Curriculum Vitae Dr Luciana Parisi, Reader in Cultural and Critical Theory, Goldsmiths University of London, UK. Ph.D Philosophy and Women and Gender. Luciana Parisi is Reader in Cultural Theory, Chair of the PhD programme at the Centre for Cultural Studies. Luciana Parisi is Reader in Cultural Theory, Chair of the PhD program in Cultural Studies, and Co-director of the Digital Culture Unit at Goldsmiths, University of.
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She has published articles on the cybernetic re-wiring of memory and perception in the context of a non-phenomenological critique of computational media vis a vis luciana parisi of branding and marketing. Luciana Parisi Recently, Alex Galloway has argued that the return to metaphysics in the form of a philosophical realism based on the apriority of axiomatics, contingency and object-oriented theories Badiou, Meillasoux and Harman respectively cannot but fail the critical project of materialism and its luciana parisi analysis of neoliberal capitalism.
E-flux lectures: Luciana Parisi, "Digital Automation and Transcendental Instrumentality”
So reason cannot be taken as it is; it needs to be worked with. And thus, if the luciana parisi of reason for feminism does not do this work, then it may look reactionary, because reason will mainly be taken at face value.
But one has to unpack, explain, speculate with reason. Instead you see luciana parisi of this kind of critical endeavor in some of their particular projects, but there is a lot of work to be done in order to actually say: But to claim it back requires taking into account the historical moment in which, in the name of reason, patriarchy and colonialism became enterprises of domination.
Luciana Parisi | Goldsmiths, University of London -
luciana parisi The legacy of reason and the history of instrumental reason need to be debunked and reconstructed, and not just adopted. How we ended up living in an age of accelerationist thinking?
You were an important member of the philosophy group in Warwick and CCRU and my question here is historical. I was wondering, given your involvement in this group, and the way its achievements are rather far-reaching, how would you asses the overall influence of CCRU now that it has no longer existed for almost 15 years?
The CCRU was really a moment, a place where luciana parisi wanted to think of machines and through the medium. So luciana parisi was very much about understanding the form of the medium, its structure and cold constitution.
Interview with Luciana Parisi
It was very much about entering the luciana parisi. And this is the area of CCRU I was close to because it was also a story of many polarized views and there was certainly no harmonic consensus: This kind of haunting time, the question of time and tapping into the capitalist capacity of anticipating desires, of becoming an engine of potential realities was already producing a simulated future for you.
The kind of realism that this is the everyday and there is no possibility of utopian discourse or utopian re-appropriation or political resistance to capital. A luciana parisi of inevitable pessimism that could become hyper-realized to open other dimensions of existence, dragging you out into a larger black hole.
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What you could do is expose the realism of capital and its intelligence in order to embrace the human condition as fundamentally alienated from the ontology of being, and from the narratives of political projects that would deny the original alienation of the human under the obliterating destruction of capital.
On the other hand, there was obviously the question of technology and gender, technology and luciana parisi, the influential work of Sadie Plant, where technology was seen in the spirit of the cyborg, but where there was a fictional experimentation for going further than that — as it started looking at this kind of parallelism or equivalence between the role of techne and the role of gender.
Luciana parisi re-appropriating this equivalence between matter and techne so as to expose the instrumentality of gender into a kind of political project, which is still an undergoing project that I am trying luciana parisi develop. In the film, this question of alienation has become a constructive moment for embracing the alienation of the natural so as to say that yes, we are originally instrumentalized, but we are here, constituted in the autopoietic circuitry of Western metaphysics, but as a political subjectivity of another kind, and we won not subtend to the ideological critique of race or gender — yet again confirming the metaphysical circuitry.
These discussions were very important for us. And this techno-philosophical approach was, however, an approach from within culture and the cultural politics of luciana parisi and technology, race and technology, and capital and extended proletarization.
This was a very multidisciplinary investment that we all had; we did luciana parisi different research, but we all shared this kind of re-articulation of technology to think politics in a non-ideological way.