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By Marcin Mazurek

Achieving into the depths of the collective subconscious, a feeling of Apocalypse explores and re-interprets one of many West’s primordial fears, specifically that of the apocalyptic closure of either cultural praxis and person adventure. but, not like renowned connotations of the time period, apocalypse is seen right here by way of a transitional narrative finding the topic on the intersection of technological determinism, pop-cultural mind's eye, postmodern urbanism and electronic textuality. some of these shape the elements of a brand new post-apocalyptic panorama, which not just produces a brand new id knowledgeable through dissolving post-Enlightenment paradigms, but in addition evokes tricks at lots of existential chances prompted via late-capitalist applied sciences and their cultural outcomes.

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Additional info for A Sense of Apocalypse: Technology, Textuality, Identity (Literary and Cultural Theory)

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This is because contemporary apocalypses have, in their majority, evolved into sophisticated discursive entities, incomplete by their theoretical nature. Jacques Derrida’s contemplation of the mere possibility of the end of history illustrates this concern very well. ] the end of history? ” 17 This claim, though not without a metaphorical resonance itself, vividly depicts and summarises an important methodological distinction. It is the distinction between apocalypse-as-destruction: ultimate and irreversible, after which no discourse is possible or necessary, and the idea of apocalypse-as-metaphor: assuming survivors and hence incomplete by definition, but widely applicable and theoretically stimulating.

Joanna Russ is perhaps wrong, after all, because her idea of the natural still echoes the clear-cut divisions of the pre-electronic era. The search for the natural in SF was not vain; what was found however, forces us to reinterpret the very notion of the natural, and of the social, too. This new vision, as much fearful as promising, nevertheless delineates the evolution of the subject’s identity and in the course of this process narrates the inevitably growing intimacy of technological relationships.

It is no longer a clue; on the contrary, it poses but a tricky riddle concerning its human/non-human origin or questions predictions of one’s actions based on gender-related stereotypes. What is left of the body is simply the visible outer layer, the shell, or to recollect the ambiguous name of Neuromancer’s protagonist, the case. With looks as the only accessible area while approaching the other, any predictions as for the “inside” are rendered unjustified and unmotivated; the “age of affordable beauty” 29 successfully corrects nature’s mistakes and imperfections, regardless of whether they concern simple plastic surgery, brain modification or enhancing one’s combat skills.

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