This book offers a comprehensive reflection on the existential condition of the 21st century. A visionary introduction to existential posthumanism, it takes the form of eight meditations. This posthuman journey of self-inquiry engages with a wide range of knowledge and wisdom: from the Paleolithic times to the futures of radical life extension, from multi-species evolutions to the rights of Nature, the Anthropocene and the rise of Artificial Intelligence. The book declutters the habit of being human. Letting go of the need for anthropocentric mastery and species-specific ambitions, the reader emerges regenerated. The manifold paths of posthuman self-realization reveal that we are all co-creators in the existential unfolding: our lives are our ultimate works of art. The Art of Being Posthuman is a self-help guide to navigate our brave new world. You can listen to Dr. Ferrando talk about the book’s key themes in these videos: 1. Introduction and 2. Conclusion

The notion of 'the human' is in need of urgent redefinition. At a time of radical bio-technological developments, and in light of the political and environmental imperatives of our age, the term 'posthuman' provides an alternative. The philosophical landscape which has developed as a response to the crisis of the human, includes several movements, such as: Posthumanism, Transhumanism, Antihumanism and Object Oriented Ontology. This book explains the similarities and differences between these currents and offers a detailed examination of a number of topics that fall under the “posthuman” umbrella, including the anthropocene, artificial intelligence and the deconstruction of the human. Francesca Ferrando affords particular focus to Philosophical Posthumanism, defined as a philosophy of mediation which addresses the meaning of humanity not in separation, but in relation to technology and ecology. The posthuman shift thus emerges in the global call for social change, responsible science and multispecies coexistence.

A sustained engagement between contemporary art and philosophy relating to our place in, and responsibility to, the nonhuman world How do contemporary art and theory contemplate the problem of the “bio” of biopolitics and bioart? How do they understand the question of “life” that binds human and nonhuman worlds in their shared travail? In Art and Posthumanism, Cary Wolfe argues for the reconceptualization of nature in art and theory to turn the idea of the relationship between the human and the planet upside down. Wolfe explores a wide range of contemporary artworks—from Sue Coe’s illustrations of animals in factory farms and Eduardo Kac’s bioart to the famous performance pieces of Joseph Bueys and the video installations of Eija-Liisa Ahtila, among others—examining how posthumanist theory can illuminate, and be illuminated by, artists’ engagement with the more-than-human world. Looking at biological and social systems, the question of the animal, and biopolitics, Art and Posthumanism explores how contemporary art rivets our attention on the empirically thick, emotionally charged questions of “life” and the “living” amid ecological catastrophe. One of the foremost theorists of posthumanism, Wolfe pushes that philosophy out of the realm of the purely theoretical to show how a posthumanist engagement with particular works and their conceptual underpinnings help to develop more potent ethical and political commitments.

The Posthuman offers both an introduction and major contribution to contemporary debates on the posthuman. Digital 'second life', genetically modified food, advanced prosthetics, robotics and reproductive technologies are familiar facets of our globally linked and technologically mediated societies. This has blurred the traditional distinction between the human and its others, exposing the non-naturalistic structure of the human. The Posthuman starts by exploring the extent to which a post-humanist move displaces the traditional humanistic unity of the subject. Rather than perceiving this situation as a loss of cognitive and moral self-mastery, Braidotti argues that the posthuman helps us make sense of our flexible and multiple identities. Braidotti then analyzes the escalating effects of post-anthropocentric thought, which encompass not only other species, but also the sustainability of our planet as a whole. Because contemporary market economies profit from the control and commodification of all that lives, they result in hybridization, erasing categorical distinctions between the human and other species, seeds, plants, animals and bacteria. These dislocations induced by globalized cultures and economies enable a critique of anthropocentrism, but how reliable are they as indicators of a sustainable future? The Posthuman concludes by considering the implications of these shifts for the institutional practice of the humanities. Braidotti outlines new forms of cosmopolitan neo-humanism that emerge from the spectrum of post-colonial and race studies, as well as gender analysis and environmentalism. The challenge of the posthuman condition consists in seizing the opportunities for new social bonding and community building, while pursuing sustainability and empowerment.

In this age of DNA computers and artificial intelligence, information is becoming disembodied even as the "bodies" that once carried it vanish into virtuality. While some marvel at these changes, envisioning consciousness downloaded into a computer or humans "beamed" Star Trek-style, others view them with horror, seeing monsters brooding in the machines. In How We Became Posthuman, N. Katherine Hayles separates hype from fact, investigating the fate of embodiment in an information age. Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman." Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems. Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.

This timely book examines the rise of posthumanism as both a material condition and a developing philosophical-ethical project in the age of cloning, gene engineering, organ transplants and implants. Nayar first maps the political and philosophical critiques of traditional humanism, revealing its exclusionary and ‘speciesist’ politics that position the human as a distinctive and dominant life form. He then contextualizes the posthumanist vision which, drawing upon biomedical, engineering and techno-scientific studies, concludes that human consciousness is shaped by its co-evolution with other life forms, and our human form inescapably influenced by tools and technology. Finally the book explores posthumanism’s roots in disability studies, animal studies and bioethics to underscore the constructed nature of ‘normalcy’ in bodies, and the singularity of species and life itself. As this book powerfully demonstrates, posthumanism marks a radical reassessment of the human as constituted by symbiosis, assimilation, difference and dependence upon and with other species. Mapping the terrain of these far-reaching debates, Posthumanism will be an invaluable companion to students of cultural studies and modern and contemporary literature.

What does it mean to think beyond humanism? Is it possible to craft a mode of philosophy, ethics, and interpretation that rejects the classic humanist divisions of self and other, mind and body, society and nature, human and animal, organic and technological? Can a new kind of humanities-posthumanities-respond to the redefinition of humanity's place in the world by both the technological and the biological or "green" continuum in which the "human" is but one life form among many? Exploring how both critical thought along with cultural practice have reacted to this radical repositioning, Cary Wolfe-one of the founding figures in the field of animal studies and posthumanist theory-ranges across bioethics, cognitive science, animal ethics, gender, and disability to develop a theoretical and philosophical approach responsive to our changing understanding of ourselves and our world. Then, in performing posthumanist readings of such diverse works as Temple Grandin's writings, Wallace Stevens's poetry, Lars von Trier's Dancer in the Dark, the architecture of Diller+Scofidio, and David Byrne and Brian Eno's My Life in the Bush of Ghosts, he shows how this philosophical sensibility can transform art and culture. For Wolfe, a vibrant, rigorous posthumanism is vital for addressing questions of ethics and justice, language and trans-species communication, social systems and their inclusions and exclusions, and the intellectual aspirations of interdisciplinarity. In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. In doing so, Wolfe reveals that it is humanism, not the human in all its embodied and prosthetic complexity, that is left behind in posthumanist thought.