“Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other.”

artwork of girl with keyboard feline on her head - imagery for circo del herrero blog “The last beachheads of uniqueness have been polluted if not turned into amusement parks–language tool use, social behaviour, mental events, nothing really convincingly settles the separation of human and animal. And many people no longer feel the need for such a separation; indeed, many branches of feminist culture affirm the pleasure of connection of human and other living creatures. Movements for animal rights are not irrational denials of human uniqueness; they are a clear-sighted recognition of connection across the discredited breach of nature and culture. Biology and evolutionary theory over the last two centuries have simultaneously produced modern organisms as objects of knowledge and reduced the line between humans and animals to a faint trace re-etched in ideological struggle or professional disputes between life and social science. Within this framework, teaching modern Christian creationism should be fought as a form of child abuse.

The second leaky distinction is between animal-human (organism) and machine. Pre-cybernetic machines could be haunted; there was always the spectre of the ghost in the machine. This dualism structured the dialogue between materialism and idealism that was settled by a dialectical progeny, called spirit or history, according to taste. But basically machines were not self-moving, self-designing, autonomous. They could not achieve man’s dream, only mock it. They were not man, an author to himself, but only a caricature of that masculinist reproductive dream. To think they were otherwise was paranoid. Now we are not so sure. Late twentieth-century machines have made thoroughly ambiguous the difference between natural and art)ficial, mind and body, self-developing and externally designed, and many other distinctions that used to apply to organisms and machines. Our machines are disturbingly lively, and we ourselves frighteningly inert.

Cyborg writing must not be about the Fall, the imagination of a once-upon-a-time wholeness before language, before writing, before Man. Cyborg writing is about the power to survive, not on the basis of original innocence, but on the basis of seizing the tools to mark the world that marked them as other.

The tools are often stories, retold stories, versions that reverse and displace the hierarchical dualisms of naturalized identities. In retelling origin stories, cyborg authors subvert the central myths of origin of Western culture. We have all been colonized by those origin myths, with their longing for fulfilment in apocalypse. The phallogocentrie origin stories most crucial for feminist cyborgs are built into the literal technologies – teehnologies that write the world, biotechnology and microelectronics – that have recently textualized our bodies as code problems on the grid of C3I. Feminist cyborg stories have the task of recoding communication and intelligence to subvert command and control.

Cyborg imagery can help express two crucial arguments in this essay: first, the production of universal, totalizing theory is a major mistake that misses most of reality, probably always, but certainly now; and second, taking responsibility for the social relations of science and technology means refusing an anti-science metaphysics, a demonology of technology, and so means embracing the skilful task of reconstructing the boundaries of daily life, in partial connection with others, in communication with all of our parts. It is not just that science and technology are possible means of great human satisfaction, as well as a matrix of complex dominations. Cyborg imagery can suggest a way out of the maze of dualisms in which we have explained our bodies and our tools to ourselves. This is a dream not of a common language, but of a powerful infidel heteroglossia. It is an imagination of a feminist speaking in tongues to strike fear into the circuits of the supersavers of the new right. It means both building and destroying machines, identities, categories, relationships, space stories. Though both are bound in the spiral dance, I would rather be a cyborg than a goddess.”

 

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A Cyborg Manifesto by Donna Haraway 

Unlike the hopes of Frankenstein’s monster, the cyborg does not expect its father to save it through a restoration of the garden; that is, through the fabrication of a heterosexual mate, through its completion in a finished whole, a city and cosmos. The cyborg does not dream of community on the model of the organic family, this time without the oedipal project. The cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of returning to dust.

…The main trouble with cyborgs, of course, is that they are the illegitimate offspring of militarism and patriarchal capitalism, not to mention state socialism. But illegitimate offspring are often exceedingly unfaithful to their origins. Their fathers, after all, are inessential.

