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Posthumanities: Author Biogrpahy

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table of contents
  1. Cover
  2. Half Title Page
  3. Series List
  4. Title Page
  5. Copyright Page
  6. Contents
  7. Acknowledgments
  8. Introduction: Posthumanism(s)
  9. Part 1
    1. 1. From Genes to Memes: Ollivier Dyens and the Scientific Posthumanism of Darwinian Evolution
    2. 2. Dark Matters: An Eidolic Collision of Sound and Vision
  10. Part 2
    1. 3. N. Katherine Hayles and Humanist Technological Posthumanism
    2. 4. The Trace: Melancholy and Posthuman Ethics
  11. Part 3
    1. 5. From Affect to Affectivity: Mark B. N. Hansen’s Organismic Posthumanism
    2. 6. Skewed Remote Musical Performance: Sounding Deconstruction
  12. Conclusion: Registration as Intervention: Performativity and Dominant Strains of Technological Posthumanism
  13. Notes
  14. Index
  15. Series List Continued (2 of 2)
  16. Author Biography

Author Biogrpahy

David Cecchetto is assistant professor of critical digital theory at York University in Toronto, Canada. He is coeditor (with Nancy Cuthbert, Julie Lassonde, and Dylan Robinson) of Collision: Interarts Practice and Research.

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The University of Minnesota Press gratefully acknowledges support for the open-access edition of this book from York University.

Portions of the Introduction and chapter 5 were previously published as “Deconstructing Affect: Posthumanism and Mark Hansen’s Media Theory,” Theory, Culture, and Society 28, no. 5 (2011): 3–33. Portions of chapter 2 were previously published in Eiodola: William Brent and Ellen Moffat (Victoria, B.C.: Open Space Arts Society, 2009). Portions of chapter 4 were previously published as “Melancholy and the Territory of Digital Performance,” in Collision: Interarts Practice and Research, ed. David Cecchetto, Nancy Cuthbert, Julie Lassonde, and Dylan Robinson, 77–90 (Newcastle upon Tyne, U.K.: Cambridge Scholars, 2008); published with the permission of Cambridge Scholars Publishing. A different version of chapter 6 was previously published as “Sounding the Hyperlink: Skewed Remote Musical Performance and the Virtual Subject,” Mosaic 42, no. 1 (2009): 1–18.

Copyright 2013 by the Regents of the University of Minnesota

Humanesis: Sound and Technological Posthumanism is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0).
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