Journal articles on the topic 'Anthropocentric continuum'

Our study examined the two-dimensional nature of the Two Major Environmental Values model (2-MEV) in comparison with the New Ecological Paradigm (NEP) scale’s unidimensional construct. The latter places respondents on a continuum from a bio-centric to anthropocentric worldview, where an individual can either have a pro-environmental (bio-centric) or an anti-environmental (anthropocentric) perspective, but not both. On the other hand, the 2-MEV treats biocentrism (Preservation, PRE) and anthropocentrism (Utilization, UTL) as two separate and not necessarily related components. The model allows us to place individuals into one of four quadrants, rather than on either end of a continuum, allowing an individual to have a bio-centric and an anthropocentric worldview at the same time. Students’ environmental perceptions were measured using the NEP and 2-MEV questionnaires. As predicted, high preservation/low utilization scorers preferred a biocentric worldview on the NEP; similarly, low preservation/high utilization scorers preferred an anthropocentric worldview on the NEP. However, the NEP failed to differentiate between the high preservation/high utilization and low preservation/low utilizations scorers. Both of these groups of students, while on different quadrants on the 2-MEV, cluster together in the middle of the unidimensional NEP. Evidence suggests that the NEP may not fully explore all dimensions of environmental perceptions.

This article discusses liberal arts college students’ perceptions of environmental and ecological justice. Complementing emerging studies of education that tackles human–environment relationships, this article discusses student assignments related to the debates in social/environmental and ecological justice written as part of the course ‘Environment and Development’. Student assignments are analysed with the aim of gauging their view on the environment and society, identifying reasoning patterns about the anthropocentrism–ecocentrism continuum. In conclusion, this article distills recommendations for the design of a university curriculum that can facilitate the development of a non-anthropocentric worldview.

The paper considers linguistic and discursive features of anthropocentric myth creation in the social and political media. Myth creation in the social and political context is viewed as creation of social and political myths correlating with real and fictional events, public persons or social and political phenomena. The author brings into light the role of the media audience as one of the leading factors ensuring successful creation of the media mythological image appealing predominantly to the emotional sphere in the mass recipient’s consciousness. Strange as it might seem, the anthropocentric mythological discourse demonstrates the minimal amount of explicit emotiveness, which creates conditions for independent evaluation of the information by the audience itself. Narrative is considered to be the basic myth creation format. It is represented as a series of stories about the myth creation object. Given the diachronic aspect of myth creation and its chronotope which can span quite a long period of time, it is suggested to speak of the narrative continuum focused on a media person who is in the centre of public attention. It is pointed out that media myth creation takes place on the basis of implications which appear in the process of reception of factual information by the media audience. The interaction of verbal and non-verbal means typical of the media fosters creation of a full-bodied anthroponymic mythological image, which calls for a special study.

Mari mutare is a transdisciplinary design research project about biocompatible prostheses inspired by the early Christian being called Green Man, a human-plant hybrid that represents the nature-culture continuum. These objects are intended to address human exceptionalism from a post-anthropocentric, feminist and queer perspective. The aim of Mari mutare is to explore the multiplicity of subjectivities in ourselves and, consequently, to influence the perception of others. Arising from the emerging field of synthetic biology, speculative design methodology supports this proposal and it materialises through transhackfeminist biopractices as tools for creating knowledge and projecting other possible futures. The experiments are conducted around the Petri dish as an epistemic object. The dish contains a symbiotic assembly of human and plant cells that interpenetrate, digest and partially assimilate while grazing the categories of kingdom, species, gender, culture and nature. While this process materialises, human subjects test their future limbs aided by an augmented reality (AR) filter, as a proxy for the physical reality, to hack into self-reflection and subjectivity, thus projecting themselves beyond the self. This project is currently a work-in-progress and is supported by Pro Helvetia, Hangar Barcelona (EU Biofriction programme), Utopiana Geneva and Hackuarium.

The article aims to describe the specifics of the verbal implementation of ethnic identity in the Russian media discourse. The relevance of the work is due to the anthropocentric approach to linguistics, based on interdisciplinary connections with philosophy, cultural studies, literary studies, anthropology, etc., which significantly enriches the linguistic study of identity in the media discourse. The novelty of the research lies in the fact that the question of understanding media discourse as a verbal and informational continuum, in the space of which specific units are functioning, containing ethnocultural meanings and participating in the formation of the ethnic identity of a particular community. The significance for the theory of language is determined by the fact that extended and justified interpretations of the concepts “ethnicity” and “ethnic identity” are presented. The main parameters of the implementation of ethnic identity in the media discourse are established. The main lexical and semantic means that construct selfidentification in the modern media discourse were analyzed. And also, the accompanying markers of mass information discourse are highlighted. Within the framework of the structural-semantic approach, the following methods were used: discourse analysis, contextual, definitional, and continuous sampling. The results obtained can be used in a course of lectures on ethnolinguistics, sociolinguistics, and linguoculturology.

The text deals with some problems that facing research of the environment. Beside conceptual issues adherent to Serbian language, solving of real environmental problems in general, should resolve the dichotomy anthropocentrism vs. biocentrism which stems from the conflicting human nature and appears just unsustainable in ecology. Among other topics, the meaning of the argument of ?ecology as a new great narrative? which enables continued progress and mutual legitimization of science and democracy is being examined from the point of view of their universal relevance. It also deals with effectiveness of theories that implicate the irrelevance of human kind for its own liberation from anthropocentric worldview which narrows the prospects of survival.

Since Niels Gregersen used the term “deep incarnation” in 2001, it has been taken up by numerous ecotheologians in an effort to re-think the depth of the incarnation. Deep incarnation suggests that the incarnation demonstrates a divine embrace of not only the suffering of human bodies, but also of the pain and suffering of all creatures on Earth. While the framework of deep incarnation provides a foundation for a solid eco-Christology and ecological ethics, I suggest that the doctrine as it now stands continues to harbor hints of human exceptionalism that ecotheologies seek to eschew. I offer a critique of the metaphysical anthropocentrism contained within theologies of deep incarnation, suggesting that the doctrine does not go “deep” enough. Following this, I offer a non-anthropocentric understanding of the incarnation that frees the doctrine of the pitfalls of human exceptionalism. I do this by using a deconstructionist framework that posits that the vulnerability of Jesus allows us to view the incarnation as the divine embrace of all material vulnerability apart from the trappings of any normative epistemological framework based on a human horizon of understanding.

The aim of this article is to provide a critical account for the ontological consequences of “new materialism” in sociology. The author explicates the context of the emergence of “new materialism”. In juxtaposition of materialism in mainstream sociology and social constructivism, “new materialism” significantly extends the sphere of materialistic analysis. It looks at the matter not as a pure container of the form, a pure passivity, but is rewarded with the features of energetism, vitalism and generative capacities. The author discloses the content of “new materialism” through reference to its three requirements: the processuality, eventfulness of the material world; the single nature-culture continuum; the extension of the capacity to act to non-human objects. In sum, all these requirements provide presuppositions for the “flat ontology” of assemblages that is opposed to mainstream sociology. The latter, with its principles of essentialism, reductionism and deontology of objects, postulates the existence of autonomous and self-sufficient sociality. In contrast, in new materialistic ontology none of the substances can be taken as an essence of the social, which entails the affirmation of the heterogeneity and multiplicity of the social. Heterogeneous assemblages appear as a primary ontological unit. Erosion of the social, its ontological devaluation as a separate sphere of reality, leads to the fact that notions of the social and social ontology become problematic. The article reveals ontological dead ends in the identification of assemblages and in the description of their social and materialistic content. The possibility of assemblage identification shows that ontologization of multiplicity can be only a new version of essentialism. The argument of the article is that there are three interpretations of assemblages, distinguished in terms of their material and social content. The first one allows the existence of matter out of social forms, but denies the possibility of its cognition and thus restores the dualism of matter-in-itself and matter-for-ourselves, of nature and society. The second one denies the existence of matter out of social forms, but thus becomes anthropocentric, which contradicts to the initial requirements of “new materialism”. The third interpretation is based on the idea of the independence of matter from social forms, but in such a version “new materialism” does not differ from mainstream sociology. The ontological dead ends of the “new materialism” bare the alternative between the disciplinary and post-disciplinary identities of sociology in the situation of a dynamic and relational social reality.

A dalit refers to a member of that caste which is placed outside the rigid structure of Hindu society. Located at the very bottom of the four-tiered caste system some dalits are so completely and permanently socially excluded that they are called untouchables. But even among this community there are those who are even more socially excluded like the women of the Ghasi community. These women are manual scavengers traditionally responsible for keeping villages clean. They are, in a sense, the most untouchables amongst untouchables. To assess existing levels of discrimination, a study of 88 Ghasi women living in the Kharmunda panchayat of Bargarh district in Odisha was undertaken. It was found that they faced many harsh economic and social restrictions including accessing the village’s common resources which meant they could not enter temples or even access common water sources. Even though the government passed the Manual Scavengers Act, 2013 and the Atrocities Act, 1989 that legally banned discriminatory social practices, these offensive customs have continued even 70 years after India's Independence.

A fragment of K.G. Paustovsky’s coloristic world view was reconstructed, which is of certain interest due to the importance of color in his works and in the light of anthropocentrism that prevails in modern linguistics. It was revealed that the color space of the story “The Golden Rose” (‘Zolotaya roza’), within the field model with zones based on both quantitative and qualitative features, is characterized by numerous color terms (for example, the field core includes 40 color terms). The color dominants of the story (black, white, yellow, and green) demonstrate the specificity of K.G. Paustovsky’s style with regard to color perception, as well as the primacy of national coloristic pattern over the individual one. The zonation of color terms shows K.G. Paustovsky’s space visualization, in which the transition occurs from the information component to the figurative one, as well as from color to light. The interrelation of color-light and space-time characteristics creates a unique color chronotope of the story “The Golden Rose”. Therefore, the identified features of K.G. Paustovsky’s color perception cast light upon his idiostyle. The results of the analysis confirm that the coloristic component played a key role in his linguistic world view.

Environmental Jurisprudence’s highest achievement is its codification of a change in ethics, and a legal recognition that both individual and governmental agency responsibility extend to the natural world. This article provides an overview of Environmental Jurisprudence as it relates to environmental ethics. It examines both the foundation of Environmental Jurisprudence as well as the concept of human rights. The article also critically discusses international environmental law from the perspective of human rights. This research concludes by arguing that despite the attempt made in the international regime for adding eco-centric values in environmental law, environmental jurisprudence to date has continued with anthropocentric ideas with all concerns for safeguarding the means of human survival.

What are the parameters that define a posthuman knowing subject, her scientific credibility and ethical accountability? Taking the posthumanities as an emergent field of enquiry based on the convergence of posthumanism and post-anthropocentrism, I argue that posthuman knowledge claims go beyond the critiques of the universalist image of ‘Man’ and of human exceptionalism. The conceptual foundation I envisage for the critical posthumanities is a neo-Spinozist monistic ontology that assumes radical immanence, i.e. the primacy of intelligent and self-organizing matter. This implies that the posthuman knowing subject has to be understood as a relational embodied and embedded, affective and accountable entity and not only as a transcendental consciousness. Two related notions emerge from this claim: firstly, the mind-body continuum – i.e. the embrainment of the body and embodiment of the mind – and secondly, the nature-culture continuum – i.e. ‘naturecultural’ and ‘humanimal’ transversal bonding. The article explores these key conceptual and methodological perspectives and discusses the implications of the critical posthumanities for practices in the contemporary ‘research’ university.

The entering of poetics into the field of anthropology, intimated by Nietzsche (through his critique of anthropocentrism), introduced by Bachelard and Bataille and continued in the framework of poststructuralism has influenced the scope and the models of knowledge traditionally related to anthropology, by reexamining and changing them. This influence is researched through the analysis of several authors, discussing the political aspects of their writings at the same time. Their notions of polarity, discontinuity, suspension, transgression and dissemination make visible possible directions of transformation of anthropology.

Nick Land is a British philosopher who developed a compelling transcendental materialist critique of anthropocentric philosophies throughout the 1990s before leaving academia at the turn of the century and moving to Shanghai. While he is now best known for his controversial pro-capitalist political writings, he has also recently developed a theory of what he calls ‘abstract horror fiction’, as well as applied it in practice by writing two abstract horror novellas. Although one might think that Land’s horror fiction, like his recent far-right politics, marks a new and independent body of work from his earlier academic writings as a philosopher, this article argues that Land turns to writing horror fiction, because he sees the genre as a better compositional form than traditional philosophy to continue his critique of anthropomorphism insofar as it is able to stage a confrontation with that which lies beyond all parochial human comprehension. I begin by outlining Land’s earlier critique of anthropocentric philosophies with recourse to the brute fact of humanity’s inexorable extinction as a way to undermine their attempts to project human values and concepts onto an inhuman cosmos for all time. I then examine Land’s theory of abstract horror to see how he envisions horror fiction as the best aesthetic means for transcendentally channeling the traumatic limits of human experience. I conclude with an analysis of Land’s two horror novellas, Phyl-Undhu and Chasm, to draw out the ways in which his earlier critical philosophy continues to inform their literary motifs. What ultimately emerges from this analysis of Land’s fiction is a conception of horror as the dark heir to critical philosophy.

