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This book is an essential contribution to the transdisciplinary
field of critical design studies. The essays in this collection
locate design at the center of a series of interrelated planetary
crises, from climate change, nuclear war, and racial and
geopolitical violence to education, computational culture, and the
loss of the commons. In doing so, the essays propose a range of
needed interventions in order to transform design itself and its
role within the shifting realities of a planetary crisis. It
challenges the widely popular view that design can contribute to
solving world problems by exposing how this attitude only
intensifies the problems we currently face. In this way, the essays
critique the dominant modes of framing the meaning and scope of
design as a largely Anglo-European 'problem-solving' practice. By
drawing on post-development theory, decolonial theory, black
studies, continental philosophy, science and technology studies,
and more, the contributions envision a critical and speculative
practice that problematises both its engagement with planet and
itself. The essays in this collection will appeal to design
theorists and practitioners alike, but also to scholars and
students generally concerned with how the past and future of design
is implicated in the unfolding complexity of ecological
devastation, racial and political violence, coloniality,
technological futures, and the brutality of modern Western culture
generally.
This book is based upon the collaborative efforts of the
Ontogenetics Process Group (OPG) - an interdisciplinary,
multi-institutional, multi-national research group that began
meeting in 2017 to explore new and innovative ways of thinking the
problem of complexity in living, physical, and social systems
outside the algorithmic models that have dominated paradigms of
complexity to date. For all the descriptive and predictive power
that the complexity sciences offer (the ability to compute feedback
systems, recursive networks, emergent dynamics, etc.), they also
presume that the living world in all of its modalities (biological,
semiotic, economic, affective, social) can be reduced to finite
schema of description that delimits in advance all possible
outcomes. What is proposed in this volume are conceptual
architectures for the living that are not only irreducible to
physico-mathematical frames of reference, but that are also as
vital as the phenomena they wish to express. In short: life is more
complex than complexity. What emerges from this engagement is not
the ascendance of a new transcendental principle (or, what amounts
to the same thing, a foundational bedrock) derived from the
physico-mathematical sciences, but just the opposite: a domain in
which the ontological and the epistemological domains enter a zone
of strange (and unavoidable) entanglement. The chapters in this
book were originally published as a special issue of Angelaki.
This book is an essential contribution to the transdisciplinary
field of critical design studies. The essays in this collection
locate design at the center of a series of interrelated planetary
crises, from climate change, nuclear war, and racial and
geopolitical violence to education, computational culture, and the
loss of the commons. In doing so, the essays propose a range of
needed interventions in order to transform design itself and its
role within the shifting realities of a planetary crisis. It
challenges the widely popular view that design can contribute to
solving world problems by exposing how this attitude only
intensifies the problems we currently face. In this way, the essays
critique the dominant modes of framing the meaning and scope of
design as a largely Anglo-European 'problem-solving' practice. By
drawing on post-development theory, decolonial theory, black
studies, continental philosophy, science and technology studies,
and more, the contributions envision a critical and speculative
practice that problematises both its engagement with planet and
itself. The essays in this collection will appeal to design
theorists and practitioners alike, but also to scholars and
students generally concerned with how the past and future of design
is implicated in the unfolding complexity of ecological
devastation, racial and political violence, coloniality,
technological futures, and the brutality of modern Western culture
generally.
How computer animation technologies became vital visualization
tools in the life sciences Who would have thought that computer
animation technologies developed in the second half of the
twentieth century would become essential visualization tools in
today's biosciences? This book is the first to examine this
phenomenon. Molecular Capture reveals how popular media consumption
and biological knowledge production have converged in molecular
animations-computer simulations of molecular and cellular processes
that immerse viewers in the temporal unfolding of molecular
worlds-to produce new regimes of seeing and knowing. Situating the
development of this technology within an evolving field of
historical, epistemological, and political negotiations, Adam Nocek
argues that molecular animations not only represent a key
transformation in the visual knowledge practices of life scientists
but also bring into sharp focus fundamental mutations in power
within neoliberal capitalism. In particular, he reveals how the
convergence of the visual economies of science and entertainment in
molecular animations extends neoliberal modes of governance to the
perceptual practices of scientific subjects. Drawing on Alfred
North Whitehead's speculative metaphysics and Michel Foucault's
genealogy of governmentality, Nocek builds a media philosophy well
equipped to examine the unique coordination of media cultures in
this undertheorized form of scientific media. More specifically, he
demonstrates how governmentality operates across visual practices
in the biosciences and the popular mediasphere to shape a molecular
animation apparatus that unites scientific knowledge and
entertainment culture. Ultimately, Molecular Capture proposes that
molecular animation is an achievement of governmental design. It
weaves together speculative media philosophy, science and
technology studies, and design theory to investigate how scientific
knowledge practices are designed through media apparatuses.
How computer animation technologies became vital visualization
tools in the life sciences Who would have thought that computer
animation technologies developed in the second half of the
twentieth century would become essential visualization tools in
today’s biosciences? This book is the first to examine this
phenomenon. Molecular Capture reveals how popular media consumption
and biological knowledge production have converged in molecular
animations—computer simulations of molecular and cellular
processes that immerse viewers in the temporal unfolding of
molecular worlds—to produce new regimes of seeing and knowing.
Situating the development of this technology within an evolving
field of historical, epistemological, and political negotiations,
Adam Nocek argues that molecular animations not only represent a
key transformation in the visual knowledge practices of life
scientists but also bring into sharp focus fundamental mutations in
power within neoliberal capitalism. In particular, he reveals how
the convergence of the visual economies of science and
entertainment in molecular animations extends neoliberal modes of
governance to the perceptual practices of scientific subjects.
Drawing on Alfred North Whitehead’s speculative metaphysics and
Michel Foucault’s genealogy of governmentality, Nocek builds a
media philosophy well equipped to examine the unique coordination
of media cultures in this undertheorized form of scientific media.
More specifically, he demonstrates how governmentality operates
across visual practices in the biosciences and the popular
mediasphere to shape a molecular animation apparatus that unites
scientific knowledge and entertainment culture. Ultimately,
Molecular Capture proposes that molecular animation is an
achievement of governmental design. It weaves together speculative
media philosophy, science and technology studies, and design theory
to investigate how scientific knowledge practices are designed
through media apparatuses.
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