The purpose of this essay is to argue that Blade Runner: The Final Cut (Ridley Scott, 2007) has cognitive value which is inseparable from its value as a work of cinema. I introduce the cinematic philosophy debate in §1. §2 sets out my position: that the Final Cut affirms the proposition there is no necessary relation between humanity and human beings. I outline the combination of cinematic depiction with distinctive features of the narrative’s peripeteia in §3. In §4, (...) I explain the cognitive value of the peripeteia. (shrink)

What is the “miracle” that protein farmer Sapper Morton mentions when he says to K: “You never saw a miracle”? It is the transformation of inorganic life into organic life. Rachael, who was a replicant in the old Blade Runner gave birth to twins. Tyrell had “perfected procreation,” in the words of Niander Wallace, but his knowledge has been lost. The theme of 2049 revolves around the scientific and philosophical question whether machines can become organic. Is a (...) human only an accumulation of parts or cells, or does the quality of being human denote more than the sum of its parts? Is a bioengineered human a real human or simply a sophisticated machine? Furthermore, the film associates the organic with the real. Real humans as well as real memories are linked to a larger whole. The article reflects these constellations against various philosophical stances. (shrink)

Widely acclaimed upon its release as a future classic, Denis Villeneuve’s Blade Runner 2049 is visually stunning, philosophically profound, and a provocative extension of the story in Ridley Scott’s Blade Runner. Containing specially commissioned chapters by a roster of international contributors, this fascinating collection explores philosophical questions that abound in Blade Runner 2049, including: -/- What distinguishes the authentically "human" person? How might natality condition one’s experience of being-in-the-world? How might shared memories (...) feature in the constitution of personal identities? What happens when created beings transcend the limits intended in their design? What (if anything) is it like to be a hologram? Can artificial beings participate in genuinely romantic relationships? How might developing artificial economics impact our behaviour as prosumers? What are the implications of techno-human enhancement in an era of surveillance capitalism? -/- Including a foreword by Denis Villeneuve, Blade Runner 2049: A Philosophical Exploration is essential reading for anyone interested in philosophy, film studies, philosophy of mind, psychology, gender studies, and conceptual issues in cognitive science and artificial intelligence. (shrink)

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our (...) engagement with these kinds of questions. This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition? What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner ? How are memory, empathy, and moral agency related in Blade Runner ? How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance? Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies. Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve. (shrink)

© 2015 Macmillan Publishers Ltd. Many have pointed to Blade Runner's humanization of its 'replicants' as a compelling statement against exploitation and domination. I argue, however, that the film has another kind of agenda: a Rousseauvian concern about the dangers of representation, about confusing the imitation with the real and confusing the consumption of images with political action. Rather than humanizing the other, Blade Runner's central concern is to humanize our own social and political relationships, which (...) are in danger of falling into the same trap Rousseau outlined in his Letter to D'Alembert. To do so, we must learn to appreciate the difference between mutual surveillance and mutual regard. To live freely in any regime, we must understand the dangers of representation, even if, in a large state, we must continue to make use of it. (shrink)

© 2015 Macmillan Publishers Ltd. Many have pointed to Blade Runner's humanization of its 'replicants' as a compelling statement against exploitation and domination. I argue, however, that the film has another kind of agenda: a Rousseauvian concern about the dangers of representation, about confusing the imitation with the real and confusing the consumption of images with political action. Rather than humanizing the other, Blade Runner's central concern is to humanize our own social and political relationships, which (...) are in danger of falling into the same trap Rousseau outlined in his Letter to D'Alembert. To do so, we must learn to appreciate the difference between mutual surveillance and mutual regard. To live freely in any regime, we must understand the dangers of representation, even if, in a large state, we must continue to make use of it. (shrink)

The 1982 film, Blade Runner, presents many questions conceming the position and relevance of the human being in the postmodern epoch. The audience is confronted with androids, called replicants, incredibly handsome "beings" whose language rises at times to poetic beauty, while the humans in the film are embarrassing physical and moral examples of the species. With whom will the audience identify or sympathize, the human or the simulacrum? The film further complicates this issue by incorporating traditional Christian symbols (...) and language in relation to the replicants. The film seems to suggest that consciousness is the defining characteristic of humanness, whether one speaks of an organic human being or a replicant. Current debate between scientists, philosophers, and theologians centers on the question of consciousness and its relationship to the brain and, for some, the soul This essay addresses the dilemmas in the film, while keeping in mind the central question: What is a human being? (shrink)

