This volume offers interdisciplinary perspectives on contemporary biomedicine as a cultural practice. It brings together leading scholars from cultural anthropology, sociology, history, and science studies to conduct a critical dialogue on the culture(s) of biomedical practice, discussing its epistemic, material, and social implications. The essays look at the ways new biomedical knowledge is constructed within hospitals and academic settings and at how this knowledge changes perceptions, material arrangements, and social relations, not only within clinics and scientific communities, but especially once it is diffused into a broader cultural context.

This volume offers interdisciplinary perspectives on contemporary biomedicine as a cultural practice. It brings together leading scholars from cultural anthropology, sociology, history, and science studies to conduct a critical dialogue on the culture(s) of biomedical practice, discussing its epistemic, material, and social implications. The essays look at the ways new biomedical knowledge is constructed within hospitals and academic settings and at how this knowledge changes perceptions, material arrangements, and social relations, not only within clinics and scientific communities, but especially once it is diffused into a broader cultural context.

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By showing us the human brain at work, PET (positron emission tomography) scans are subtly--and sometimes not so subtly--transforming how we think about our minds. "Picturing Personhood" follows this remarkable and expensive technology from the laboratory into the world and back. It examines how PET scans are created and how they are being called on to answer myriad questions with far-reaching implications: Is depression an observable brain disease? Are criminals insane? Do men and women think differently? Is rationality a function of the brain?

Based on interviews, media analysis, and participant observation at research labs and conferences, Joseph Dumit analyzes how assumptions designed into and read out of the experimental process reinforce specific notions about human nature. Such assumptions can enter the process at any turn, from selecting subjects and mathematical models to deciding which images to publish and how to color them. Once they leave the laboratory, PET scans shape social debates, influence courtroom outcomes, and have positive and negative consequences for people suffering mental illness. Dumit follows this complex story, demonstrating how brain scans, as scientific objects, contribute to our increasing social dependence on scientific authority.

The first book to examine the cultural ramifications of brain-imaging technology, "Picturing Personhood" is an unprecedented study that will influence both cultural studies and the growing field of science and technology studies.

Every year the average number of prescriptions purchased by Americans increases, as do healthcare expenditures, which are projected to reach one-fifth of the U.S. gross domestic product by 2020. In "Drugs for Life," Joseph Dumit considers how our burgeoning consumption of medicine and cost of healthcare not only came to be, but also came to be taken for granted. For several years, Dumit attended pharmaceutical industry conferences; spoke with marketers, researchers, doctors, and patients; and surveyed the industry's literature regarding strategies to expand markets for prescription drugs. He concluded that underlying the continual growth in medications, disease categories, costs, and insecurity is a relatively new perception of ourselves as inherently ill and in need of chronic treatment. This perception is based on clinical trials that we have largely outsourced to pharmaceutical companies. Those companies in turn see clinical trials as investments and measure the value of those investments by the size of the market and profits that they will create. They only ask questions for which the answer is more medicine. "Drugs for Life" challenges our understanding of health, risks, facts, and clinical trials, the very concepts used by pharmaceutical companies to grow markets to the point where almost no one can imagine a life without prescription drugs.

This collection offers writings on the body with a focus on performance, defined as both staged performance and everyday performance. Traditionally, theorizations of the body have either analyzed its impact on its socio-historical environment or treated the body as a self-enclosed semiotic and affective system. This collection makes a conscious effort to merge these two approaches. It is interested in interactions between bodies and other bodies, bodies and environments, and bodies and objects.

Popular culture in this "biological century" seems to feed on proliferating fears, anxieties, and hopes around the life sciences at a time when such basic concepts as scientific truth, race and gender identity, and the human itself are destabilized in the public eye. Tactical Biopolitics suggests that the political challenges at the intersection of life, science, and art are best addressed through a combination of artistic intervention, critical theorizing, and reflective practices. Transcending disciplinary boundaries, contributions to this volume focus on the political significance of recent advances in the biological sciences and explore the possibility of public participation in scientific discourse, drawing on research and practice in art, biology, critical theory, anthropology, and cultural studies. After framing the subject in terms of both biology and art, Tactical Biopolitics discusses such topics as race and genetics (with contributions from leading biologists Richard Lewontin and Richard Levins); feminist bioscience; the politics of scientific expertise; bioart and the public sphere (with an essay by artist Claire Pentecost); activism and public health (with an essay by Treatment Action Group co-founder Mark Harrington); biosecurity after 9/11 (with essays by artists' collective Critical Art Ensemble and anthropologist Paul Rabinow); and human-animal interaction (with a framing essay by cultural theorist Donna Haraway).ContributorsGaymon Bennett, Larry Carbone, Karen Cardozo, Gary Cass, Beatriz da Costa, Oron Catts, Gabriella Coleman, Critical Art Ensemble, Gwen D'Arcangelis, Troy Duster, Donna Haraway, Mark Harrington, Jens Hauser, Kathy High, Fatimah Jackson, Gwyneth Jones, Jonathan King, Richard Levins, Richard Lewontin, Rachel Mayeri, Sherie McDonald, Claire Pentecost, Kavita Philip, Paul Rabinow, Banu Subramanian, subRosa, Abha Sur, Samir Sur, Jacqueline Stevens, Eugene Thacker, Paul Vanouse, Ionat Zurr Beatriz da Costa does interventionist art using computing and biotechnologies, and Kavita Philip studies colonialism, neoliberalism, and technoscience using history and critical theory. Both are Associate Professors at the University of California, Irvine.