The second workshop in this year’s Creative Posthumanism series took place on June 1st, 2022. Workshop coordinators Angela YT Chan and Cristina Diamant invited participants to ‘scrapbook the wasteland’. We did so by looking at the mix of extractive practices that (re)produce wastelands, drawing together a variety of materials and theories to “reconfigure the relationship between our own situated embodiments and technological developments from a more-than-human ethical perspective, acknowledging the affect behind our response and confronting the biases that hold us back”.
This summer I’ll be launching a series of pilot workshops as part of the Creative Posthumanism project, including sessions on zine-making, scrapbooking, and performance art. More news on these sessions will follow soon, but in the meantime I wanted to share a little bit about the rationale behind the project. Humanistic principles underpin key discourses in biology (we are individual entities), psychology (we are individual actors), economics (we are rational actors), law (we are responsible for our actions), art (we are individual authors of human stories), AI research (the goal is to produce computers which “think like us”), medicine (there is a clear idea of a healthy human which we should aim to remain in line with), and ecology (the earth should be optimised for human habitation). In many of these areas, however, the centrality of such thought is being questioned. Critical posthumanism is an academic field of inquiry that deconstructs the human (and humanitarian) impacts of these liberal humanist systems and institutions, particularly in the ways that they have been accelerated and exacerbated by advancing technologies.
Pre-Digital Histories of Remix in the Page Collection
Remix has often been called the first modern art form. Enabled by modern copy-paste technologies, by the wealth of material opened up for recycling by the information age, and by the legal and ethical provisions of fair use, remix has been given a central place in the history of the digital revolution. It has also been hailed as an inherently egalitarian practice, open to anyone with a computer or a pair of scissors, indiscriminate in its mixing of media, its combination of high art with low art, and its appropriation of both proprietary materials and those in the public domain.