Microbes are in, on, and around us at all times, yet we cannot easily communicate with them. How do we (continue to) live with microbial life in ways that allow for our mutual thriving? Using a performative lens, this paper analyzes the material practices of fermentation as a way of connecting with different scales of life. It attempts to challenge conventional understandings of communications (e.g. encoding/decoding models put forth by Stuart Hall) by examining the layered manner in which fermentation engages with matter and meaning. The material practices of fermentation require embodied knowledge to work with microbial life, and the discursive considerations of fermentation challenge anthropocentric thought. Thus, materially and discursively, fermentation functions as a continual form of engagement. Thought of as a form of communication, fermentation helps us to consider some of the invisible relations we have with microbes and connect with micro-species we often take for granted.

Humans and animals share their lives with one another in many ways. Pets, for example, are often considered valuable members of the family. They are invited into human hearts and homes, where they share routines, food and space. Animals are not only important to human waking lives. Some of them also share human beds – be it by invitation or invasion! Yet, little is known about human-animal co-sleeping practices and their impact on humans, animals and human-animal relations. This is the first paper to critically collate the scant and disparate research on human-animal co-sleeping. Given that the research is risk-centric, the paper turns to established theories on animal attachment to propose explanations for the continued practice of human-animal co-sleeping and its benefits. To redress an anthropocentric bias in the limited existing research, an agenda for further research is outlined on human-animal co-sleeping that considers humans, animals and the human-animal relation.

This examination of the often-inaccessible work and semiotics of George Herbert Mead focuses first on his pivotal ideas of Sociality, Consciousness, and Communication. Mead’s insight of sociality as forced relatedness, or forced semiosis, appearing early in evolution, or appearing in simple systems, guarantees him a foundational place among biosemioticians. These ideas are Mead’s exemplar description of multiple referentiality afforded to social organisms (connected to his idea of the generalized other), thus enabling passing from one umwelt to another, with relative ease. Although Mead’s comprehensive semiosis is basically sound, and in concordance with modern and contemporary semiotics (and biosemiotics), it nevertheless lacks a satisfactory explanation of how conscious organisms achieve passing into new frames of reference. Semiotic Matrix Theory (SMT), its pansemiosis, describes falsifiable existential and cognitive heuristics of recognizing Energy requirements, Safety concerns and Possibility or Opportunity as “passing” functions. Finally, another type of emergence, ecoethics, is an embedded constant in biosemiosis. Not all semiosis is good semiosis, not all text is good text. Because our species is moving away from ancient biosemiosis and interrelatedness, this historicity, even ductile enough to invent synthetic semiosis or capricious umwelten, is facing the ecological reality and consequences of an overly anthropocentric text.

The author of the article turns to the modern discourse about man and his place in the humanities system. A retrospective analysis of the modern discourse about man allows us to distinguish three stages in its development: anti-humanism (Koj?ve, Heidegger), anti-anthropology (Althusser, Foucault) and post-anthropology (Meillassoux, Viveiros de Castro). Despite the fact that the main topics around which he is focused are concentrated on criticism of "anthropocentrism" and "eurocentrism", the author concludes that the anti-anthropological narrative retains all the features of cultural and epistemological "narcissism". The anti-anthropological narrative continues to function as a system of "recognizing oneself", as a system of "differentiating oneself and the other" and as a system of "justifying oneself through the other".

Consumer satisfaction and preference can be integral in influencing and solidifying change in user-driven industries such as tourism. High satisfaction rates are imperative to the continual success of a venue as satisfaction determines the likelihood of repeat business and positive recommendations to friends, family and online review forums. Tourist preference for ecocentric tourism venues, over anthropocentric ones, appears to be increasing in elephant tourism venues (ETVs) in Thailand. To explore this, we visited twelve ETVs in Chiang Mai, Thailand, and compared the preferences and satisfaction of tourists who visited riding and non-riding venues toward the use of captive elephants in an entertainment setting. We found that tourists visited riding and non-riding ETVs for similar reasons, primarily due to recommendations from friends and reviews, and because the venue had a good reputation. Tourist preference for higher welfare standards was observed at venues where participants directly observed poor treatment of the elephants. Tourist satisfaction may be impacted by higher elephant welfare standards; therefore, tourists have the ability to influence the elephant tourism industry by demanding better living conditions for elephants and only financially supporting ETVs with higher welfare standards.

Even in today’s “postmodern” world, Norwid cannot be reduced to a single formula. He is rather a “constellation,” requiring that readers join the “continual discussion” on issues specific to a given era. His focus is on humanity, which he regards from a dualist perspective that necessitates pursuing a synthesis of matter and spirit under the sign of ethical universalism. Norwid refers to the “cupola of ‘a monologue-that-keeps-parabolizing-itself’” andregards culture as the parable of the world. His original aesthetics of “whiteness” refers, as it were, to the biblical “gentle gust of wind,” which announces God’s presence and indicates the rejection of the Romantic veneration for volcanoes, which he contrasts with the importance of work. This kind of philosophy, developed by Brzozowski, Tischner and John Paul II, has led to the self-limiting revolution of Solidarity in the years 1980-81, and ultimately to the de-legitimization and fall of communism; finally, after the bloody myth of the French Revolution reigned for two hundred years, this philosophy altered the paradigm of historical changes around the world. Norwid elaborated on the industrial-era Romanticism and opposed martyrological messianism, developing the original idea of a “messianism of work,”linking it with a vision of human Church, which “burns through the Globe with conscience.”He would contrast the global church with the parochial “church-turned-living-room.”Human beings count more than institutions, he argued, just like goodness prevails over formal sacraments. With the ultimate goal defined as the resurrection of the world, art becomes a church of work. Norwid embraced an anthropocentric perspective, in which human beings are called upon “to un-make” [od-poczynać] the mistakes of the past, and thus to begin afresh at a whole new level. With his language and style Norwid was constructing a new social stratum: intelligentsia (Łapiński), understanding it as the nation’s copula, i.e. the unifying force of conscienceand the collective consciousness. It would form an interpersonal, horizontal transcendence spanning the length and breadth of societies. The opposite of nation and its culture is “empire” – the root of subjugation – which particularly enslaved Central and Eastern Europe. Of special importance is the clash between Asian civilization and the “Roman” one, i.e. Christianity or Western Europe. However, the poet opposes Slavs to both the Westerners and the Easterners, emphasizing the processualand not the essentialistcharacter of national cultures. The question whether Norwid’s work is fundamentally dialogic or monologic in character continues to divide scholars. However, Norwid is in a way a Master or teacherwho embodies the Other and incarnates Wisdom in his Voice and Gesture. The nature of Wisdom is anthropocentric because man is a priest, although “involuntary / And immature,” which abolishes the distinction between the sacred and the profane. Through his ethical universalism Norwid provides a solution to the Enlightenment crisis of universal reason. Emancipation of the individual should not entail abandoning a sense of belonging, which is something that Norwid’s modernism shares with that of Central Europeans (Ch. Delsol). Understood as the expression of collective desires, cultures shape responsibility and a sense of belonging, at the same time constituting an answer to the crisis of narcissistic individualism characteristic for our times.

This essay addresses the repression of considerations of human-animal relations in postcolonial studies. It suggests that because the field has not fully examined its own anthropocentrism, it continues to reproduce a rather conventional humanism in spite of many claims to the contrary. A central argument of the essay is that in failing to recognize the subjectivity of nonhuman animals, and accepting their exclusion from a moral universe reserved for humans, postcolonial criticism participates in the symbolic and physical violence committed against them. In terms of approach, the essay begins by tracing three humanist “moments” in the career of postcolonialism. This is followed by an assessment of the recent ecocritical turn in postcolonial literary studies. The essay concludes by considering whether humanism does in fact need to be overcome and what remains to be done for postcolonial thinking to more adequately confront “the question of the animal.”

The livelihoods of indigenous peoples, custodians of the world’s forests since time immemorial, were eroded as colonial powers claimed de jure control over their ancestral lands. The continuation of European land regimes in Africa and Asia meant that the withdrawal of colonial powers did not bring about a return to customary land tenure. Further, the growth in environmentalism has been interpreted by some as entailing conservation ahead of people. While this may be justifiable in view of devastating anthropocentric breaching of planetary boundaries, continued support for “fortress” style conservation inflicts real harm on indigenous communities and overlooks sustainable solutions to deepening climate crises. In reflecting on this issue from the perspective of colonial land tenure systems, this article highlights how ideas—the importance of individualised land ownership, cultivation, and fortress conservation—are intellectually flawed. Prevailing conservation policies, made possible by global non-governmental organisations (NGOs) and statutory donors, continue to harm indigenous peoples and their traditional territories. Drawing from the authors’ experience representing the Batwa (DRC), the Ogiek and Endorois (Kenya) and Adivasis (India) in international litigation, this paper examines the human and environmental costs associated with modern conservation approaches through this colonial lens. This article concludes by reflecting on approaches that respect environmental and human rights.

The pages of early modern natural histories expose the plasticity of the natural world, and the variegated nature of the encounter between human and animal in this period. Descriptions of the flora and fauna reflect this kind of negotiated encounter between the world that is seen, that which is heard about, and that which is constructed from the language of the sacred text of scripture. The natural histories of Greenland that form the basis of this analysis exemplify the complexity of human–animal encounters in this period, and the intersections that existed between natural and unnatural, written authority and personal testimony, and culture, belief, and ethnography in natural histories. They invite a more nuanced understanding of the ways in which animals and people interact in the making of culture, and demonstrate the contribution made by such texts to the study of animal encounters, cultures, and concepts. This article explores the intersection between natural history and the work of Christian mission in the eighteenth century, and the connections between personal encounter, ethnography, history, and oral and written tradition. The analysis demonstrates that European natural histories continued to be anthropocentric in content and tone, the product of what was believed, as much as what was seen.

In many parts of the world, access to groundwater is needed for domestic, agricultural and industrial uses, and global groundwater exploitation continues to increase. The significance of groundwater in maintaining the health of rivers, streams, wetlands and associated vegetation is often underestimated or ignored, resulting in a lack of scrutiny of groundwater policy and management. It is essential that management of groundwater resources considers the needs of natural ecosystems, including subterranean. We review the limited Australian literature on the ecological impacts of groundwater overdraft and place Australian information within an international context, focusing on lentic, lotic, stygobitic and hyporheic communities as well as riparian and phreatophytic vegetation, and some coastal marine ecosystems. Groundwater overdraft, defined as abstracting groundwater at a rate which prejudices ecosystem or anthropocentric values, can substantially impact natural communities which depend, exclusively or seasonally, on groundwater. Overdraft damage is often underestimated, is sometimes irreversible, and may occur over time scales at variance to those used by water management agencies in modelling, planning and regulation. Given the dangers of groundwater overdraft, we discuss policy implications in the light of the precautionary principle, and make recommendations aimed at promoting the conservation of groundwater-dependent ecosystems within a sustainable use context.

Tantangan kehidupan keberagamaan yang terus berkembang, narasi baru terus tumbuh yang disebabkan terbukanya kran reformasi, polarisasi politik, hingga munculnya media baru. Dalam ruang itu Harmoni sosial tak lagi menjadi tema utama, namun lebih pada diskursus ideologi yang menyebabkan menguatnya polarisasi keagamaan. Dalam konteks itu, Emha Ainun Nadjib tetap konsisten dengan perjuangan harmoni sosial di aras masyarakat bawah. Konsistensinya memiliki signifikansii sosial yang dibangun dengan pola pikir adaptif melalui tiga hal: kerangka sufisme (sturukturalisme transendental), based on living values berupa paham agama yang berbasis pada kehidupan, dan kerangka historis-antroposentris. Gerak sirkular tiga hal ini yang nantinya membangun teologi harmoni sosial Emha Ainun Nadjib.The religious life takes new challenges lately, new narration of religious issue continues to grow due to the reformation 1998, political polarization, and the emergence of new media. In this space, religious social harmony is no longer the main discourse, but rather the ideological discourse that causes strengthening religious polarization. In that context, Emha Ainun Nadjib remains consistent with the struggle for building social harmony in society. His consistency has social significance caused by his adaptive thought through three things: a framework sufism (transcendental structuralism), based on living values in the form of religious understanding based on social life, and historis-anthropocentric framework. These three circular movements build the theology of Emha Ainun Nadjib's social harmony. Keyword; teologi harmoni, living values, transendensi, Historis-antroposentris

The article treats the reception of ancient Greek mythology and history in modern American cinema. Modern directors do not just illustrate ancient narratives, but update them, enriching them with additional readings and subtexts. In the films considered, eternal questions are posed: life and death, duty and moral choice, the destiny of man and desire to become equal to the gods, but they are reinterpreted. It demonstrates that the ancient Greek myth continues its life in the modern cinema, which serves as a kind of contemporary mythology. In the V. Petersen’s film “Troy” man finds true immortality, embodied in heroism and glory. The director’s version of the Iliad still contains the spirit of the Homeric epic, but in doing so conveys later themes through it as well. Homer's tales of the heroes of Troy are filled with new breath, not least due to the anthropocentrism of the film. In O. Stone’s film “Alexander” not only the mythologization of ancient history can be seen, but it can also be comprehended through an even more ancient mythology. The mythological structure of the film is further emphasized by the cyclicity of the narrative, but the film is topical at the same time.

