Inspired by Roland Barthes's practice of "semioclasm" in Mythologies, this book offers a "technoclasm"; a cultural critique of US narratives, discourses, images, and objects that have transformed the politics of automation into statements of fact about the "rise of the robots". Treating automation as an ensemble of technologies and science fictions, this book foregrounds automation's ideologies, exaggerations, failures, and mystifications of the social value of human labor in order to question accepted and prolific automation mythologies. Jesse Ramirez offers a study of automation that recognizes automation as a technosocial project, that uses the tools of cultural studies and history to investigate the narratives and ideologies that often implicitly frame the automation debate, and that concretely and soberly assesses the technologies that have made the headlines. The case studies featured include some of the most widely cited and celebrated automatic technologies, such as the Baxter industrial robot, the self-driving car, and the Watson AI system. An ideal resource for anyone interested in or studying emerging technology and society, automation, Marxist cultural theory, cultural studies, science fiction studies, and the cultural history of technology.

Inspired by Roland Barthes's practice of "semioclasm" in Mythologies, this book offers a "technoclasm"; a cultural critique of US narratives, discourses, images, and objects that have transformed the politics of automation into statements of fact about the "rise of the robots". Treating automation as an ensemble of technologies and science fictions, this book foregrounds automation's ideologies, exaggerations, failures, and mystifications of the social value of human labor in order to question accepted and prolific automation mythologies. Jesse Ramirez offers a study of automation that recognizes automation as a technosocial project, that uses the tools of cultural studies and history to investigate the narratives and ideologies that often implicitly frame the automation debate, and that concretely and soberly assesses the technologies that have made the headlines. The case studies featured include some of the most widely cited and celebrated automatic technologies, such as the Baxter industrial robot, the self-driving car, and the Watson AI system. An ideal resource for anyone interested in or studying emerging technology and society, automation, Marxist cultural theory, cultural studies, science fiction studies, and the cultural history of technology.

After the end, the world will be un-American. This speculation forms the nucleus of Un-American Dreams, a study of US apocalyptic science fiction and the cultural politics of disimagined community in the short century of American superpower, 1945-2001. Between the atomic attacks on Hiroshima and Nagasaki, which helped to transform the United States into a superpower and initiated the Cold War, and the terrorist attacks on the World Trade Center and the Pentagon, which spelled the Cold War's second death and inaugurated the War on Terror, apocalyptic science fiction returned again and again to the scene of America's negation. During the American Century, to imagine yourself as American and as a participant in a shared national culture meant disimagining the most powerful nation on the planet. Un-American Dreams illuminates how George R. Stewart, Philip K. Dick, George A. Romero, Octavia Butler, and Roland Emmerich represented the impossibility of reforming American society and used figures of the end of the world as speculative pretexts to imagine the utopian possibilities of an un-American world. The American Century was simultaneously a closure of the path to utopia and an escape route into apocalyptic science fiction, the underground into which figures of an alternative future could be smuggled.

Widely regarded by critics and fans as one of the best games ever produced for the Sony Playstation, The Last of Us is remarkable for offering players a narratively rich experience within the parameters of cultural and gaming genres that often prioritize frenetic violence by straight white male heroes. The Last of Us is also a milestone among mainstream, big-budget (AAA) games because its development team self-consciously intervened in videogames' historical exclusion of women and girls by creating complex and agentive female characters. The game's co-protagonist, Ellie, is a teenage girl who is revealed to be queer in The Last of Us: Left Behind (DLC, 2014) and The Last of Us II (2020). Yet The Last of Us also centers Joel, Ellie's fatherly protector. How is patriarchy, the rule of the father, encoded in rule-based systems like videogames? How does patriarchal rule become an algorithmic rule and vice-versa? These questions are at the heart of this book, the first comprehensive scholarly analysis of the zombie apocalypse/ action-adventure/ third-person shooter videogame The Last of Us (2013). On the one hand, the book is a close, extended study of The Last of Us and its themes, genres, procedures, and gameplay. On the other hand, the book is a post-GamerGate reflection on the political and ethical possibilities of progressive play in algorithmic mass culture, of which videogames are now the dominant form.