Human Error: Species-Being and Media Machines by Dominic Pettman

By Dominic Pettman

What precisely is the human point isolating people from animals and machines? the typical solutions that instantly come to mind—like artwork, empathy, or technology—fall aside lower than shut inspection. Dominic Pettman argues that it's a mistake to outline such inflexible differences within the first position, and the main decisive “human blunders” could be the ingrained impulse to appreciate ourselves essentially not like our different worldly companions.
In Human Error, Pettman describes the 3 aspects of the cybernetic triangle—human, animal, and machine—as a rubric for figuring out key figures, texts, and websites the place our species-being is both strengthened or challenged via our courting to our personal narcissistic applied sciences. therefore, species-being has turn into an issue of specious-being, within which the belief of humanity isn't just a case of wrong identification yet certainly the error of identity.
Human Error boldly insists at the necessity of relinquishing our anthropomorphism but additionally at the severe trouble of doing so, given how deeply this angle is certain with all our different such a lot adored ideals approximately different types of life.

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Extra info for Human Error: Species-Being and Media Machines (Posthumanities)

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Their errors are not so easily detected or accounted for. For now, however, it is sufficient to note that Frayn and Bloom both exhibit a hubristic melancholy concerning the place of the human in the contemporary moment. In doing so, they follow the logic of ideology in general; that is to say, the more it exposes itself, and the more ironic distance we feel from its force field, the greater the stranglehold it has on us in terms of actual actions. Everybody knows that humans are froth on the ocean of eternity—but what sublime froth!

The focus on technics—as a dynamic form of technological relation that shapes us as much as we shape it—is key. As a result, these case studies are necessarily diverse since the stakes involved can be revealed in the most unexpected and joltingly different places. I have chosen especially suggestive glimpses and provocative moments when humans either acknowledge or refuse—and sometimes both simultaneously—the possibility of becoming-otherwise (whether this be animal, molecule, machine, or whatever).

I had no life. ) At this point, we might return to the structuring absence of the film: the gruesome mauling by “bear 141” on a bleak October day in 2003. In fact, there is another significant aporia here, namely, the presence of Amie Huguenard, Treadwell’s girlfriend, whom Herzog calls “the great unknown” because she appears only twice in the hundred hours of raw footage (and even then, her face is deliberately obscured or turned away). The traumatic sound track of the attack tells us that she bravely tries to fight off the bear that has grabbed Treadwell in his hungry maw.

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