The article discusses the modern philosophical concepts of transhumanism and posthumanism. The central issue of these concepts is “What is the posthuman?” The 21st century is marked by a contradictory understanding of the role and status of the human. On the one hand, there comes the realization of human hegemony over the whole world around: in the 20th century mankind not only began to conquer outer space, invented nuclear weapons, made many amazing discoveries but also shifted its attention to itself or rather to the modification of itself. Transhumanist projects aim to strengthen human influence by transforming human beings into other, more powerful and viable forms of being. Such projects continues the project of human “deification.” On the other hand, acknowledging the onset of the new geological epoch of the Anthropocene, there comes the rejection of classical interpretations of the human. The categories of historicity, sociality and subjectivity are no longer so anthropocentric. In the opinion of the posthumanists, the project of the Vitruvian man has proven to be untenable in the present-day environment and is increasingly criticized. The reflection on the phenomenon of the human and his future refers to the concepts that explore not only human but also non-human. Very often we can find a synonymous understanding of transhumanism and posthumanism. Although these movements work with the same modern constructs and concepts but interpret them in a fundamentally different way. The discourse of transhumanism refers to the Cartesian opposition of the body and the mind. Despite the sacralization of technology and the desire to purify the posthuman from such seemingly permanent attributes of the living as aging and death, transhumanism in many ways continues the ideas of the Enlightenment. For posthumanists, the subject is nomadic and a kind of assembly of human, animal, digital, chimerical. Thus, in posthumanism the main maxim of humanism about the human as the highest value is rejected – the human ceases to be “the measure of all things.”

Whereas regulation relating to minimum standards of animal welfare is increasingly uncontroversial in contemporary popular discourse, the same cannot be said of viewing animals as legal persons possessing legally enforceable rights in and of themselves. The purpose of this article will be to explore this reticence and ask whether the continued anthropocentricity of legally enforceable rights is compatible with the very concept of law itself. The article will draw heavily on the moral writing of Alan Gewirth, engaging with his justification for why human beings themselves can make philosophically valid claims to be rightsholders. Taking Gewirthian ethical rationalism as providing a universally applicable hypothetical imperative which binds all agents to comply with its requirements, the article will move on to discuss the implications of the theory on our understanding of legal normativity. If we accept that the purpose of law is to guide action, and that legal normativity therefore operates at the level of practical rationality, the Gewirthian project necessarily limits the content of law to those norms which are compliant with the moral underpinning of all normative reasons for action. A necessary connection between law and morality can therefore be established which requires equal respect for all agents. By creating this necessary connection, it is possible to move beyond an anthropocentric conception of legal normativity to one that necessarily must instead respect the basic rights possessed by all agents – regardless of species. Legal rights for animals that are capable of acting within Gewirth's conception of agency must therefore be seen not to be a mere aspiration for a well-meaning society, but a logical necessity within any legal system.

That it is done in the framework of new anthropocentric linguistic trends-Cognitive linguistics and Linguoculturology; by the absence of researches of this concepts in the English language; by the importance of concepts Water and Fire in representing linguistic and national world pictures. Aim and tasks of research are the determination of linguocognitive, national-cultural value of concepts Water and Fire and specific features of its verbalization in lexical, word-formational, phraseological units, particularly in paremiologic, aphoristic texts in the English language. The degree of novelty of the research is determined by the fact that is the first investigation devoted to the cognitive and linguocultural study of concepts Water and Fire in the English language. The material of the research can be used in delivering lectures and practical lessons on General Linguistics, Cognitive Linguistics, Stylistics, Text linguistics, Text Analysis, Linguocultural Studies, in writing research works, text books and manuals. The results are complex method of cognitivecultural analysis has been worked out, the cognitive and linguocultural value of concepts Water and Fire has been determined, the cognitive interpretation of metaphorical nominations that represent concepts Water and Fire has been done and national-cultural specificity of concepts Water and Fire has been defined. The conceptophere Water and Fire plays a great role in linguistic world pictures of the English linguoculture and represented by lexical, word formation, phraseological units as well as texts. The research can be continued in the framework of the following topics: comparative study of this concept in different languages; taxonomical analysis of concepts and conceptospheres in different languages; investigation of gender factors reflected in different concepts.

Conflict of land conversion (deterritorialization) is an ecological crisis that continues to reproduce in the domination space of the capitalist economy and goes hand in hand with the use of the pretext of industrialization and massive scale state political policies. Banjar Regency is geographically located in a strategic area between the cities of Banjarmasin and Banjarbaru. So that it functions as a buffer zone and a center for settlement development and economic activity. This study aims to discover the concept of territorialization of wetlands that exist in the community and respond to the dynamics of the expansion of land conversion (deterritorialization of the wetland environment), whether carried out by corporations, the government, or by the community itself through the tendency of policies that are mechanistic pragmatic. This research uses a qualitative approach, which is considered the most capable of accommodating the dialectical analysis of subjectivity-objectivity accompanied by critical analysis to uncover the problem of deterritorialization of the wetland environment of political ecology in Banjar Regency. Data collection using literature studies and field data collection through FGD, interviews, and observations using the live-in model. It is hoped that the analysis of this research will be able to provide novelty to a philosophical perspective on natural resource management, particularly concerning the environmental functions of wetlands, including swamps and peat areas. Stakeholders and actors engaged in related sectors are also expected to unravel the unequal power relations between actors based on the paradigm of justice and sustainability, accompanied by efforts to overcome various systemic obstacles, anthropocentric obstacles, and local government “bureaucratic dysfunction,” which will be elaborated, comprehensively in this research.

Twenty years after his death, Deleuze's thought continues to be mobilised in relation to the most timely and critical problems society faces, foremost amongst which is the Anthropocene. What might the significance of Deleuze and Guattari be in relation to the new and urgent set of concerns that the Anthropocene engenders? Deleuze's work presaged much of the concept of the Anthropocene, not only in his sustained challenges to humanism, anthropocentrism and capitalism, but also through his interest in geology and the philosophy of time. Guattari gave his work an ‘ecosophical’ and ‘cartographical’ dimension and spoke of a ‘mechanosphere’ covering the planet. Together, Deleuze and Guattari advocated a ‘geophilosophy’ which called for a ‘new earth’ along with ‘new peoples’. Not only does the work of Deleuze and Guattari offer a range of useful concepts that can be applied to contemporary global problems such as anthropogenic climate change, peak oil and the exploitation of the nonhuman, but it also models the kind of interdisciplinarity that the epoch of the Anthropocene requires. This special issue of Deleuze Studies engages the many philosophical tools provided by Deleuze and Guattari and their interlocutors in order to critically approach our particularly tense moment in terrestrial history. Simultaneously, it asks how this moment could change the ways in which Deleuze and Guattari are further developed.

Purpose Amidst the COVID-19 outbreak, service organizations rushed to deploy robots to serve people in quarantine, again igniting the ongoing dispute regarding robots in tourism. This study aims to investigate tourists’ perceptions regarding the use of robots and, more specifically, anthropomorphic robots in the tourism domain. Design/methodology/approach A qualitative inquiry was used to delve deep into the issue of tourists’ perceptions regarding the usage of anthropomorphic robots in tourism, with a total number of 78 interviews with tourists being retained in the study. Findings The findings reveal that tourists favor the use of anthropomorphic robots over any other type of robot. The use of anthropomorphic robots in tourism may result in an overall enhanced experiential value. Even so, informants also expressed frustration, sadness and disappointment vis-à-vis the use of robots in a human-driven industry. Research limitations/implications A conceptual continuum of tourists’ perceptions and concerns over the use of robots is presented that can guide future studies. Tourism stakeholders may look at the possibility of incorporating carefully designed anthropomorphic robots in key service positions, but should not give the impression that robots are replacing the human face of the organization. Practical implications Tourism stakeholders may look at the possibility of incorporating carefully designed anthropomorphic robots in key service positions, but should not give the impression that robots are replacing the human face of the organization. Originality/value Tourism organizations that make use of robots run the risk of being perceived as nonanthropocentric. This leads to the conclusion that anthropomorphism could be used but should not replace the sector’s anthropocentrism. The study conveys tourists’ concerns over technological (robot) determinism.

This paper focuses on Charlotte Wood’s 2015 dystopian novel The Natural Way of Things. Set in an unnamed place in the Australian outback, it recounts the story of 10 girls in their late teens and early twenties who are kept prisoners by a mysterious corporate organisation for their sexual involvement with an array of powerful men. The novel’s title invites two main readings: the first, and perhaps more obvious, along gender lines; and the second, which will provide the backbone to my analysis, within the framework of the natural world, the animal kingdom in particular. The Natural Way of Things has been described as a study in contemporary misogyny and the workings of patriarchy. The ingrained sexism of society—the insidious, normalised violence against females, often blamed on them, glossing over male responsibility—is undoubtedly the central topic of Wood’s work. Without losing sight of gender issues, my approach to Wood’s novel is inspired by Rosi Braidotti’s posthuman theories on the continuum nature–culture and the primacy of zoe—“the non-human, vital force of life”—over bios, or life as “the prerogative of Anthropos” (Rosi Braidotti). According to Braidotti, the current challenges to anthropocentrism question the distinction between these two forms of life, highlighting instead the seamless connection between the natural world and culture and favouring a consideration of the subject as embodied, nomadic and relational. My reading of The Natural Way of Things in light of Braidotti’s insights will be supplemented by an analysis of the novel in the context of transmodernity, both a period term and a distinct way of being in the world theorised by critics such as Rosa M. Rodríguez Magda and Marc Luyckx, who emphasise the relational, interdependent nature of contemporary times from a more human-centred perspective. The Natural Way of Things is also a story of female empowerment. This is especially the case with Yolanda Kovacs and Verla Learmont, the two protagonist women, who step out of their roles as victims and stand up to their guards. My analysis of the novel will revolve around these two characters and their different reactions to confinement and degradation. I conclude that although a more zoe-centred conception of the human subject that acknowledges the human–animal continuum should definitely be welcomed, literally “becoming animal”, as Yolanda does, deprives one of meaningful human relationality, embodied in the novel in Verla’s memories of her caring, empathic relationship with her father.

This article argues that The Cure for Death by Lightning is a novel that attempts to make a meaningful and serious engagement with the Shuswap figure of Coyote. In doing so it raises vital questions regarding the extent to which a settler writer can and should appropriately engage with an Indigenous story. Through a focus on both the material animals in the novel, such as domesticated farm animals and the wild coyotes of the bush, and also the representation of Coyote and the Shuswap characters, this article will argue that Anderson-Dargatz encourages a re-evaluation of the way in which we engage with non-human animals, introducing an eco-sexual framework that encourages empathy and kinship with all beings. By using Kim TallBear’s (Sisseton Wahpeton Oyate) and Melissa K. Nelson’s (Anishinaabe/Métis) definition of eco-sexuality, it will argue that the novel pushes for the centring of Indigenous knowledge in building more sustainable relations with animals. However, it will also acknowledge that despite this eco-sexual engagement, the novel ultimately still continues to centre the settler experience in its narrative, encapsulating and enacting a form of displacement in its very construction. By treading this fine line between an attempted serious engagement with Shuswap culture and questions of cultural appropriation, the novel is an example of the notion that it is imperative that settler literature must engage and destabilize the types of oppressive hierarchies that underpin both species and settler-Indigenous relations, namely settler-sexuality and anthropocentrism, if settler culture is to follow.

