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Though the progress of technology continually pushes life towards
virtual existence, the last decade has witnessed a renewed focus on
materiality. Radical Interface: Transdisciplinary Interventions on
Design, Mediation, and the Posthuman bears witness to literary
theorists', digital humanists', rhetoricians', philosophers', and
designers' attention to the crafted environment, the manner in
which artifacts mediate human relations, and the constitution of a
world in which the boundary between humans and things has seemingly
imploded. The essays reflect on questions about the extent to which
we ought to view humans and nonhuman artifacts as having equal
capacity for agency and life, and the ways in which technological
mediation challenges the central tenets of humanism and
anthropocentrism. Contemporary theories of human-object relations
presage the arrival of the posthuman, which is no longer a
futuristic or science-fictional concept but rather one descriptive
of the present, and indeed, the past. Discussions of the posthuman
already have a long history in fields like literary theory,
rhetoric, and philosophy, and as advances in design and technology
result in increasingly engaging artifacts that mediate more and
more aspects of everyday life, it becomes necessary to engage in a
systematic, interdisciplinary, critical examination of the
intersection of the domains of design, technological mediation, and
the posthuman. Radical Interface thus brings diverse disciplines
together to foster a dialog on significant technological issues
pertinent to philosophy, rhetoric, aesthetics, and science.
Though the progress of technology continually pushes life toward
virtual existence, the last decade has witnessed a renewed focus on
materiality. Design, Mediation, and the Posthuman bears witness to
the attention paid by literary theorists, digital humanists,
rhetoricians, philosophers, and designers to the crafted
environment, the manner in which artifacts mediate human relations,
and the constitution of a world in which the boundary between
humans and things has seemingly imploded. The chapters reflect on
questions about the extent to which we ought to view humans and
nonhuman artifacts as having equal capacity for agency and life,
and the ways in which technological mediation challenges the
central tenets of humanism and anthropocentrism. Contemporary
theories of human-object relations presage the arrival of the
posthuman, which is no longer a futuristic or science-fictional
concept but rather one descriptive of the present, and indeed, the
past. Discussions of the posthuman already have a long history in
fields like literary theory, rhetoric, and philosophy, and as
advances in design and technology result in increasingly engaging
artifacts that mediate more and more aspects of everyday life, it
becomes necessary to engage in a systematic, interdisciplinary,
critical examination of the intersection of the domains of design,
technological mediation, and the posthuman. Thus, this collection
brings diverse disciplines together to foster a dialogue on
significant technological issues pertinent to philosophy, rhetoric,
aesthetics, and science.
Videogames were once made with a vast range of tools and
technologies, but in recent years a small number of commercially
available 'game engines' have reached an unprecedented level of
dominance in the global videogame industry. In particular, the
Unity game engine has penetrated all scales of videogame
development, from the large studio to the hobbyist bedroom, such
that over half of all new videogames are reportedly being made with
Unity. This book provides an urgently needed critical analysis of
Unity as 'cultural software' that facilitates particular production
workflows, design methodologies, and software literacies. Building
on long-standing methods in media and cultural studies, and drawing
on interviews with a range of videogame developers, Benjamin Nicoll
and Brendan Keogh argue that Unity deploys a discourse of
democratization to draw users into its 'circuits of cultural
software'. For scholars of media production, software culture, and
platform studies, this book provides a framework and language to
better articulate the increasingly dominant role of software tools
in cultural production. For videogame developers, educators, and
students, it provides critical and historical grounding for a tool
that is widely used yet rarely analysed from a cultural angle.
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