A Cyborg Manifesto, Donna Haraway

Gods in Our Machines By G.B. Gabbler

Gods in Our Machines

By G.B. Gabbler

In Hugh Howey’s August 2016 essay titled “Like Unto Children,” he argues that man should not fear artificial intelligence—a fear expressed in films like: “Terminator, The Matrix, Ex Machina, Robocop, I, Robot, 2001, A Space Odyssey”—but instead welcome its existence, because robots will be like our children. At the best of times, we pity the robot and his fate, often a slave to man or a victim of our choice to bring them to life (I think the film A.I. expresses this latter suffering well). On these standard robot narratives, Howey says it best:   

They all follow the formula of: Man makes machine, machine destroys man. It’s a sci-fi trope. But what if we’re wrong about how we will feel about our creations? I have a feeling it might go much differently. I think mankind will one day go extinct, but that we won’t mind.

Heresy, right? Millions of years of evolution have created an intense drive for self-preservation. The idea that we might willingly be replaced—even replace ourselves—is unthinkable. Except that we do it on a smaller scale every generation. We have children, invest in their upbringing, marvel at all they do and accomplish, all the ways that they are more incredible than we were, and then we move off and leave room for them.

Howey’s statement is a rarity. Not many go out of their way to dispel the fear of The Other these days, especially when artificial intelligence is so easy to be afraid of because it is the newest possibility looming out there—fresh and on the cusp of being. Not entirely born, but in some ways already existing in our consciousness. A.I. is imminent. If the child analogy is to be used, then this creature is in the fetal stage.

Yet, to some degree, A.I. will never be “born” like a child from a womb. It is more beneficial to look beyond the “like children” justification to alleviate our fears. I would—and do—argue that, when acting as Creator rather than as Parent, it is scarier than having children (though, yes, it is similar to having kids in the fact you never know what you’re going to get—the next Hitler or Malala? News flash, it’s probably a Hitler). However, when acting as Creator, there is still more control—choice—over the end product. What is the bigger responsibility: molding the mind of one child whose mind you can relate to because you have one just like it, or molding a mind so entirely knew you aren’t sure if it should exist?

Cue the playing-God-like-Frankenstein paranoia. Even cockroaches have children and don’t think twice. There is no (what I call) Other involved in having children; in producing more of yourselves. To confront our “Creator anxiety” there is something better than an analogy to children. There is myth.

Let us say Howey’s real argument should set up this binary chain: Old/New, Parent/Child, and Creator/Created. Then, let us say this is the structure behind some of the oldest narratives—such as the Uranus/Kronos myth and on to the Kronos/Jupiter myth. The new gods overthrow their older parents: Uranus is overthrown by his son Kronos; Kronos is overthrown by his son Jupiter; but third time’s the charm and the cycle stops with Jupiter. Not to say that Jupiter doesn’t fear he will also be overthrown (read: swallows his pregnant wife because he has his forefathers‘ same terrors and that’s how we get Athena). The point is the third binary comes into play: he, Jupiter, eventually got over his fear of the new; he is not overthrown. He has more children without concern. Why? Because it was during his generation that the gods created something new other than more of themselves—something else to worry over: Humans.

Man is the Created—the final step before all binaries break down—and the gods enjoy their creation. I’ll not list out all the mortals the gods (especially Zeus/Jupiter) slept with, but there was a blending of the two beings. On one level, gods mating with humans spawned demigods; on another, it was Saint Augustine, in The Confessions, who observed that Homer, instead of assigning “sinful” human attributes to the gods, could have bestowed divine traits to men (so that the gods wouldn’t be such an excuse for humans to get away with things); the qualifications of what it means “to be a god” are not clear cut. Not only do the gods breed and “collaborate” with their Creations, but throughout accounts it gets harder and harder to tell humans and gods apart: Gods come down as avatars in human form, Buddha achieves God-like nothingness, Saints who were once humans accept prayers, Caesars and Pharaohs were gods that could die, and countless other religious and mythical crossovers throughout history… Humans and gods seem more and more like the same thing as we go along.

At many levels, the binary breaks down.

Howey states: “I think science fiction gets it all wrong to cast robots as evil armies. I think they will feel compassion for us, the way we feel compassion for our elders as they wind down toward the ends of their lives. Why would robots need to destroy with lasers what Time is already claiming? And why would mankind need to rise up against what we raised like our own?”

Such a beautiful and true statement. But these questions hinge on humans acting better than the gods did toward man. For example: rape, genocide, suffering. These are what the gods also gave us. I hope we’re eventually better than them. But history repeats itself. We cannot even treat our own fellow-creations—species and races created by the same “gods” as we were—with respect. We cannot trust ourselves to approach robots any differently. But what we can trust is for them to change us. Just as man changed the gods—turned their eyes downward and “watered down their stock”—so, too, will our Creations change us.