One of the main causes of the ethical ambivalence in the attitude of homo sapiens species towards other living creatures is its utilitarian and anthropocentric mindset which permeates practical decisions and judgments. Socio-ecological conditioning of the human-animal relations to which the former contributed through practices and habits (habitus) largely designating the so called cultural norms (at least in Bourdieu’s conception) have thus far legitimized speciesism as well as disablement and exclusion of animals from the advantages of technology and veterinary medicine, which in turn would strengthen their position in the face of continual exploitation in favor of man. Since few decades this state of affairs has been changing; man’s ethical consciousness in respect of the predicament, state of mind and well–being of other living creatures is rising. The encounter of man with different non-human beings who do not know human forms of auto-expression or communication became possible through the discovery of science – as well as philosophy’s and particularly ethics’ indication – of common properties and socio-cognitive capabilities: including fellow feeling which in case of a human being is followed by consciousness, understanding, interpretation, as well as relevant decisions and actions. This common denominator among species is waiting for further exploration and redefinition in terms of ethics. That is exactly what constitutes the requirement for improvement of the condition of other species in the world exploited by human kind. Many academic disciplines contribute to the unceasing widening of the moral horizon (empathy, fellow feeling, responsibility, solidarity, readiness to care and help) so that it could embrace over time as many individuals representing species outside homo sapiens as possible. Veterinary medicine and palliative care create conditions that foster the rebuilding of a caring relationship between man and other living creatures, opening at the same time door to recognition and meaningful relations (in Ricoeur’s terms), understanding and love of the universe of life (bios) that man shares with other species.

The article is devoted to the phenomenon of the modern teacher personality in the context of the childhood values problems. The present work continues a series of publications devoted to the discussion of axiological and cultural context of the new pedagogical reality characterized by the destruction of the traditional ethical core of professional pedagogical culture, which no longer provides social consolidation within children’s groups, cultural protest manifestations of which take a form of a social behavior program with the freedom of self-expression as the priority. The authors believe that the dramatic space of modern school culture limits the social freedom of a child by «permitted» models of behavior focused on the past as on a standard (A. Y. Flier). As a result, it leads to communication barriers’ density increase that enforces the axiological resistance to teacher’s cultural influence that is becoming a norm of social communication, violating the constructive functioning of adequate pedagogical means of social practices of the positioned «creative interaction» and cultural orders. There is a special relevance of the axiological confrontation within the anthropocentric Absolutes crisis that affects the teacher personality as a subject of pedagogical activity, the archaic system of which gives a negative social, educational and cultural effect, and requires building a new axiological hierarchy of its components. In today’s anomalous situation, changing the meaning of collective ideas about the properness, the authoritarian model of school interaction and the «adult» dictatorship of teacher’s values have lost its effectiveness. The hidden mechanisms of resistance to the «values of childhood» destroy the former image/svg+xml43 hierarchical supervision over the «right choice of values», exacerbating the culture interaction issue. Taking into account the prevailing of the «post-culture» subject-object relations that formed the basis of social interaction in the educational space, the authors are convinced that the childhood values represent the basis not only for the functioning but also for the development of pedagogical culture as a «real cultural work on meanings production and translating them into knowledge production» (O. Zhukova).In conclusion, the authors express the importance of harmonizing the school cultural space, in which there would be an adequate axiological standards balance between the educational process participants.

Contemporaneity represents an epoch of qualitative changes in social life, which creates due grounds for different scenarios of development of the state and law. The concern for the prospects of state/legal organisation of the society has placed the problem of transformation of the state and law in the centre of scientific conceptualisation, made it a subject of heated debate and accounted for the creation of annalistic history. The authors of the article take part in the polylogue on the given subject by formulating their position on the future of the cultural phenomena – the state and the law. The philosophical/legal research is based on the recognition of the fact that the global scientific revolution has in fact become a reality, and there are due grounds for the formation of the post-classical legal science. The complexity and multidimensionality of the subject of the research – the prospects of transformation of a nation state and law in the conditions of contemporaneity – required a resort to interdisciplinary methodology. The accomplished research largely relied on the anthropocentric approach that allowed the authors to focus on a human being and its consciousness, considering that the latter has an ability to adapt to the challenges of globalisation and the development of digital technologies. As a result of the research, the authors came to the conclusion that the modern state is transforming and acquiring new characteristics under the powerful influence of globalisation processes. The claims of scholars who presume that the state will wither in the foreseeable stage of human development were subjected to criticism. The authors believe that the state continues to be the core of social organisation and adapts to the challenges and threats of the modern time by acquiring new characteristics. Transformation takes place as well in the sphere of legal regulation. The law is comprehended not just as a set of norms or daily activity of people aimed to realise these norms. The law is realised to construct the reality; at the same time the law as such becomes an object of influence of social transformation processes following which the content, forms, legal systems, as well as the mechanisms of law development and law enforcement, undergo changes. An important component of changes is transformation of the philosophical core of law reflecting the processes of change in the paradigm of values.

RESUMO Hans Jonas na obra O Princípio Responsabilidade: ensaio de uma ética para a civilização tecnológica (2006 [1979]) apresenta o diagnóstico de uma civilização debilitada e perecível, constantemente ameaçada pelos poderes do homem tecnológico. De posse desta análise, constrói uma proposta no sentido de novas fundações para o edifício ético a partir de uma responsabilidade. Jonas constata o caráter antropocêntrico de uma ética que não abrangia as consequências dos impactos oriundas da ação humana sobre o homem e a vida na biosfera. Em seu ideário filosófico sobre a civilização tecnológica, estende as atitudes dos homens para além do agir próximo, reconhecendo um direito próprio da natureza. A recolocação conceitual da natureza, dotada de finalidade própria, expressa que o poder tecnológico promove os desafios morais da contemporaneidade, visto que há a possibilidade certa (causas) e incerta (consequências) de os efeitos acumulativos desta mesma tecnologia pôr em perigo a continuidade futura da vida sobre o planeta. O imperativo da responsabilidade resulta do poder do homem contemporâneo sobre si e sobre o planeta. Caracteriza-se por ser uma responsabilidade perante a natureza e perante o próprio homem. A concepção de responsabilidade em Jonas está em conformidade com uma nova exigência axiológica. É uma responsabilidade que se firma com a preservação da vida em um futuro distante e com a continuidade da vida tal como conhecemos. O que justifica um pretenso biocentrismo no princípio responsabilidade é o fato de que a continuidade da existência gera uma obrigação com a vida, porque dizer sim a ela é ser. O grande objetivo de uma nova abordagem biocêntrica, como o imperativo de Jonas, é de manter a existência da humanidade futura, em um futuro que existam candidatos a um universo moral em um mundo concreto – o autêntico objetivo da responsabilidade. Abstract: Hans Jonas in the book The imperative of the responsibility: in search of an ethics for the technological age (2006 [1979]) presents a diagnosis of a civilization weakened and perish, constantly threatened by the powers of technological man. Armed with this analysis, a proposal to build new foundations for the building from an ethical responsibility. Jonas notes the character of an anthropocentric ethic that did not cover the consequences of impacts arising from human action on man and life in the biosphere. In his philosophical ideas on the technological civilization extends men's attitudes beyond the next act, recognizing an inherent right of nature. The replacement of the conceptual nature, with its own purpose, expressed that technological power promote the moral challenges of contemporary times, since there is a certain possibility (causes) and uncertain (consequences) of the cumulative effects of this same technology to jeopardize the continued future life on the planet. The imperative of responsibility results from the power of modern man about himself and the planet. It is characterized by being a responsibility to nature and to the man himself. The conception of responsibility in Jonas is in accordance with a new demand axiological. It is a responsibility that is established with the preservation of life in the distant future and the continuity of life as we know. What justifies a purported biocentrism the principle responsibility is the fact that the continued existence creates a bond with life, because she is saying yes to be. The ultimate goal of a new approach biocentric, as the imperative of Jonas, is to maintain the existence of mankind in the future, a future in which there are candidates for a moral universe in a concrete world - the real goal of the responsibility. Keywords: the imperative of responsibility, demand axiological, nature, biocentrism.

This essay seeks to demonstrate the following:1.the value of metaphysical cosmology to our relationship with nature, and to making policy about the environment;2.the mistaken nature and harmful consequences of the hegemonic cosmology of anthropocentrism; and,3.the possibility of Zhang Zai’s Qi/qi Great Harmony cosmology as both the refutation of and replacement for anthropocentrism.The essay concludes that ultimate moral progress of expanding the self from the narrow and exclusionary views of anthropocentrism consists in cosmocentrism, or the transformation of thought to a cosmological perspective as exemplified by Zhang Zai’s Great Harmony continual cyclical process of Qi/qi. It is argued that positive metaphysical visions such as Zhang Zai’s can negate anthropocentric cosmology and inspire us to view our relationship with the environment in a fundamentally enlightened and more respectful way, which is not arrogantly self-centred, disconnected and supremacist.

The Familiar is densely structured by divisions and hierarchies in terms of plot, focalization, vocabularies and layout, but it is primarily a book of interconnectedness. This is a principle that propels its narrative and poses the biggest challenge in its execution: is it possible to describe a genuinely new and disruptive entity, a “monster” unreadable in terms of existing codes and concepts, arriving as a series of glitches, a system breach, a breakdown of defenses, an enforced encounter with the Other?The Familiar itself could be conceived as an arena where a new genus comes into being through the corporeality of text, not represented as a character or recounted as an event, but assuming flesh on the page within the suspended temporality of print. A specific signiconic lexicon was devised to blur the borders between the textual and the pictorial, to give a voice to the voiceless (“the waves, the animals, the plants”), and to “surpass or bypass the mind” (Danielewski). Placing this enlarged semiotic spectrum of the sensible and the intelligible within the traditional frame of a multi-volume novel makes its ambition even more radical. Pushing the book-as-archive beyond its historical confines of mimesis and expression, The Familiar envisions literature as a process, a distribution of forces across an ontologically heterogeneous field, suggesting a nonlinear continuum motivated by a “non-subject-centered mode of agency” (Bennett).Starting with notions of the book to come as a locus of futurity and unexplored possibility (Blanchot, Derrida) and assemblage as a multiplicity, a corpus of becoming or a zone of emergence (Deleuze and Guattari), this article attempts to examine the tension between storytelling demands and the very materiality of The Familiar (including its asemic borders or cores) in view of its own signiconic and inherently post-anthropocentric goals.

The article deals with the points of intersection of musical discourse and national languages. This issue is relevant for modern linguistics, discourse studies in particular. The issue of the interpenetration of various discourse types over the last decade has been activated at all levels of the leading directions of the anthropocentric paradigm in academic research. Music and verbal language have repeatedly become the object of analysis and detection of semiotic interaction, but this has mainly concerned folk or classical music and folk songwriting. However, British rock music and English have been studied fragmentarily at the level of individual performers. The purpose of the article is to identify semiotic correlations between music and natural languages. The leading approach to studying the issue is a discourse analysis of empirical material at the level of terminology and prosody of sign functioning. A hypothesis is put forward that the worldwide success of British rock is due not only to the realization of the creative possibilities of talented musicians but to the specific structural and semantic features of the English language and British culture. The authors describe the synergetic elements of English phono-stylistics at the level of diphthong (triphthong) functioning, rhythmic prosody, melodic structures, versification mechanisms, and singing components. Several semiotic correlates of the verbal and non-verbal continuum of rock music and English have been identified. An important element of the discovered correlations is the belonging of musical and verbal discourses to the phenomenon of artistic creativity, in particular, the British historical and cultural tradition. The results of the study can be applied in further research in the field of synergetic correlation between three types of linguocultural substances: music, mentality, and national language.

Biodiversity loss continues to be one of the greatest issues for this generation despite the development of International Environmental Law (IEL). By examining the anthropocentric nature of the Convention on International Trade in Endangered Species of Wild Flora and Fauna (CITES) I will argue that how we attribute value to wildlife and the human-centric construction of law are the key reasons for the failures of IEL. Ultimately a shift in attitude is required if we are to effectively halt environmental degradation and protect wildlife species under IEL.

