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1

K POSTHUMÁNNEMU ČLOVEKU PROSTREDNÍCTVOM EDITOVANIA GÉNOV PRE KOGNITÍVNE SCHOPNOSTI

100%
Sýkora P.
Filozofia (Philosophy)
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2019
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vol. 74
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issue 7
511 – 529
EN
The recent, extremely dynamic development of modern methods of biotechnological manipulation of genes, including human germline genes, presents new challenges to philosophers and especially bioethicists with unprecedented urgency. Until recently, many of these issues have been the subject of science fiction, and neither biologists nor bioethicists have expected them to be occurring now rather than in the distant future. It can be assumed that germline gene editing (together with progress in understanding of the human genome) will bring in the near future empirical knowledge, which will put the current philosophical concepts of human nature (based primarily on the speculative philosophical tradition) to the test.
2

ANI ÚMYSEL, ANI NÁHODA – SKÔR NIEČO MEDZI TÝM: POSTHUMANISTICKÉ TÉMY VO FILME EX MACHINA

100%
Lacko I.
Filozofia (Philosophy)
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2020
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vol. 75
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issue 2
148 – 157
EN
This article presents a post-humanist analysis of Alex Garland’s 2014 movie Ex Machina with a specific focus on how the story, plot and style present post-humanist themes. The central issues discussed herein include the narrative and visual representation of the social and ethical questions related to the process of creating artificial intelligence with a humanoid appearance. The article discusses theses of post-humanism and post-humanization in the philosophical and aesthetic approach of the movie creators.
3

TO OVERTAKE THE REAL WHEN MEDIA ARE EVERYWHERE: ONTOLOGIC INTEREST IN CULTURAL RESEARCH AND MEDIA THEORY (Nastyhnuty realne koly media povsiudy: ontolohichnyi interes u kulturnykh doslidzhenniakh i media teorii)

88%
Kostenko N.
Sotsiolohiia: teoriia, metody, marketyng (Sociology: Theory, Methods, Marketing)
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2010
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issue 1
3-15
EN
Interrelations of people, technologies and the newest media-systems become more and more problematical, changing usual modus of power and instrumentality and increasing the need in new ontological dimensions discriminative regarding the individual's 'total media environment' and his perception of the real world. Both in cultural researches and in media theory, the reflection is founded on intuitions which have arisen beforehand rather as an alternative anticipation. Today, they are distinctly talked over in the general context of the post-humanism which is revising traditional anthropocentric paradigms and creating new framework for sociological practices. The ontological point of view is represented by B. Latur's 'new positivism', H.U. Gumbrecht's 'post-hermeneutic', and F. Kittler's 'informational materialism'.
4
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BREAKING AWAY FROM EGOCENTRISM. POST-HUMANISM AS A WAY OF CONTEMPLATING NON-HUMAN MATTERS ON STAGE

88%
Juráni M.
Slovenské divadlo (Slovak Theatre)
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2020
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vol. 68
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issue 3
239 – 252
EN
Anthropocentrism is one of the key concepts associated with a broken relationship between humans, or human society, and the natural world. An excessive focus on the human is among the debated shortcomings that exacerbates environmental crises. In environmental humanities, it is especially addressed by environmental ethics. Anthropocentrism as a problem also steps into the expert debate on environmental or ecologically oriented theatre and performing arts. These media are historically understood as media focused on the human, human society, human relationships, events, and history. In the presented paper, some of the starting points of post-humanist philosophy that could enrich contemporary theories of theatre and performance art are considered, to help broaden their scope of attention to a group of specific works. These are various works of art confronting anthropocentrism, or using approaches that mediate non-anthropocentric and post-anthropocentric knowledge. From a theatrological point of view, they are identified in the framework of works which Hans-Thies Lehmann calls post-dramatic theatre, however, from the perspective of philosophy, they are in a certain relation with the essential ideas of post-humanism as defined by Francesca Ferrando and Rosi Braidotti, to give an example. The study’s ambition is to provide fertile ground for a continued and more thorough perspective of a group of works that fall under performing arts (drama, theatre play, performance art), which primarily deal with the relationship between the human and non-human nature and offer unconventional ways of representing non-human nature or reflections on the relationship between non-human nature and the human.
5
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ARTIFICIAL INTELLIGENCE IN SCIENCE FICTION AS A MODEL OF THE POST-HUMAN SITUATION OF MANKIND

