,
political, scientific, cultural, and critical elements. One of the ambitions of
this guest editor was to introduce to Science Fiction Studies young scholars who
have been producing work across a diverse range of literary fields and who would
not necessarily identify themselves as sf scholars. It is my sense that there is
an emerging generation that reads science fiction alongside and intertwined with
other literatures without having tortured debates about cultural value or
generic boundary. Laura Salisbury teaches and writes about Samuel Beckett,
neuroscience, the flickering technologies of Modernism, and children’s fantasy;
Gill Partington studies eighteenth-century print technologies at the birth of
the novel but also internet conspiracy theories and the fiction of Neal
Stephenson. This kind of fluid movements between fields are what attracts them
to network theories. To thrive, sf criticism needs to welcome them into its
network, too.
Roger Luckhurst
Bruno Latour’s Scientifiction: Networks,
Assemblages, and Tangled Objects
Abstract. -- This essay introduces the work of controversial historian
and philosopher of science and technology, Bruno Latour. It suggests that his
theories of hybrid objects, his analyses of networks that criss-cross normally
discrete categories of science, politics, and culture, and his displacement of
the modern/postmodern paradigm can offer productive new readings of science
fiction, permitting critics to rethink the genre’s relation to science and
society. Latour’s own “scientifictions” (his coinage) are examined alongside
works by sf authors China Miéville, Paul McAuley, and Kim Stanley Robinson.
Robert Harding
Manuel Castells’s Technocultural Epoch in The Information Age
Abstract --
This article reviews Manuel Castells’s contribution to the
theory of high-tech globalization in his sociological trilogy The Information
Age. I examine Castells’s claim that so-called Network Society is a discrete
period in history, an epoch that incorporated the liberal individualism of the
1960s with a structural reorganization of labor. I then investigate
informational networks in terms of their capacity to transform our social being,
assessing the political implications of Castells’s thesis through reference to a
range of social theorists. Specifically, I consider how Castells’s evaluation of
the political and cultural resistance to global homogenization leads him to
advocate systems of advanced self-management, radical self-fashioning, and
individual adaptability to accelerating technoscientific change. I conclude with
an analysis of the science-fictional nature of Castells’s futurology and its
potential utility as a theoretical framework for sf critics.
Laura
Salisbury
Michel Serres: Science, Fiction, and the
Shape of Relation
Abstract. --
This article offers a synoptic introduction to the
thought of Michel Serres and suggests how his work might be used to read science
fiction. Serres’s intensely topological form of analysis explores the complex
relationship between realms that are normally held to be distinct within modern
thought, such as science and fiction, mathematics and mythology. The article
argues that such a topological method offers sf studies a theoretical language
for mapping its own generic transgressions; it also suggests that topology can
be used to read the disturbingly continuous cognitive and imaginative spaces
found at once in the Gothic and in cyberpunk. The article goes on to argue that
Serres’s later use of information theory, alongside his concept of the
quasi-object, opens up a way of reading the topologically complex relationship
between embodiment and objects, subjectivity and the world of social relations,
found in the work of China Miéville. Serres’s most recent work on globalized
telecommunications explores the ungainsayable social bonds within this network
of quasi-objects, articulating the vital relationship between the local and the
global. Exploring Serres’s account of quasi-objects that reads technological
communication as constitutive of a philosophically reconfigured
intersubjectivity, the article finally uses this work to read Geoff Ryman’s
recent novel Air (2005).
Gill Partington
Friedrich Kittler’s Aufschreibsystem
Abstract. --
This article presents an overview of the work of Friedrich Kittler, tracing the
trajectory of his thought over his thirty-year career and locating his work in a
contemporary theoretical context, before suggesting ways in which it may be
relevant to the field of sf studies. Kittler’s eclectic brand of
poststructuralist media theory defies categorization but offers an idiosyncratic
version of literary history in which literature is understood to function as
part of a more general technocultural matrix or “discourse network.” The article
begins by exploring this central concept: according to Kittler, discourse
networks operate at the material and technological, as well as the discursive,
levels, determining the frameworks of knowledge at any given historical moment.