As a name, “Anthropocene” would seem to signal that this geologic epoch is both because of humans and about humans. The latter implication draws on pervasive cultural ideas about nature which underlie the Anthropocene and its climatic impacts, namely nature as an extractable, endlessly-renewable resource. While scholars in the environmental humanities, animal studies, and critical plant studies have been quick to both diagnose and propose new directions for our engagements with the material universe, scholarship on archival materiality has continued to focus on the archives as an institution for and about human intellectual endeavors. In other words, the archives continues to be an extractable resource. Within the archives animal, plant, and abiotic changes which work against projects of human history are seen as failures, infestations, or disasters – they can never be properly archival. This essay offers a potential corrective to anthropocentric archiving, by bringing together Jane Bennett’s new materialist project of “vibrant matter,” Michael Marder’s vegetal philosophy, and Caitlin DeSilvey’s curation of decay to suggest avenues of engaging archival materiality as meaningful and provocative. As an analytic schema, this focus on the ‘vibrant archives’ does not aim to save records from planetary changes but to begin the work of re-thinking archival materiality (and its destruction) within the context of the Anthropocene. Pre-print first published online 04/07/2019

Abstract Maximising the detection of a target species reduces the uncertainty of survey results and can improve management outcomes. Deer (Cervidae) populations are managed worldwide due to their impacts on anthropocentric interests. In the UK, deer can only lawfully be shot during the daytime, from 1 h before sunrise to 1 h after sunset, when deer activity is at its lowest. We evaluated performance of a thermal imager relative to binoculars for their ability to detect deer during the daytime and at twilight (1 h either side of dawn and dusk). Transect surveys on Thorne Moors, UK, revealed that more roe and red deer were observed using a thermal imager than when using binoculars. More deer in much larger groups were observed at twilight than during the other daylight hours. Variation in animal detectability at different times of the day must be considered during wildlife surveys if their outputs are to be as accurate and precise as possible. The results support the continued focus of deer culling efforts during the hours of twilight. They also highlight the potential utility of thermal imagers for maximising detection probability at twilight.

From its conception the world-systems perspective has been preoccupied with the study of long term global transformations (see for ex., Frank 1968, 1979; Wallerstein 1974; Amin 1974; Wolf, 1982; Chase-Dunn 1989; Chase-Dunn and Hall 1992; Kaplan 1978).2. To this extent, the various structural relationships, trends, and cycles of the world system have been identified to explain the processes of global transformation. The varied attempts to pinpoint and analyze these relations, trends, and cycles have been within the context of connections between humans, classes, status groups, industries, regions, and states in the world economy. From an ecological point of view (ontologically and epistemologically), such a manner of understanding change is quite anthropocentric, as global transformation necessitates a changing relationship with Nature. In an era of increasing global concern and awareness of the finite nature of natural resources and the growing realization of the contemporary losses in plant and animal species and the continued susceptibility of the human species to climatological changes and diseases despite various scientific and technological advances, we need to consider that besides social relations and structures, the basis of human reproduction includes our relationships with the non-human world (ecology). World-systems /world system analyses need to move beyond deciphering the processes of global change only through the social (anthropocentric) dimension of the relations underlining these processes. Keeping to just the social relations/structures of the reproduction of the system limits the range of explanations we can provide for global transformation, and also restricts the dimensions whereby the basis for these changes can be explored. This paper is an attempt to introduce the other basic dimension (our relations with Nature) into the overall equation of world-systems/world system analyses for our understanding of global change. Ultimately, it is this Culture/Nature relation along with the dynamics of Nature that in the long run determines the trajectory of the transformation of the world system. The purpose of this paper is to "green" the world-systems/world system analyses to date, and to suggest (ontologically and epistemologically) an ecocentric world system history approach beyond a humanocentric world system history analysis that has been proposed by Frank and Gills (l992(a), l992(b)).

Rachel Carson was instrumental in changing the way the world viewed conservation. Her initial written works demonstrated the idea that humans were not the center of the earth’s ecosystems by describing the environment from the viewpoint of non-human creatures (Cafaro, 2011, para. 45-48). Carson’s most eminent publication, Silent Spring, was released at the beginning of the 1960s (Cafaro, 2011, para. 25). The book advocated Carson’s concept of enlightened anthropocentrism through the insistence that new scientific innovations should be questioned as to why, whether, and for what purpose they are put into practice (Walker & Walsh, 2012, p.19). Another issue sparked by Silent Spring regarded whether humans should alter nature for our purposes or attempt to leave it unchanged (Cafaro, 2011, para. 67). Silent Spring helped to spark a national debate about scientific responsibility, limitations on advances in technology, and chemical pesticides in general (Lear, 2013, p. 1). The fact that her arguments stimulated such intense discussion is a testimony to how influential she truly was. Furthermore, Silent Spring led to the banning of dichlorodiphenyltricholoroethane (DDT) production by 1972, along with the implementation of government regulations to safeguard the environment (Hecht, 2012, p. 154; Lear, 2013, p. 1). Carson also made individuals realize that what they put into the environment must be regulated in order to keep the effects from haunting them for generations to come. This undeniable truth continues to resonate today.

The aim of the article is to portray translation as a means of constructing cultures in terms of philosophy. Proceeding from the idea that cultural enrichment occurs due to the translation of not only literary works, but also ideas, traditions, way of living, etc., the hypothesis was put forward that philosophical description and analysis of translation should be carried out on the basis of two interwoven phenomena – culture and creativeness. Methodology of the article is determined by general humanitarian principles of interdisciplinarity (use of methods and theories of such correlated disciplines as cultural studies, translation studies, philosophy), anthropocentrism (emphasis on the agent of action as a focal point of translation process), and poliparadigmatism (combination of provisions of classical structural and modern cognitive paradigms resulting in the complex character of the research). Scientific novelty of the research is determined by obtaining some new information concerning the role of translation as a means of (self)cognition / (self)reflection; individual and collective development; and shaping cultural continuum. Innovative approach to translation allows to come to a more profound philosophical understanding of this phenomenon going beyond its linguistic and/or communicative essence and to appreciate its significance for creative self-improvement of all the involved individuals (author, translator, and recipient) as well as for sustained cultural growth all over the world. Conclusions. Conducted research revealed global creative function of translation that helps establish and develop cultures on a universal scale since the majority of national cultures were constructed in the process and under the influence of translation. In the context of Ukrainian colonial and post-colonial history, the article highlighted the role of translation as a cultural catalyst, transmitter of ideas, and defender of spiritual values.