88%
Kotásek M.
World Literature Studies
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2015
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vol. 7 (24)
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issue 4
64 – 77
EN
The article focuses on the way in which science fiction genre and scientific texts alike model the ideas of Western culture concerning the functioning of the human mind (brain or intelligence), its knowability, and the probability of its successful simulation. The most problematic issue arising is that this kind of text rests both on the idea of absolute knowability of the human mind (thus stepping outside the “strange loop” defined by Douglas Hofstadter) and on the belief in the possibility of creating such an artificial live system that would reconstruct exactly this “loop”. The article sees the distinction between scientific and literary texts concerning artificial intelligence as problematic – the resulting “hybridity” is further employed and enhanced in connection with theories regarding “the post-human”. Building upon the theories of autopoietic (self-referential) systems, the article concludes with an outline of a “theory of hybrid reading”.
6
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POST-DOG TALES ABOUT HUMAN EXTINCTION

88%
Sýkora P.
World Literature Studies
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2021
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vol. 13
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issue 1
18 - 30
EN
Clifford D. Simak’s fixup novella City (1952) should be re-read as one of the first pieces of post-humanist science-fiction writing. This article argues that naming the book after the first story, and not after the fourth one, “Desertion”, was misleading because the book is not one of the “urban science-fiction stories”. City rather explores what would happen if people had the opportunity of instantly entering paradise (Nick Bostrom’s “post-human mode of being”), even at the cost of deserting the human body. A further hypothesis suggested here is that John W. Campbell, the founding father of the Golden Age of Science Fiction, initially refused to publish “Desertion” and never published City’s final story, “The Simple Way”, in his iconic Astounding Science Fiction magazine, because the post-humanist character of these stories contradicted his “classical” view of science fiction.
7
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FROM “ANDYS” TO “TOASTERS”: HOW HAS POLITICS AFFECTED THE VIEW OF NON-HUMANS IN ”BLADE RUNNER” AND ”BATTLESTAR GALACTICA”?

88%
Lenč J.
World Literature Studies
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2021
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vol. 13
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issue 1
55 - 67
EN
This article focuses on the change in perception of humanoid androids in science fiction from Philip K. Dick’s cult novel Do Androids Dream of Electric Sheep?(1968) and its later film adaptations, to the depictions of androids and people in the struggle for survival and immortality in the TV series Battlestar Galactica (2004–2009) and Caprica (2010). Science-fiction novels usually outline the author’s ideas about the near or distant future of the world with which they are confronted on a daily basis. They usually warn readers of a possible apocalypse or present models of an ideal future society to replace the society of today. However, science fiction is written by real people in a specific space and time who often reflect the social tensions and issues of the time they were created. The depictions of humanoid androids, their position in society, and their desire to break free from their undignified or even slavish positions are, in many cases, a reflection of real policies and the position of today’s “others” in mainstream society.
8
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HOMO ARTEFACTUS AND PROMETHEAN SHAME: REFLECTIONS ON JOSEF ČAPEK, FUTURISM, TRANSHUMANISM, POST-HUMANISM, AND THE OBVIOUS

75%
Odorčák J.
World Literature Studies
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2021
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vol. 13
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issue 1
68 - 80
EN
This paper is focused on an analysis of Josef Čapek ’s notion of technology and his scrutiny of the conflicting nature of the avant-garde movement of Futurism in relation to the contemporary assumptions of the processual philosophies of transhumanism and post-humanism. The analysis is reconstructed in the narrative setting of the technological and methodological hybridization of the categories of the human and post-human (Homo artefactus) and is inspired by Josef Čapek’s approach to a specific philosophical question: Why would anyone want to create a post-human, a “robot Picasso”? It is argued that Josef Čapek projected that some of the motivational assumptions about the creation of post-humans would be built upon the inconsistent stigmatization of the human by humans that envy the hypothetical superiority of post-humans (i.e., Promethean shame).
9
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HUMAN, SUPER-HUMAN, ANTI-HUMAN: THE POST-HUMAN DEEP FUTURE IN EVOLUTIONARY SCIENCE FICTION

