The dawning era of nanotechnology promises to transform life as we
know it. Visionary scientists are engineering materials and devices
at the molecular scale that will forever alter the way we think
about our technologies, our societies, our bodies, and even reality
itself. Colin Milburn argues that the rise of nanotechnology
involves a way of seeing that he calls "nanovision." Trekking
across the technoscapes and the dreamscapes of nanotechnology, he
elaborates a theory of nanovision, demonstrating that
nanotechnology has depended throughout its history on a symbiotic
relationship with science fiction. Nanotechnology's scientific
theories, laboratory instruments, and research programs are
inextricable from speculative visions, hyperbolic rhetoric, and
fictional narratives.
Milburn illuminates the practices of nanotechnology by examining
an enormous range of cultural artifacts, including scientific
research articles, engineering textbooks, laboratory images,
popular science writings, novels, comic books, and blockbuster
films. In so doing, he reveals connections between the technologies
of visualization that have helped inaugurate nano research, such as
the scanning tunneling microscope, and the prescient writings of
Robert A. Heinlein, James Blish, and Theodore Sturgeon. He delves
into fictive and scientific representations of "gray goo," the
nightmare scenario in which autonomous nanobots rise up in
rebellion and wreak havoc on the world. He shows that nanoscience
and "splatterpunk" novels share a violent aesthetic of
disintegration: the biological body is breached and torn asunder
only to be refabricated as an assemblage of self-organizing
machines. Whether in high-tech laboratories or science fiction
stories, nanovision deconstructs the human subject and galvanizes
the invention of a posthuman future.
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