This paper is concerned with time. Specifically, this paper is concerned with the way in which a human-centered model of time can be shifted, as a result of the digital encounter, toward a conception of a highly differentiated and thickening model of duration. I propose that this thickening of duration, or multitemporality, comes about through the intersection of the differentiated structures of narrative and database. My central concern is therefore to provide a description and explanation of the way in which an anthropocentric model of duration, in other words, a model of time that privileges the human experience, can be challenged by theorising the intersection of the non-linear temporality of the database and the linear temporality of narrative. My paper will work this proposed theory of multitemporality through a case study of the 2007 interactive work T_Visionarium II (see http://www.icinema.unsw.edu.au/projects/prj_tvis_II.html for images). This work was produced by the iCinema Centre for Interactive Cinema Research at the University of New South Wales. The project was co-directed by Dennis Del Favero, Jeffrey Shaw, Peter Weibel and Neil Brown. Through the investigation of the concept of multitemporality, I propose a concept of thickening duration within T_Visionarium II as actual duration comes into contact with virtual duration and as the linear structure of narrative comes into contact with the nonlinear structure of the database. Being concerned with time, I am also concerned with the processes of the aesthetic event of new media. Events, as they occur in time, link together in order to form a process. This process, following A. N. Whitehead, leads to various levels of adaptation that are primarily brought about through interconnections and concrescence. Through my extrapolation of Whitehead’s process philosophy, which I present in the later sections of this paper, I am able to grapple with questions of process. Specifically, I use Whitehead to present the ecology of occasions throughout the duration of the digital encounter and also to indicate the way in which we may begin to conceptualise the interconnection of the differentiated structures of narrative and database. T_Visionarium II has recordings taken from over thirty hours of Australian television, encoded by a content recognition algorithm, and stored in its database (Del Favero, 1). These media images are made visible on the machine’s substrate and are subject to the viewer-user’s navigation. Once the viewer-user selects a particular moving image from those displayed, the surrounding clips cluster around this image, due to the tag ascribed to them by the content recognition algorithm, in a hierarchy of relationality; those with the strongest relationship to the thematic and visual characteristics of the selected media clip cluster around the clip while those with weaker relationships shift away from this clip, behind the viewer. After the reassembly of the audio and visual information is completed, the clips either loop in a short repetitious duration, based on the temporal length of the specific shot, or can be played in a linear fashion. Also, windows may be dragged on top of one another, which causes the television clips from each window to be combined into one window and played back to back. This function allows the viewer-user to select and create a linear narrative. The viewer-user thus navigates through the moving images—in doing so, navigating through the time of the images, and forming lines of relations between images and times where perhaps none existed before. In this way, a type of ecology of the various media images and an ecology of temporality is produced in which the interrelationship between media images, temporalities and also that of the viewer-user to the environment is brought to the fore. T_Visionarium II presents a time that is out of joint. Its presentation of multiple durations of televisual information fractures the medium’s imaging of the world into multiple, largely incoherent, durations. The televisual images within each “window” are quite obviously from different historical periods in time. For instance, images from re-runs of soap operas may be actualised, as well as historical documentary footage, along with a near current news story or a relatively recent Hollywood blockbuster. These media images, from different time periods, when presented and recombined within the immersive environment—a purpose built structure that the iCinema artists and technicians call the Advanced Visualisation and Interaction Environment—allow the viewer to re-experience the actual time of these events as a simultaneity of out-of-joint durations. Here, I propose that the digital encounter within the immersive environment has prompted an adaptation to the way the viewer-user experiences time vis-à-vis the machine. This adaptation is brought about as the viewer-user experiences multitemporal actual durations through the multiple durations displayed in the windows of T_Visionarium II. The model of multitemporality presented here is a result of the viewer-user’s ability to access video streams from different time periods simultaneously. The time of T_Visionarium II also seems out of joint as the particular duration of a particular window tends toward rendering the episode incoherent. This is due to the way the television segments are edited. On average each television clip is four and a half seconds long. Each image is edited in terms of individual shots; any particular image has its start and end point when the original television image changes shot. This may occur in mid narrative stream, or may only capture a small movement, which is deprived of its link with the movement of the next shot. In this way the time of the duration of each shot seems to be flowing toward its extension in the next intended shot. However, the arrangement of the television images into discrete shots disallows this flow. The resulting temporal loop makes time seem trapped in the short four and a half second duration of each shot. In this way, linear television time has been adapted into an experience that is quite different. In order to think the connection between the narrative images of T_Visionarium II we must avoid thinking of these images as compartmentalised sets. If we think of each media image as an event within duration, rather than a compartmentalised image, we are able to see that each actual occasion of interaction contains a trace of the past and future media images. Moments are contemporaneous with those “just-past” and those which are “just-future”. Here, the traces of “just-past” and “just-future” are imbued within the conscious present so as to become meaningful. Also, these interrelationships are made visible on the substrate of T_Visionarium II. The past video clips linger upon the projection screen and affect the narrativity of every other clip. The television images become like a montage, with every clip transferring signification to the others. In this way, the television images of T_Visionarium II are to be read as pregnant with the trace of images past and future; the duration of a particular television image forms a nexus with the duration of the images “just-past” and “just-future”. Also, the television images contain a trace of the temporality of the database. Each television image is potentially linked to every other image archived within the database. Through this link to the potentiality of the database, each media image links to the virtual. The virtual realm that I am discussing here is not the perceived “virtuality” of “cyberspace” or “virtual reality”. I use the term “virtual” as Henri Bergson does and as Gilles Deleuze furthers this usage; that is, to signify the incorporeal structures of the potential of the future and the traces of the past that direct the actualisation of the present moment (Bergson, 196; Deleuze, 45). For the purposes of my argument, we may say that the virtual exists as an ontological but incorporeal structure that contains potential events. In this way, the virtual contains events that await actualisation. Deleuze’s virtual also contains past events that may be made actual as memory-images. As Dorothea Olkowski points out, the past and future can no longer be thought of as successive points on a time line; they rather exist as virtual structures that are contemporary with the actual present (Olkowski, 163). The virtual structures may be called upon by the actual present based on their usefulness, and, because of this, may direct the route of actualisation (Olkowski, 110). Each image of T_Visionarium II links to the virtual in that any selection may trigger various other narrative directions. If we think of each virtual narrative instance, that is each potential narrative instance and every past narrative instance, as existing on separate planes of potential, then we may say that each of T_Visionarium II’s television images contains traces of various planes of the virtual, of which one will be actualised. The duration of any one television image is thus made thick with the traces of the potential images that it may trigger. The duration of the narrative event of any television image is contemporaneous with the duration of the database. As a result, any particular narrative instance may be understood to contain sections of the duration of past and future television images. The moving image of the narrative links to the potential of the database and also links to the potential of the virtual. As a consequence, the experience of time that emerges from the narrative of the moving image is one which is imbued with the multiple levels of duration that may be triggered from the database and displayed on the substrate of T_Visionarium II. The duration of any moving image is thus imbued with those narrative instances that came before it, those that could potentially come after it, and those that are simultaneous with it. In addition to the model of multitemporality that is presented by the simultaneously distributed video streams of T_Visionarium II, a further model of duration may be cited when we consider the mesh of database and narrative. The highly differentiated durative passages of the digital encounter are constituted on one side by the temporality of T_Visionarium II’s database and on the other by the narrative image of the machine’s substrate. The latter opens itself to experience as anthropocentric lived time, while the former does not open itself to actual human experience, other than our imaginings. The database, as an actual entity, occupies a different section of duration, but it is also present in those narrative durations that it relates to; thus forming a concrescence between the narrative sections of duration and the database sections of duration. This constitutes a multitemporal duration between anthropocentric time and machine time; the duration of the actual occasion thickens so as to include both the lived time of the subject and the machine time of the database. The outcome of this is a differentiated duration that is experienced as the convergence of machine time and lived time. It is as if, following Manuel DeLanda’s work on manifolds and degrees of freedom, each level of duration exists on a different manifold of duration (DeLanda, 27). The particular direction that the passage of the narrative of interaction takes is directed by the degrees of freedom of each manifold. If we think of duration as thick, and, as argued above, each moment pregnant with instances “just-past” and potentialities of “just-future”, we can gain a picture of these different manifolds of duration. We can picture past actual occasions and future potential occasions, following on from Deleuze’s and Brian Massumi’s concepts of the virtual, existing as a cloud of the virtual that surrounds the present actual occasion (Deleuze and Parnet; Massumi). In other words, the manifold of any particular present actual occasion is surrounded on all sides by manifolds of virtual occasions. These structures can be understood to intermingle and adapt to one another in such a way that they provide the potential for new experiences within the digital encounter. Duration has thus thickened from a concept that only includes the manifold of actual occasions to one that includes the manifolds of the virtual. As well as the structures of the virtual, the duration of the non-linear database can be conceptualised as existing on separate manifolds of duration that surround the actual narrative event. Both narrative duration and database duration must be theorised as separate and, at the same time, in constant collision with one another. These two conceptions of duration are contemporaneous; they exist side by side without either one being wholly contained by the other. Turning from Bergson’s, Deleuze’s and Massumi’s concepts of the virtual and the actual to Whitehead’s notion of process, we can begin to think about the processes of adaptation that are brought about by this process of concrescence. Deleuze, Bergson and Massumi have provided a means to think about the virtual and the actual in duration, and here Whitehead provides a means to think about the process of adaptation as an interconnection of the enduring objects of the virtual and actual. We may think of database and narrative structures as similar to Whitehead’s concept of actual occasions. As Whitehead states, each actual occasion has its own distinct duration, but also each actual occasion lies in many durations (125). Following Whitehead, any one actual occasion may be present in several other actual occasions. For Whitehead, the essence of any actual entity is that each entity is a prehending thing; it has a definite connection with each item in the universe and that connection makes a positive contribution to the constitution of the event (109). In the case of narrative and database, both substances prehend the other, they form a definite bond, and this makes a positive contribution to the constitution of the narrative-database event. If we think of the material and machinic of the digital encounter as two distinct enduring objects, different in character but not contrary, it may then be said that both are able to qualify the same actual occasion. I use the term “enduring object” in the Whiteheadian sense as a characteristic or stable pattern that is inherited in the historic route of actual occasions (199). In other words, an enduring object can be said to be an object, which may be either an atomic material body or an incorporeal structure that, through its intersection with other enduring objects, gives satisfaction to the presiding situation. Thus, the enduring object of the database and the enduring object of the pattern of actual experience intersect to satisfy the presiding occasion of the digital encounter. The intermingling of the machinic duration and the actual narrative duration within T_Visionarium II is a fluid process that constitutes the particular nexus of actual occasions. The information from both enduring objects flows through their intersection. Whitehead, using a cup and saucer as metaphors for eternal objects, describes the way in which two enduring objects come together. He states, “it is as though the cup and saucer were at one instant identical and then, later on, resumed their distinct existence” (199). If we think of database and narrative in such a fashion, we can begin to conceptualise the multitemporality of T_Visionarium II. In T_Visionarium II, data flows mutually from the actualised narrative of interaction to the database structure and from the database to the narrative. The nexus of actual occasions is thus constituted by the intermingling of the two eternal objects; they, in essence, become, or adapt into, one enduring object. On the other hand, both structures remain separate. The narrativity of the work is able to exist solely in the particular narrative regime, as the database is able to exist solely in its coded regime. The nexus of actual occasions, that is the temporal passage of interaction within T_Visionarium II, is brought to satisfaction by this assemblage and de-assemblage of narrative and database. The narrativity of the work exists in its own realm of duration, as its own eternal object, which is able to form a nexus of narrative actual occasions. Also, the database structure inhabits its own machinic duration, which is able to form a nexus of information flows. In this way, the database can be thought of as in time, as affected by the changing nature of process through time. The time that has been described in this paper is a time of fibrous duration. In a culture of new media, time can no longer be thought of as a linear structure that houses human experience and memory. The structure of time has become thick and fibrous with the introduction of a machinic non-linear temporal logic. Deleuze has been used to show that each actual occasion of duration can be thought of as surrounded by virtual, potential occasions. In order to further this, Whitehead has been used to show that each of these occasions connects with every other event in duration. In this Whiteheadian and Deleuzian model, adaptation occurs as the events of duration, whether actual or virtual, interconnect, respond to one another and coalesce. The differentiated experiences of narrative duration and database duration mesh, in order that these two Whiteheadian enduring objects may adapt into another separate enduring object. This is the multitemporal experience of the digital encounter. If we view the digital encounter with new media, such as T_Visionarium II, through a multitemporal paradigm, we are then provided with a particular method with which to conceptualise other processes of adaptation. If we view differentiated sections of duration as existing upon separate manifolds, but also, at the same time, as containing traces of their surrounding durations, we can see that each section of duration imposes something of itself upon those that surround it. Each section of duration, whether virtual or actual, is morphogenic; in other words, it may adapt in various ways. The parameters of this morphogenesis are set by the degrees of freedom found within any particular duration. As each section of duration imposes itself on others, it transfers its degrees of freedom. Following on from this, the passage of evolution, or adaptation, is directed by the degrees of freedom of every level of duration, whether actual or virtual. The database duration that surrounds the narrative duration of T_Visionarium II directs the passage of narrative evolution as it imposes degrees of freedom in respect of the possible narrative images that it may trigger. Adaptation occurs as the dynamic mesh between the differentiated structures of narrative duration and database duration. References Bergson, Henri. Matter and Memory. London: George, Allen and Unwin, 1950. Del Favero, Dennis, Neil Brown, Jeffrey Shaw, and Peter Weibel. T_Visionarium II. Sydney: iCinema Centre for Interactive Cinema Research, UNSW, 2006. DeLanda, Manuel. Intensive Science and Virtual Philosophy. Transversals: New Directions in Philosophy. Ed. Keith Ansell Pearson. London: Continuum, 2002. Deleuze, Gilles. Cinema 2: The Time Image. Trans. Hugh Tomlinson and Robert Galeta. London: Continuum, 1985. ———, and Claire Parnet. “The Actual and the Virtual.” Dialogues 2. Ed. Eliot Ross Albert. London and New York: Continuum, 1987. Massumi, Brian. “Parables for the Virtual.” Post-Contemporary Interventions. Eds. Stanley Fish and Fredric Jameson. Durham and London: Duke University Press, 2002. Olkowski, Dorothea. Gilles Deleuze and the Ruin of Representation. Berkley: University of California Press, 1998. Whitehead, Alfred North. Process and Reality: An Essay in Cosmology. New York: The Free Press, 1978. Citation reference for this article MLA Style Barker, Tim. "Adapting a Model of Duration: The Multitemporality of T_Visionarium II." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/14-barker.php>. APA Style Barker, T. (May 2007) "Adapting a Model of Duration: The Multitemporality of T_Visionarium II," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/14-barker.php>.

