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.
This volume is a description of the current knowledge on the different metal-oxo and metal-peroxo species involved in catalytic oxidations. The series contains critical reviews of the present position and future trends, and short and concise reports written by the world’s renowned experts.
Examining the links between today’s ideas of radical life extension and age-old notions of immortality From Plato’s notion of generation to Derrida’s concept of survival to such modern phenomena as anti-aging treatments, cryogenics, cloning, and whole-brain uploads, Adam Rosenthal’s Prosthetic Immortalities shows how the dream of indefinite life has always been a technological one: a matter of prosthesis. He argues that every biological instance of perpetual life, from one-celled organisms to rejuvenating jellyfish to Henrietta Lacks’s “immortal” cancer cells, always results in the transformation of the original being. There can, therefore, be no certainty of immortality. Yet, because finite mortal life is already marked by difference, division, and change, as Rosenthal concludes: “the problem of immortality will not cease to haunt us.” Prosthetic Immortalities examines the persistence of humans’ aspirations of deathlessness, showing that the link between immortalization and prostheticization is not unique to a single period but is, rather, a ubiquitous element of the discourse of immortality, encompassing both modern technoscientific efforts and religious discourses of an afterlife. Rosenthal asks to what extent the emergence of a virtual, posited, immortal presence follows from the tenets of empirical science—and not simply from the discourse of biology but also, and more radically still, from biological organization itself. Rosenthal ultimately argues that the discovery of biological immortals—lifeforms that naturally have indefinitely long lifespans, such as cancer cells and bacteria—present novel conceptual difficulties for traditional philosophical approaches to mortality and selfhood, asking whether it is life itself that first births immortalizing prostheses.
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