It then goes on to outline Kittler’s investigations into three such networks,
each a century apart. While the contrasting textual and media paradigms of 1800
and 1900 are fully explored in his work, that of 2000 appears notably more
problematic; this ambivalence about theorizing the contemporary has prevented
any effective engagement with the genre of science fiction. The article
concludes by suggesting ways that a Kittlerian approach could usefully be
applied to sf, mapping out some intriguing affinities between Kittler’s work and
recent “historical” modes of sf, particularly Neal Stephenson’s post-steampunk
Baroque Cycle novels.
Anthony Enns
Media, Drugs, and Schizophrenia in the Works of Philip K. Dick
Abstract. -- This essay employs the work of German media theorists
Friedrich Kittler and Wolfgang Hagen to introduce a new way of understanding the
role of media technologies in Philip K. Dick’s fiction. Dick incorporates
material from a wide range of scientific fields in order to formulate a
conceptual model of consciousness as a medial interface, thoroughly integrated
with the electric media environment, thus illustrating Kittler’s claim that the
discovery of the unconscious followed a “media logic.” Dick also combines the
time-based theory of schizophrenia developed by existential psychotherapists
with the time-axis manipulation made possible by film in order to describe
unconscious processes as cinematographic effects, supporting Hagen’s notion that
schizophrenic hallucinations and media technologies both reflect “a linguistic
structure articulated by the unconscious.” Instead of describing the boundary
problems in Dick’s fiction as an effect of late capitalist surveillance systems,
as much previous scholarship on the author does, this essay shows how they
illustrate the interpenetration of consciousness and media technologies.
Stacey Abbott
Final Frontiers: Computer-Generated
Imagery and the Science Fiction Film
Abstract. -- The science fiction genre has, since George Méliès’s
Le Voyage dans la lune (1902), been indelibly associated with special
effects technology. The genre offers a space to showcase special effects while
also pushing technological developments forward in order to convincingly
represent the imagined worlds and visions of the future that are so fundamental
to the genre. The rise of computer-generated special effects over the past
twenty-five years offers an interesting case study in the shifting relationship
between technology and genre. In this article, I trace how sf films have
contributed to the rise of computer-generated imagery (CGI) and then consider
how the genre has responded to the domestication of the technology by turning
away from brave new worlds to explore the new frontier of CGI, the
representation of the human body. By focusing on such films as Blade
(1998) and The Lord of the Rings trilogy (2001-2003), as well as the
American movies of Asian superstar Jet Li, I further demonstrate that the use of
computer imagery specifically transforms genres such as horror, fantasy, and
martial arts into a form of hybridized science fiction.
Kaye Mitchell
Bodies That Matter: Science Fiction, Technoculture, and the Gendered Body
Abstract. --
This article considers the possible intersections of recent technocultural and
gender theory, focusing in particular on their respective theorizations of the
body. It works from the premise that “the body” is to some extent the product of
our understanding of it and concerns itself, therefore, with the relationship
between the material and the discursive in the “production” of the body and with
the reconceptualization and resignification of “matter” within technocultural
and gender theory. Both of these theoretical discourses are moving towards an
understanding of matter as constructed and non-natural; this emphasis on
constructionism contrasts with earlier, more utopian views of the
“transcendence” of the body in cyberspace and the radical gender possibilities
of cyborgs. These ideas are then explored further via readings of Justina
Robson’s Natural History (2003) and Pat Cadigan’s Tea from an Empty Cup (1998).
These two sf novels reformulate the social and cultural meanings of the gendered
body through their representations of sexually indeterminate, identity-shifting,
hybrid, and radically other bodies. Science fiction, then, facilitates a
dialogue between theories of technology and theories of gender, and tests the
boundaries of the intelligible as far as our understanding of the gendered body
is concerned.
Mark Bould and Sherryl Vint
Learning from the Little Engines That Couldn’t: Transported by Gernsback, Wells,
and Latour
Abstract. --
Taking as its starting point Bruno Latour’s coinage of “scientifiction” to
describe his book Aramis or the Love of Technology (1993), this essay draws out
its similarities to and differences from the scientifiction proposed by Hugo
Gernsback and developed by John W. Campbell, Jr. It situates Aramis within
Latour’s work in science studies and his more overtly political speculations.
Drawing on H.G. Wells’s short story “A Tale of the Twentieth Century” (1887) to
identify a key weakness—the absence of any concept of social power—in Latour’s
work, it suggests that sf’s imaginative potential might play a role in
reformulating his political vision.
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