75%
Pisarski M.
World Literature Studies
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2021
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vol. 13
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issue 1
3 - 17
EN
Post-humanist visions of the future do not venture further ahead than a few hundred or a few thousand years at most. It is within this near future that most scenarios of technological singularity and the enhancement of the human into an H+, or a post-human, are projected. This paper reflects on visions of much more distant futures found in evolutionary speculative fiction and science fiction, from J.B.S. Haldane (1927) through to Adrian Tchaikovsky (2019). From the vantage point of thousands (or millions) of years, the forthcoming era of mind uploading, designer babies, and technological immortality as envisioned in the transhumanist utopias of Hans Moravec amount to short episodes in a long cycle of evolutionary progress matched by planetary catastrophes. Such a perspective offers a more general reflection on the philosophical and cultural implications of a “creative evolution”, the nature of humanity, and humans’ place among other species. The transhumanism agenda, initiated by Julian Huxley in the form of a call to arms for the “betterment of humanity” by existing, emerging, and speculative technologies, does not emerge as a retrograde reinstatement of the compromised ideals of Enlightenment, but rather as the sine qua non for human survival in the face of the heat death of the Sun, the eruption of a super-volcano, and any other existential risk. Human ingenuity, reflected in advanced biotechnology, space travel and technological enhancements turns out to be the only guarantee of life on Earth and beyond it. As such, this comparative study of literary examples of possible courses of human history proves that reflections on the far future are capable of healing current discursive divides between post-humanist and transhumanist, anthropocentric and anti-anthropocentric, and technophobic and technophile approaches to our present.
10

ZVIERATÁ V LITERATÚRE: METAFORA, ETIKA, EKOLÓGIA

75%
Hostová I.
Slovenská literatúra (Slovak Literature)
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2023
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vol. 70
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issue 2
127 - 132
EN
The essay introduces the topic of the study of the animal in literature with a special focus on Slovak poetry. After briefly outlining the field in which research of literature meets research of nature, animals, plants, and the environment of human and non-human animals, it discusses a few examples from Slovak literature. Animal studies, post-humanism, and other fields of critical research which abolish the boundary between culture and nature, redefine the identity of the human element and see it as part of a network in which agency is a feature shared by various entities. Removing the human from the top of the hierarchy calls for a revision of such notions as consciousness or free will and a more intense focus on the “non-human” actors – i.e. agential entities which share with the human some of their features, but differ in others. The essay provides an overview of the types of literary texts which have inspired interdisciplinary research of literature and nature in the past few decades (environmental and ecoliterate texts, cli-fi), outlines the research field and its aims and provides a brief overview of some of the relevant theoretical approaches and recent publications.
11

EXPLORING EMBODIED METHODOLOGIES FOR TRANSFORMATIVE PRACTICE IN EARLY CHILDHOOD AND YOUTH

75%
Cahill H., Coffey J., Smith K.
Pedagogický časopis (Journal of Pedagogy)
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2016
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vol. 7
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issue 1
79 – 92
EN
The development of gendered identities during early childhood and youth occurs in a context of ‘body culture’ and the hyper-visibility of ‘perfect’ bodies, which align with traditional gender ideals. Embodied methods can assist to make complexity more visible, and to allow participants to see fluidity, shifts, and becoming. Whilst there has been significant theoretical development, further methodological innovations are needed to enable children and youth to articulate their perceptions of the way multiple influences shape their relations with their own bodies. Informed by ‘new materialist’ feminist theory this article will examine the work of Australian educators exploring use of creative and embodied drama-based play. The chapter advances methodologies to support pedagogical engagement with young children and youth about gender, identity and social change. The authors explore how embodied creative play can be used across ages to support children and young people to articulate the ways social norms and expectations influence their desires, imaginings, fears and actions and their perceptions of what is possible, desirable or appropriate in relation to performances of gender in their everyday worlds.The development of gendered identities during early childhood and youth occurs in a context of ‘body culture’ and the hyper-visibility of ‘perfect’ bodies, which align with traditional gender ideals. Embodied methods can assist to make complexity more visible, and to allow participants to see fluidity, shifts, and becoming. Whilst there has been significant theoretical development, further methodological innovations are needed to enable children and youth to articulate their perceptions of the way multiple influences shape their relations with their own bodies. Informed by ‘new materialist’ feminist theory this article will examine the work of Australian educators exploring use of creative and embodied drama-based play. The chapter advances methodologies to support pedagogical engagement with young children and youth about gender, identity and social change. The authors explore how embodied creative play can be used across ages to support children and young people to articulate the ways social norms and expectations influence their desires, imaginings, fears and actions and their perceptions of what is possible, desirable or appropriate in relation to performances of gender in their everyday worlds.
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