Howey claims that it is “easier to step aside when we see how the world will be better under the next generation’s stewardship, and when we see how superfluous (perhaps even a burden) we’ve become.” But I’m not sure will see our burdensomeness. We are too much like the gods that way. Just look at the broken world past generations have left Millennials and Zs with. Climate change, debt, no health care.

But there might be hope. We, just like those that “made” us, will hopefully collaborate with our creations to better ourselves—to reflect ourselves in new ways: Demirobots—A.K.A. cyborgs. Robots will “need” us just as much as we still need/use the gods to understand/psychoanalyze our very core.

Howey addresses immortality in his essay, though only to note it as something not worth arguing about here. But I think that it is. Whether we become immortal cyborgs or merely code in the robot’s memory, we become immortal like the gods. If the myths point us in the right direction, there becomes less and less of “Us” and “Them.” We become “We.”

To avoid “The Gods Need Prayer Badly” trope (which B.L.A. would remind us to avoid), I will say the following: We will not need our Creations; we’ve gotten on just fine without them up to now. We won’t need them to come up with new ways of living for us/taking care of us. No more than we lived for the Gods. The Creator loves and hates their Created—enough to let it change them into something new. But neither need each other for survival. As the Genesis story states, man was created in the image of God. An image reflects. It gives the illusion of a duplicate. And seeing yourself is the very point at which you change. Recognition is cognition. This is also the concept of the story behind the film Another Earth, which is not about robots but about parallel universes, but I will use it as my example just the same. From 2016 Wikipedia:

“Rhoda hears a scientist postulating in a telecast that the citizens of the mirror Earth might be identical to those on her Earth in every way until the moment they learned of the others’ existence. From that point on, the identical people on the different Earths probably began to deviate in small ways, changing their actions. Hearing this, Rhoda realizes that her identical self on the other Earth may not have caused the accident.”

You get the idea. We have two autonomous beings in the gods/humans, humans/robots binaries. They are so similar, but the fact they are similar and see each other will no doubt strike a change in both. Symbiotic at the least, but I shy away from making existence a prerogative for humans. We will not be needed, but it would be a bonus. This argument, however, does not work best for my “breaking the binary by becoming one” argument. I will get back to it then:

A new narrative which intermingles the A.I./ H.I. (human intelligence) binary is seen in Westworld, where robots start to question their reality. Much like how human emotion is arguably chemicals and environment, is A.I. emotion programming and protocol? However, this show still plays into fears of the Other, though on a different level—it is a fear of not knowing for sure when we’ve reached the Creator/Created binary. At least, that’s what season one was for me. How do we know when we’ve become true gods? How do we know when our creation is actually apart from us? How will we know when we’ve created something able/worthy to replace us? How can we be sure we’re not just making copies of ourselves? Because if we no longer doubt that it is going to happen, we still need to be sure of when it does happen.

“Never place your trust in us. We’re only human. Inevitably, we will disappoint you.” – Dr. Ford in Westworld.

The Creator Binary (that I’m proposing) plays out (and can thus be blurred) only when the Creation is seen as worthy or a threat to human dominion. Perhaps this is why we do not argue to the same extent on letting another, current species take over. If it was so easy to “step aside,” we could have done it a long time ago—should have done it a long time ago—with blurring the Human/Animal binary. Beyond breeding ourselves to death, we have screwed over every other species in every way we can. We have made hybrids and new breeds that should not exist (example: the bulldog which cannot even give natural birth). Yet, our playing God with these organic beings has never led us to consider how they might be an intelligence worth investing in—worth handing the world over to—worth giving up our existence for. Allowed to evolve to our level of “intelligence” or enhanced by our own involvement, the closest we have come to making the Creator Binary look like Human/Animal is in stories like The Island of Doctor Moreau, Mort(e)or Planet of the Apes. The handover, if not caused by an accident, is treated as a de-evolution on the human’s part—as if we have demerited ourselves by lifting something “below” us up. As if we’re simply creating golems of ourselves, not something purposefully smarter, more capable, more original; only creating something like us as if to better understand ourselves in the same way vivisection sheds light on “us.” Perhaps this is why we cannot do not typically claim such “experimentations” as real Creations in this affianced binary. We are only tampering with the gods’ original designs. Just like having our own children, we are only passing on our self-same DNA—the same coding shared with all other biological forms. It is much less guilt-laden to create intelligence from nothing (though scarier with possibility) than to take something that is already there and force evolution/your version of intelligence onto it. I would like to think so.