IntroductionIf human beings have become a geophysical force, capable of impacting the very crust and atmosphere of the planet, and if geophysical forces become objects of study, presences able to be charted over millions of years—one of our many problems is a 'naming' problem. - Bethany NowviskieThe anthropocene "denotes the present time interval, in which many geologically significant conditions and processes are profoundly altered by human activities" (S.Q.S.). Although the narrative and terminology of the anthropocene has not been officially legitimized by the scientific community as a whole, it has been adopted worldwide by a plethora of social and cultural studies. The challenges of the anthropocene demand interdisciplinary efforts and actions. New contexts, situations and environments call for original naming propositions: new terminologies are always illegitimate at the moment of their first appearance in the world.Against the background of the naming challenges of the anthropocene, we will map the emergence and tell the story of a tiny world within the world of media studies: the world of the term 'nanomedia' and its hyphenated sister 'nano-media'. While we tell the story of the uses of this term, its various meanings and applications, we will provide yet another possible interpretation and application to the term, one that we believe might be helpful to interdisciplinary media studies in the context of the anthropocene. Contemporary media terminologies are usually born out of fortuitous exchanges between communication technologies and their various social appropriations: hypodermic media, interactive media, social media, and so on and so forth. These terminologies are either recognised as the offspring of legitimate scientific endeavours by the media theory community, or are widely discredited and therefore rendered illegitimate. Scientific legitimacy comes from the broad recognition and embrace of a certain term and its inclusion in the canon of an epistemology. Illegitimate processes of theoretical enquiry and the study of the kinds of deviations that might deem a theory unacceptable have been scarcely addressed (Delborne). Rejected terminologies and theories are marginalised and gain the status of bastard epistemologies of media, considered irrelevant and unworthy of mention and recognition. Within these margins, however, different streams of media theories which involve conceptual hybridizations can be found: creole encounters between high culture and low culture (James), McLuhan's hybrid that comes from the 'meeting of two media' (McLuhan 55), or even 'bastard spaces' of cultural production (Bourdieu). Once in a while a new media epistemology arises that is categorised as a bastard not because of plain rejection or criticism, but because of its alien origins, formations and shape. New theories are currently emerging out of interdisciplinary and transdisciplinary thinking which are, in many ways, bearers of strange features and characteristics that might render its meaning elusive and obscure to a monodisciplinary perspective. Radical transdisciplinary thinking is often alien and alienated. It results from unconventional excursions into uncharted territories of enquiry: bastard epistemologies arise from such exchanges. Being itself a product of a mestizo process of thinking, this article takes a look into the term nanomedia (or nano-media): a marginal terminology within media theory. This term is not to be confounded with the term biomedia, coined by Eugene Thacker (2004). (The theory of biomedia has acquired a great level of scientific legitimacy, however it refers to the moist realities of the human body, and is more concerned with cyborg and post-human epistemologies. The term nanomedia, on the contrary, is currently being used according to multiple interpretations which are mostly marginal, and we argue, in this paper, that such uses might be considered illegitimate). ’Nanomedia’ was coined outside the communications area. It was first used by scientific researchers in the field of optics and physics (Rand et al), in relation to flows of media via nanoparticles and optical properties of nanomaterials. This term would only be used in media studies a couple of years later, with a completely different meaning, without any acknowledgment of its scientific origins and context. The structure of this narrative is thus illegitimate, and as such does not fit into traditional modalities of written expression: there are bits and pieces of information and epistemologies glued together as a collage of nano fragments which combine philology, scientific literature, digital ethnography and technology reviews. Transgressions Illegitimate theories might be understood in terms of hybrid epistemologies that intertwine disciplines and perspectives, rendering its outcomes inter or transdisciplinary, and therefore prone to being considered marginal by disciplinary communities. Such theories might also be considered illegitimate due to social and political power struggles which aim to maintain territory by reproducing specific epistemologies within a certain field. Scientific legitimacy is a social and political process, which has been widely addressed. Pierre Bourdieu, in particular, has dedicated most of his work to deciphering the intricacies of academic wars around the legitimacy or illegitimacy of theories and terminologies. Legitimacy also plays a role in determining the degree to which a certain theory will be regarded as relevant or irrelevant:Researchers’ tendency to concentrate on those problems regarded as the most important ones (e.g. because they have been constituted as such by producers endowed with a high degree of legitimacy) is explained by the fact that a contribution or discovery relating to those questions will tend to yield greater symbolic profit (Bourdieu 22).Exploring areas of enquiry which are outside the boundaries of mainstream scientific discourses is a dangerous affair. Mixing different epistemologies in the search for transversal grounds of knowledge might result in unrecognisable theories, which are born out of a combination of various processes of hybridisation: social, technological, cultural and material.Material mutations are happening that call for new epistemologies, due to the implications of current technological possibilities which might redefine our understanding of mediation, and expand it to include molecular forms of communication. A new terminology that takes into account the scientific and epistemological implications of nanotechnology applied to communication [and that also go beyond cyborg metaphors of a marriage between biology and cibernetics] is necessary. Nanomedia and nanomediations are the terminologies proposed in this article as conceptual tools to allow these further explorations. Nanomedia is here understood as the combination of different nanotechnological mediums of communication that are able to create and disseminate meaning via molecular exchange and/ or assembly. Nanomediation is here defined as the process of active transmission and reception of signs and meaning using nanotechnologies. These terminologies might help us in conducting interdisciplinary research and observations that go deeper into matter itself and take into account its molecular spaces of mediation - moving from metaphor into pragmatics. Nanomedia(s)Within the humanities, the term 'nano-media' was first proposed by Mojca Pajnik and John Downing, referring to small media interventions that communicate social meaning in independent ways. Their use of term 'nano-media' proposes to be a revised alternative to the plethora of terms that categorise such media actions, such as alternative media, community media, tactical media, participatory media, etc. The metaphor of smallness implied in the term nano-media is used to categorise the many fragments and complexities of political appropriations of independent media. Historical examples of the kind of 'nano' social interferences listed by Downing (2),include the flyers (Flugblätter) of the Protestant Reformation in Germany; the jokes, songs and ribaldry of François Rabelais’ marketplace ... the internet links of the global social justice (otromundialista) movement; the worldwide community radio movement; the political documentary movement in country after country.John Downing applies the meaning of the prefix nano (coming from the Greek word nanos - dwarf), to independent media interventions. His concept is rooted in an analysis of the social actions performed by local movements scattered around the world, politically engaged and tactically positioned. A similar, but still unique, proposition to the use of the term 'nano-media' appeared 2 years later in the work of Graham St John (442):If ‘mass media’ consists of regional and national print and television news, ‘niche media’ includes scene specific publications, and ‘micro media’ includes event flyers and album cover art (that which Eshun [1998] called ‘conceptechnics’), and ‘social media’ refers to virtual social networks, then the sampling of popular culture (e.g. cinema and documentary sources) using the medium of the programmed music itself might be considered nano-media.Nano-media, according to Graham St John, "involves the remediation of samples from popular sources (principally film) as part of the repertoire of electronic musicians in their efforts to create a distinct liminalized socio-aesthetic" (St John 445). While Downing proposes to use the term nano-media as a way to "shake people free of their obsession with the power of macro-media, once they consider the enormous impact of nano-technologies on our contemporary world" (Downing 1), Graham St John uses the term to categorise media practices specific to a subculture (psytrance). Since the use of the term 'nano-media' in relation to culture seems to be characterised by the study of marginalised social movements, portraying a hybrid remix of conceptual references that, if not completely illegitimate, would be located in the border of legitimacy within media theories, I am hereby proposing yet another bastard version of the concept of nanomedia (without a hyphen). Given that neither of the previous uses of the term 'nano-media' within the discipline of media studies take into account the technological use of the prefix nano, it is time to redefine the term in direct relation to nanotechnologies and communication devices. Let us start by taking a look at nanoradios. Nanoradios are carbon nanotubes connected in such a way that when electrodes flow through the nanotubes, various electrical signals recover the audio signals encoded by the radio wave being received (Service). Nanoradios are examples of the many ways in which nanotechnologies are converging with and transforming our present information and communication technologies. From molecular manufacturing (Drexler) to quantum computing (Deutsch), we now have a wide spectrum of emerging and converging technologies that can act as nanomedia - molecular structures built specifically to act as communication devices.NanomediationsBeyond literal attempts to replicate traditional media artifacts using nanotechnologies, we find deep processes of mediation which are being called nanocommunication (Hara et al.) - mediation that takes place through the exchange of signals between molecules: Nanocommunication networks (nanonetworks) can be used to coordinate tasks and realize them in a distributed manner, covering a greater area and reaching unprecedented locations. Molecular communication is a novel and promising way to achieve communication between nanodevices by encoding messages inside molecules. (Abadal & Akyildiz) Nature is nanotechnological. Living systems are precise mechanisms of physical engineering: our molecules obey our DNA and fall into place according to biological codes that are mysteriously written in our every cell. Bodies are perfectly mediated - biological systems of molecular communication and exchange. Humans have always tried to emulate or to replace natural processes by artificial ones. Nanotechnology is not an exception. Many nanotechnological applications try to replicate natural systems, for example: replicas of nanostructures found in lotus flowers are now being used in waterproof fabrics, nanocrystals, responsible for resistance of cobwebs, are being artificially replicated for use in resistant materials, and various proteins are being artificially replicated as well (NNI 05). In recent decades, the methods of manipulation and engineering of nano particles have been perfected by scientists, and hundreds of nanotechnological products are now being marketed. Such nano material levels are now accessible because our digital technologies were advanced enough to allow scientific visualization and manipulation at the atomic level. The Scanning Tunneling Microscopes (STMs), by Gerd Binnig and Heinrich Rohrer (1986), might be considered as the first kind of nanomedia devices ever built. STMs use quantum-mechanical principles to capture information about the surface of atoms and molecules, allowed digital imaging and visualization of atomic surfaces. Digital visualization of atomic surfaces led to the discovery of buckyballs and nanotubes (buckytubes), structures that are celebrated today and received their names in honor of Buckminster Fuller. Nanotechnologies were developed as a direct consequence of the advancement of digital technologies in the fields of scientific visualisation and imaging. Nonetheless, a direct causal relationship between nano and digital technologies is not the only correlation between these two fields. Much in the same manner in which digital technologies allow infinite manipulation and replication of data, nanotechnologies would allow infinite manipulation and replication of molecules. Nanocommunication could be as revolutionary as digital communication in regards to its possible outcomes concerning new media. Full implementation of the new possibilities of nanomedia would be equivalent or even more revolutionary than digital networks are today. Nanotechnology operates at an intermediate scale at which the laws of classical physics are mixed to the laws of quantum physics (Holister). The relationship between digital technologies and nanotechnologies is not just instrumental, it is also conceptual. We might compare the possibilities of nanotechnology to hypertext: in the same way that a word processor allows the expression of any type of textual structure, so nanotechnology could allow, in principle, for a sort of "3-D printing" of any material structure.Nanotechnologies are essentially media technologies. Nanomedia is now a reality because digital technologies made possible the visualization and computational simulation of the behavior of atomic particles at the nano level. Nanomachines that can build any type of molecular structure by atomic manufacturing could also build perfect replicas of themselves. Obviously, such a powerful technology offers medical and ecological dangers inherent to atomic manipulation. Although this type of concern has been present in the global debate about the social implications of nanotechnology, its full implications are yet not entirely understood. A general scientific consensus seems to exist, however, around the idea that molecules could become a new type of material alphabet, which, theoretically, would make possible the reconfiguration of the physical structures of any type of matter using molecular manufacturing. Matter becomes digital through molecular communication.Although the uses given to the term nano-media in the context of cultural and social studies are merely metaphorical - the prefix nano is used by humanists as an allegorical reference of a combination between 'small' and 'contemporary' - once the technological and scientifical realities of nanomedia present themselves as a new realm of mediation, populated with its own kind of molecular devices, it will not be possible to ignore its full range of implications anymore. A complexifying media ecosystem calls for a more nuanced and interdisciplinary approach to media studies.ConclusionThis article narrates the different uses of the term nanomedia as an illustration of the way in which disciplinarity determines the level of legitimacy or illegitimacy of an emerging term. We then presented another possible use of the term in the field of media studies, one that is more closely aligned with its scientific origins. The importance and relevance of this narrative is connected to the present challenges we face in the anthropocene. The reality of the anthropocene makes painfully evident the full extent of the impact our technologies have had in the present condition of our planet's ecosystems. For as long as we refuse to engage directly with the technologies themselves, trying to speak the language of science and technology in order to fully understand its wider consequences and implications, our theories will be reduced to fancy metaphors and aesthetic explorations which circulate around the critical issues of our times without penetrating them. The level of interdisciplinarity required by the challenges of the anthropocene has to go beyond anthropocentrism. Traditional theories of media are anthropocentric: we seem to be willing to engage only with that which we are able to recognise and relate to. Going beyond anthropocentrism requires that we become familiar with interdisciplinary discussions and perspectives around common terminologies so we might reach a consensus about the use of a shared term. For scientists, nanomedia is an information and communication technology which is simultaneously a tool for material engineering. For media artists and theorists, nano-media is a cultural practice of active social interference and artistic exploration. However, none of the two approaches is able to fully grasp the magnitude of such an inter and transdisciplinary encounter: when communication becomes molecular engineering, what are the legitimate boundaries of media theory? If matter becomes not only a medium, but also a language, what would be the conceptual tools needed to rethink our very understanding of mediation? Would this new media epistemology be considered legitimate or illegitimate? Be it legitimate or illegitimate, a new media theory must arise that challenges and overcomes the walls which separate science and culture, physics and semiotics, on the grounds that it is a transdisciplinary change on the inner workings of media itself which now becomes our vector of epistemological and empirical transformation. 