o-jupiter-ascending-facebookI would, yes, like to think we as a species are considerate enough to know that what is Created should have a choice in how it exists after it has already been formed—that it should get to choose how it evolves. Let nature take its course.

Though, that is far from what we have done so far. But the guilt we imagine proves that any potential experiments and “enhancements” on animals are not a true Creator/Created binary worthy of The Handover Narrative. It is too much like creating just another child—probing our own self-same organic materials—to be a Creation we can take full credit for. It is not original. It is just practice. 

Perhaps another way of saying it is: the binary is only broken when the Created becomes creative. We cannot know what our Creations will invent. We cannot know how we will fit together. But our stories will be the same. We will write ourselves into them. Just like the gods wrote themselves in our consciousness.


	

What we talk about when we talk about post-apocalyptic stories; when the apocalypse is solved through natalist tropes

This essay will explore the post-apocalyptic genre’s pro-natalist tendencies serving as the vehicle of “hope.” It argues that colonialism and apocalypse are symptoms of pro-natalist fixations. In a similar vein of Annalee Newitz’s work Scatter, Adapt, and Remember, it concludes with a brief exploration on how humanity might change when changing the narrative. 

Be it natural disaster, war, famine, alien invasion, robots, zombie attacks, or all of the above, post-apocalyptic literature and film are usually about hope. Hope that no, this is not the end of us. There is more. We will continue.

In these post-apocalyptic stories, our hope is a hope for what was there before the apocalypse. But, at best, humankind tends to set goals of starting at square one (reestablishing civilization, the population, surviving until those points are achievable, etc.). These goals tend to ignore that “starting over” is a cyclical thing to hope for and that humankind is doomed to repeat its mistakes once it reaches its next apocalyptic turning point. It is not what I would call a “true solution” to avoid another “Armageddon.” The struggle perpetuates itself through never breaking the cycle—through putting our hope in the next generation, as if they will get it right the next time.

This is when the theme of “hope” can become synonymous with “children.”

This hope is seen very well in the film Children of Men, where humanity is in the tank not because it is necessarily struggling to survive a die-off caused by natural disaster or plague, but simply because no children are being born. In fact, you could argue humanity is not struggling to survive, it’s merely reaching zero population growth. The infertility itself spurs chaos. The message is, essentially, that there is no purpose for life if you cannot leave a legacy behind (such as art) for the future to appreciate. History becomes meaningless when it stops with you and religion becomes a crutch to get you through the despair. At the end of the film, the viewer is left with the “hope” that the only child born in the last eighteen years will restore, you could say, not only the species, but our humanity. However, putting all that pressure on one child is a slightly selfish spin on things and a risky ratio. There are still too many eggs in one basket—a basket of pro-natalist fantasies.

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Collecting art means nothing when art itself means nothing.
As Good As New by Anders

In a short story titled “As Good As New” written by Charlie Jane Anders and published by Tor, a young woman—a lone survivor of some recent apocalypse—finds a genie and uses her three wishes to restore humanity back to the day before it went to hell. She uses one of her wishes to reverse all apocalypses—overlooking that she, too, is the result of a type of apocalypse (what Annalee Newitz, based off her work Scatter, Adapt, and Remember, would call a “mass extinction apocalypse” (goodbye dinosaurs…)). And she uses her last wish to keep the genie “in the family” so that she and her descendants can stop the apocalypse from ever happening again—should they ever need to. It is a delightful and witty story, and it highlights the fact that even the author knows the human tendency to just keep screwing things up. But what undermines it is the main character’s faith in her own DNA to keep an apocalypse from ever happening again—as if the family won’t eventually produce some evil spawns or even infertility. The story makes for a very natalist excuse to keep on breeding and doing “what humans do” without true introspection.

A less post-apocalyptic example (but nonetheless approaching apocalyptic) is the BBC TV show UTOPIA, where the protagonists try to stop a secret organization that wants to sterilize the world population by putting something undetectable in our food. The show often vilifies or makes pitiful the characters who actually want population control or see it as humanity’s only hope.

The pro-natalist protagonists (kind of) stop the organization from releasing the medicated food, but they offer up no solutions on how to help their downward-spiraling world avoid its breaking point. Thus, the population is left to just “keep breeding.” Or, perhaps, something even more depressing:

Never the favored option.

Moving on. In the 2014 film Interstellar, we see that Earth has been used up by humanity’s (undoubtedly?) selfish ways (abusive agriculture, using up of resources, other dick moves) and so we must go explore other planets colonize to inhabit use up their resources. This movie trailer is so blatant in its obvious colonialism that I dreaded the movie before it even came out. Matthew McConaughey’s character goes into space for his children and their future.

What makes this post-apocalyptic story unique is that the Earth and what remains are not used to respark civilization. Yet, the driving force behind it all is still children and fighting for our species to live on regardless of our responsibility to the world we leave behind.

In an ironic twist, perhaps one of the few apocalyptic stories to break the natalist trope is the Christian apocalypse. Like it or not, the Christian mythos is the foundation that fuels many of our fears and interests in these stories “of the end times.” Karen Armstrong, in her book The Gospel According to Woman, observes that Saint Augustine “was clear that if everybody stopped marrying and having children that would be an admirable thing: it would mean that the Kingdom of God would return all the sooner and the world would come to an end. By continuing to propagate the human race we were simply holding up Christ’s glorious return.” What makes the Christian apocalypse so complex (and perhaps most inventive) is that if there were fewer humans on earth, mortals could force God to cash in on his threatening promises.

The Christian apocalypse is one that is still inserting itself into the genre, most recently in the 2014 Nicolas Cage Left Behind film (which I did not watch and don’t need to, because I think we all get the idea). The only reason that version of the Christian end-of-days is not a natalist orgy apoc-pile is because all the innocent little babies have been raptured up to God and God no longer needs humans to be good Christian breeders. But Left Behind fills a grey area: it is not post-apocalyptic, only apocalyptic—and it is something desired to happen (by Christians). The desire, coming either from revenge on sinners or for peace on earth, is what makes the story and all its versions ambiguous. What comes after said apocalypse depends on your interpretation and belief (i.e. what does “heaven on earth” mean to you? Will we be defined as human at that point? Will reproducing even be a concept? All this is irrelevant and beside the point…). Whatever Christians believe will happen, the post-Christian apocalypse, at its core, has no focus on children or future generations; it is a focus of the past and present being given “eternal life”—not adding new life.

The Christian apocalypse subverts the natalist trope and instead places hope in Christ or some version of heaven. The Christian apocalypse does not hinge on whether or not you think having children is a moral issue, though today the majority Christian stance seems to be but go ahead and have them anyway. Not even Augustine followed his own advice, after all. Thus, since it is a story recounted and upheld by natalists, we cannot claim that the Christian apocalypse, as story, is anti-natalist. At best, it is neutral. It still breaks from the norm and can highlight what the “norm” is for this genre, however.

At this point, you may be wondering if post-apocalyptic stories can exist at all without natalist fantasy or religion propping them up, and I am here to tell you that there are ways and I would like to see more of them. Just because the human era is dwindling does not mean our story is ending in these post-apocalyptic stories. Our hope does not have to be contingent on human children. Hope can be explored in, say, the uploading of our minds into a matrix-like computer where we can become immortal and not “need” to repopulate. We can become cyborgs that don’t need to depend on current human resources. We can even become a completely different species: a good example of this is the book/film, The Girl with All the Gifts, where hybrid zombie-human children, whose reproductive status is moot, are the future. Not humans themselves. Stories which break the natalist mold in such a way are a refreshing rarity and are cause for us to examine our choices and the genre.

Post-apocalyptic stories are usually clouded with flying storks. At the genre’s core is a cliché not readily broken, perhaps highlighting the human psyche in ways our storytellers could more actively address. Because if our characters really cared about future generations, they wouldn’t have let the apocalypse happen in the first place.

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This post was updated after its publication date.

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