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The ontological equality and material vitality of all things, and efforts to remove “the human” from its apical position in a hierarchy of being, are Object-Oriented Ontology theory (OOO) concepts. These axioms are useful in a discussion of the aesthetics of augmented robotic art, alongside speculations regarding any interagency between the human/non-human and possible co-evolutionary relationships. In addition, they help to wash out the sticky habits of conventional art writing, such as removed critique or an authoritative expert voice. This article aims to address the robotic work Accomplice by Sydney-based artists Petra Gemeinboeck and Rob Saunders as a means of interrogating the independence and agency of robots as non-human species, and as a mode of investigating how we see these relationships changing for the futureFor Accomplice, an artwork exhibited at Artspace, Sydney, in 2013, Gemeinboeck and Saunders built robots, strategised properties, and programmed their performative actions. Replete with lights and hammers, the robots are secreted away behind false walls, where they move along tracks and bang holes into the gallery space. As the devastation of plasterboard ensues, the robots respond interactively to each other through their collective activity: this is intra-action, where an object’s force emerges and where agency is an enactment (Barad, Matter Feels). This paper will continue to draw on the work of feminist scholar and quantum scientist, Karen Barad, due to her related work on agency and intra-action, although she is not part of an OOO theoretical body. Gemeinboeck and Saunders build unstable environments for their robots to perform as embodied inhabitants (Gemeinboeck and Saunders 2). Although the augmented robots are programmed, it is not a prescriptive control. Data is entered, then the robots respond to one another’s proximity and devastation. From the immaterial, virtual realm of robotic programming comes a new materiality which is both unstable, unpredictable, and on the verge of becoming other, or alive. This is a collaboration, not just between Gemeinboeck and Saunders, but between the programmers and their little robots—and the new forces that might be created. Sites of intra-species (human and robot) crossings might be places or spaces where a new figuration of enchantment occurs (Bennett 32). Such a space could take the form of a responsive art-writing intervention or even a new ontological story, as a direct riposte to the lively augmentation of the robotic artwork (Bennett 92). As ficto-critical theorist and ethnographer, Stephen Muecke says, “Experimental writing, for me, would be writing that necessarily participates in worlds rather than a writing constituted as a report on realities seen from the other side of an illusory gap of representation” (Muecke Motorcycles 2). Figure 1: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck)Writing Forces When things disappear then reappear, there is a point where force is unleashed. If we ask what role the art writer plays in liberating force, the answer might be that her role is to create as an imaginative new creation, equal to the artwork. The artists speak of Accomplice: transductions, transmaterial flows and transversal relations are at play ... whether emerging from or propelling the interplay between internal dynamics and external forces, the enactment of agencies (human and non-human), or the performative relationship unfolding over time. (Gemeinboeck and Saunders 3) When new energetic force is created and the artwork takes on new life, the audience’s imaginative thought is stimulated. This new force might cause an effect of a trans-fictional flow. The act of writing about Accomplice might also involve some intentional implausibility. For instance, whilst in the exhibition gallery space, witnessing Accomplice, I decided to write a note to one of the robots. I could see it, just visible beyond the violently hammered hole in the wall. Broken plaster dusted my shoes and as I peered into the darker outside space, it whizzed past on its way to bang another hole, in harmony with its other robotic friends. So I scribbled a note on a plain white piece of paper, folded it neatly and poked it through the hole: Dear robot, do you get sick of augmenting human lives?Do you get on well with your robotic friends?Yours sincerely, Prue. I waited a few minutes and then my very same piece of paper was thrust back through the hole. It was not folded but was crumpled up. I opened it and noticed a smudged mark in the corner. It looked like an ancient symbol, a strange elliptical script of rounded shapes, but was too small to read. An intergalactic message, a signal from an alien presence perhaps? So I borrowed a magnifying glass from the Artspace gallery attendant. It read: I love opera. Robot Two must die. This was unexpected! As I pondered the robot’s reply, I noticed the robots did indeed make strange bird-like noises to one another; their tapping was like rhythmic woodpeckers. Their hammering was a kind of operatic symphony; it was not far-fetched that these robots were appreciative of the sound patterns they made. In other words, they were responding to stimuli in the environment, and acting in response. They had agency beyond the immaterial computational programming their creators had embedded. It wasn’t difficult to suspend disbelief to allow the possibility that interaction between the robots might occur, or that one might have gone rogue. An acceptance of the possibility of inter-agency would allow the fantastical reality of a human becoming short-term pen pals with an augmented machine. Karen Barad might endorse such an unexpected intra-action act. She discourages conventional critique as, “a tool that keeps getting used out of habit” (Matter Feels). Art writing, in an era of robots and awareness of other non-human sentient life-forms can be speculative invention, have a Barad-like imaginative materiality (Matter Feels), and sense of suspended disbelief. Figure 2: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) The Final Onto-Story Straw Gemeinboeck and Saunders say the space where their robots perform is a questionable one: “the fidelity of the space as a shared experience is thus brought into question: how can a shared virtual experience be trusted when it is constructed from such intangible and malleable stuff as streams of binary digits” (7). The answer might be that it is not to be trusted, particularly in an OOO aesthetic approach that allows divergent and contingent fictive possibilities. Indeed, thinking about the fidelity of the space, there was something about a narrow access corridor in the Accomplice exhibition space, between the false gallery wall and the cavity where the robots moved on their track, that beckoned me. I glanced over my shoulder to check that the Artspace attendant wasn’t watching and slipped behind the wall. I took a few tentative steps, not wanting to get knocked on the nose by a zooming robot. I saw that one robot had turned away from the wall and was attacking another with its hammer. By the time I arrived, the second robot (could it be Robot Two?) had been badly pummeled. Not only did Robot One attack Robot Two but I witnessed it using its extended hammer to absorb metal parts: the light and the hammer. It was adapting, like Philip K. Dick’s robots in his short story ‘Preserving Machine’ (See Gray 228-33). It was becoming more augmented. It now had two lights and two hammers and seemed to move at double speed. Figure 3: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck)My observance of this scene might be explained by Gemeinboeck/Saunders’s comment regarding Philip K. Dick-style interference and instability, which they actively apply to their work. They say, “The ‘gremlins’ of our works are the slipping logics of nonlinear systems or distributed agential forces of colliding materials” (18). An audience response is a colliding material. A fictional aside is a colliding material. A suspension of disbelief must also be considered a colliding material. This is the politics of the para-human, where regulations and policies are in their infancy. Fears of artificial intelligence seem absurd, when we consider how startled we become when the boundaries between fiction/truth become as flimsy and slippery as the boundaries between human/non-human. Art writing that resists truth complements Gemeinboeck/Saunders point that, “different agential forces not only co-evolve but perform together” (18).The DisappearanceBefore we are able to distinguish any unexpected or enchanted ontological outcomes, the robots must first appear, but for things to truly appear to us, they must first disappear. The robots disappear from view, behind the false walls. Slowly, through the enactment of an agented force (the action of their hammers upon the wall), they beat a path into the viewer’s visual reality. Their emergence signals a performative augmentation. Stronger, better, smarter, longer: these creatures are more-than-human. Yet despite the robot’s augmented technological improvement upon human ability, their being (here, meaning their independent autonomy) is under threat in a human-centred world environment. First they are threatened by the human habit of reducing them to anthropomorphic characteristics: they can be seen as cute little versions of humans. Secondly, they are threatened by human perception that they are under the control of the programmers. Both points are arguable: these robots are undoubtedly non-human, and there are unexpected and unplanned outcomes, once they are activated. These might be speculative or contestable outcomes, which are not demonstrably an epitome of truth (Bennett 161). Figure 4: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck)Gemeinboeck’s robotic creatures, with their apparent work/play and civil disobedience, appeared to exhibit human traits. An OOO approach would discourage these anthropomorphic tendencies: by seeing human qualities in inanimate objects, we are only falling back into correlational habits—where nature and culture are separate dyads and can never comprehend each other, and where humankind is mistakenly privileged over all other entities (Meillassoux 5). This only serves to inhibit any access to a reality outside the human-centred view. This kind of objectivity, where we see ourselves as nature, does no more than hold up a mirror to our inescapably human selves (Barad, Matter Feels). In an object-oriented approach the unpredictable outcomes of the robots’s performance is brought to attention. OOO proponent and digital media theorist Ian Bogost, has a background in computational media, especially video and social media games, and says, “computers are plastic and metal corpses with voodoo powers” (9). This is a non-life description, hovering in the liminal space between being and not being. Bogost’s view is that a strange world stirs within machinic devices (9). A question to ask: what’s it like to be a robot? Perhaps the answer lies somewhere between what it does and how we see it. It is difficult not to think of twentieth century philosopher Martin Heidegger’s tool analysis theory when writing of Gemeinboeck/Saunders’s work because Heidegger, and OOO scholar Graham Harman after him, uses the hammer as his paradigmatic tool. In his analysis, things are only present-at-hand (consciously perceived without utility) once they break (Harman, Heidegger Explained 63). However, Gemeinboeck and Saunders’s installation Accomplice straddles Heidegger’s dual present-at-hand and read-at-hand (the utility of the thing) because art raises the possibility that we might experience these divergent qualities of the robotic entities, simultaneously. The augmented robot, existing in its performative exhibition ecology, is the bridge between sentient life and utility. Robotic Agency In relation to the agency of robots, Ian Bogost refers to the Tableau Machine which was a non-human actor system created by researchers at Georgia Tech in 1998 (Bogost 106). It was a house fitted with cameras, screens, interfaces, and sensors. This was an experimental investigation into ambient intelligence. The researchers’s term for the computational agency was ‘alien presence,’ suggesting a life outside human comprehension. The data-collator sensed and interpreted the house and its occupants, and re-created that recorded data as abstract art, by projecting images on its own plasma screens. The implication was that the home was alive, vital, and autonomously active, in that it took on a sentient life, beyond human control. This kind of vital presence, an aliveness outside human programming, is there in the Accomplice robots. Their agency becomes materialized, as they violate the polite gallery-viewing world. Karen Barad’s concept of agency works within a relational ontology. Agency resists being granted, but rather is an enactment, and creates new possibilities (Barad, Matter Feels). Agency is entangled amongst “intra-acting human and non-human practices” (6). In Toward an Enchanted Materialism, Jane Bennett describes primordia (atoms) as “not animate with divine spirit, and yet they are quite animated - this matter is not dead at all” (81). This then is an agency that is not spiritual, nor is there any divine purpose. It is a matter of material force, a subversive action performed by robotic entities, not for any greater good, in fact, for no reason at all. This unpredictability is OOO contingency, whereby physical laws remain indifferent to whether an event occurs or not (Meillassoux 39). Figure 5: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) A Post-Human Ethic The concept of a post-human state of being raises ethical concerns. Ethics is a human construct, a criteria of standards fixed within human social systems. How should humans respond, without moral panic, to robots that might have life and sentient power outside human control? If an OOO approach is undertaken, the implication is that all things exist equally and ethics, as fixed standards, might need to be dismantled and replaced with a more democratic set of guidelines. A flat ontology, argued for by Bogost, Levi Bryant and other OOO advocates, follows that all entities have equal potential for independent energy and agency (although OOO theorists disagree on many small technical issues). The disruption of the conventional hierarchical model of being is replaced by a flat field of equality. This might cause the effect of a more ethical, ontological ecology. Quentin Meillassoux, an influential figure in the field of Speculative Realism, from which OOO is an offshoot, finds philosophical/mathematical solutions to the problems of human subjectivity. His eschewing of Kantian divisions between object/subject and human/world, is accompanied by a removal from Kantian and Cartesian critique (Meillassoux 30). This turn from critique, and its related didactic authority and removed judgment, marks an important point in the culture of philosophy, but also in the culture of art writing. If we can escape the shackles of divisive critique, then the pleasures of narrative might be given space. Bogost endorses collapsing the hierarchical model of being and converting conventional academic writing (89). He says, “for the computers to operate at all for us first requires a wealth of interactions to take place for itself. As operators or engineers, we may be able to describe how such objects and assemblages work. But what do they “experience” (Bogost 10)? This view is complementary to an OOO view of anti-subjectivity, an awareness of things that might exist irrespective of human life, from both inside and outside the mind (Harman 143). Figure 6: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) New Materiality In addition to her views on human/non-human agency, Karen Barad develops a parallel argument for materiality. She says, “matter feels, converses, suffers, desires, yearns and remembers.” Barad’s agential realism is predicated on an awareness of the immanence of matter, with materiality that subverts conventions of transcendence or human-centredness. She says, “On my agential realist account, all bodies, not merely human bodies, come to matter through the world’s performativity - its iterative intra-activity.” Barad sees matter, all matter, as entangled parts of phenomena that extend across time and space (Nature’s Queer Performativity 125). Barad argues against the position that acts against nature are moral crimes, which occur when the nature/culture divide is breached. She questions the individuated categorizations of ‘nature’ and ‘culture’ inherent in arguments like these (Nature’s Queer Performativity, 123-5). Likewise, in robotic and machinic aesthetics, it could be seen as an ethical breach to consider the robots as alive, sentient, and experiential. This confounds previous cultural separations, however, object-oriented theory is a reexamination of these infractions and offers an openness to discourse of different causal outcomes. Figure 7: Accomplice by Petra Gemeinboeck and Rob Saunders, Artspace, Sydney, 2013. (Photo: Petra Gemeinboeck) Co-Evolution Artists Gemeinboeck/Saunders are artists and scholarly researchers investigating new notions of co-evolution. If we ascribe human characteristics to robots, might they ascribe machinic properties to us? It is possible to argue that co-evolution is already apparent in the world. Titanium knees, artificial arteries, plastic hips, pacemakers, metallic vertebrae pins: human medicine is a step ahead. Gemeinboeck/Saunders in turn make a claim for the evolving desires of their robots (11). Could there be performative interchangeability between species: human and robot? Barad asks us not to presume what the distinctions are between human and non-human and not to make post-humanist blurrings, but to understand the materializing effects of the boundaries between humans and nonhumans (Nature’s Queer Performativity 123). Vital matter emerges from acts of reappearance, re-performance, and interspecies interaction. Ian Bogost begins his Alien Phenomenology by analysing Alan Turing’s essay, Computing Machinery and Intelligence and deduces that it is an approach inextricably linked to human understanding (Bogost 14). Bogost seeks to avoid distinctions between things or a slippage into an over-determination of systems operations, and instead he adopts an OOO view where all things are treated equally, even cheeky little robots (Bogost 17).Figure 8: Accomplice by Petra Gemeinboeck and Rob Saunders, installation view, Artspace, Sydney. (Photo: silversalt photography) Intra-Active ReappearanceIf Barad describes intra-action as enacting an agential cut or separation of object from subject, she does not mean a distinction between object and subject but instead devises an intra-active cutting of things together-apart (Nature’s Queer Performativity 124). This is useful for two reasons. First it allows confusion between inside and outside, between real and unreal, and between past and future. In other words it defies the human/world correlates, which OOO’s are actively attempting to flee. Secondly it makes sense of an idea of disappearance as being a re-appearance too. If robots, and all other species, start to disappear, from our consciousness, from reality, from life (that is, becoming extinct), this disappearance causes or enacts a new appearance (the robotic action), and this action has its own vitality and immanence. If virtuality (an aesthetic of being that grew from technology, information, and digital advancements) meant that the body was left or abandoned for an immaterial space, then robots and robotic artwork are a means of re-inhabiting the body in a re-materialized mode. This new body, electronic and robotic in nature, might be mastered by a human hand (computer programming) but its differential is its new agency which is one shared between human and non-human. Barad warns, however, against a basic inversion of humanism (Nature’s Queer Performativity 126). Co-evolution is not the removal of the human. While an OOO approach may not have achieved the impossible task of creating a reality beyond the human-centric, it is a mode of becoming cautious of an invested anthropocentric view, which robotics and diminished non-human species bring to attention. The autonomy and agency of robotic life challenges human understanding of ontological being and of how human and non-human entities relate.References Barad, Karen. "Nature’s Queer Performativity." Qui Parle 19.2 (2011): 121-158. ———. Interview. In Rick Dolphijn and Van Der Tuin. “Matter Feels, Converses, Suffers, Desires, Yearns and Remembers: Interview with Karen Barad.” New Materialism: Interviews and Cartographies. Ann Arbor: University of Michigan; Open Humanities Press, 2012. ———. "Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter." Signs: Journal of Women in Culture and Society 28.3 (2003): 801-831. Bennett, Jane. The Enchantment of Modern Life: Attachments, Crossings, and Ethics. 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