Despite its oft-noted ambiguities, critical reception of Ridley Scott's Blade Runner ; Director's Cut ; Final Cut ) has tended to converge upon seeing it as a futuristic sci-fi film noir whose central concern is what it means to be human, a question that is fraught given the increasingly human-like replicants designed and manufactured by the Tyrell Corporation for human use on off-world colonies. Within the terms of this way of seeing things a great deal of discussion has (...) been devoted to putative criteria of being human and the question whether the once-retired blade runner, Rick Deckard, is or is not a replicant. I aim to explore a radically different course of interpretation, which sees the film in fundamentally moral and religious terms. Put in the starkest light, the film is not about what makes us human but whether we can be saved from ourselves, from our terrifying inhumanity, our moral blindness. (shrink)

Introduction -- Being human -- Persons -- Identity -- Consciousness -- Freedom -- Being good -- God -- Death -- Time and meaning.

In this essay I provide a reading of Ridley Scott's Blade Runner that focuses upon the question of the kind of creatures the Replicants are depicted as being, and the meaning that depiction should have for us. I draw upon Stanley Cavell's account of the problem of other minds to argue that the empathy test is in fact a mode of resisting the acknowledgment of others. And I draw upon Martin Heidegger's account of authenticity and mortality to argue (...) that this acknowledgment is crucial if one would become human. The film does not so much suggest that Replicants are, as such, human, but rather that humanity is won through the encounter with the inauthentic. (shrink)

Abstract:Frantz Fanon is best known as the author of two monographs: Black Skin, White Masks (1952), a literary and psychological account of Black experience and anti-Black racism, and The Wretched of the Earth (1961), a political manifesto arguing for the need to respond to colonial oppression with revolutionary violence. His critics contend that the disciplinary division evinces a failure to successfully integrate the psychological with the political, which detracts from his intellectual legacy. In this article, I employ criminologist Jon Frauley’s (...) theory of the analytic value of fictional film to demonstrate that Denis Villeneuve’s Blade Runner 2049 (2017) not only provides an empirical referent for Fanon’s psychological and political theories but also reveals an underlying coherence that is not always obvious. I begin with a summary of Frauley’s theory and then alternate between Fanon’s theories and the way in which the film provides those theories with empirical referents. My conclusion, which highlights an essential continuity between individual transcendence and collective action in Fanon, draws on both Blade Runner 2049 and the military tactic of pseudo operations, which was employed to devastating effect against anti-colonial struggles in Africa in the second half of the twentieth century. (shrink)

This paper sets Scott’s original film Blade Runner (1982) and Villeneuve’s Blade Runner 2049 (2017) in a ‘disjunctive synthesis’ in order to provide critical analyses of both films with respect to some complex configurations of the body along two axes: bio-politics and the spectacle. We offer a reading of these configurations by focusing on the relationships between the human (organic), the non-human (android) and the immaterial (holographic); the eye (optics), the hand (haptics), and aesthetics; slavery, (...) instrumental labour and free-play; the politics of bodies and of memories; the potentialities of revolution and the transmission of ‘tradition of the oppressed’. In this, we foreground two seemingly marginal characters – J. F. Sebastian and Ana Stelline. These ‘little people’ embody and inhabit the convolutions of Blade Runner’s ‘more human than human’ world through ‘free use’ of the body and playfulness which, superficially innocent, nevertheless bear within them the promise of radical political change. (shrink)

"I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulderof Orion. I watched c-beams glitter in the dark near the Tanhauser Gate. Allthose… moments will be lost… in time. Like… tears… in rain. Time… to die." . With these lines Roy testifies to his memories and to his death, a death that has, in a sense,already taken place, and one that is, by definition, prohibited. While one cannotexperience one’s own death, death is not strictly a limit (...) on the ‘other side’; it comes to usfrom the grave, haunting our lives here and now. If there is a being-towards-death, there isa death-towards-being, and in this interminable aporia, Roy, the ‘replicant’, testifies toDeckard, the ‘human’ – who might himself be a replicant. Roy gives his memories, and doesnot ask for return. He gives, he dies. And he has become immortal, `tears in rain’ havingbecome the film’s signature to which the fans continue to countersign,attesting to Roy’s testimony. Between the signature and countersignature there is aresonance and an affiliation, to the point, as paradoxical as this may seem, where it cannotbe properly distinguished which came first. Did Roy’s signature call for itscountersignature, or did Roy and the film ‘follow’ the fans? Frankly, there is no‘first’ here. This is not a sequential history. This is a story about ‘humanity’–technology. (shrink)

We introduce a construct called “humanness sensitivity,” which we define as the ability to recognize uniquely human characteristics. To evaluate the construct, we used a “concurrent study design” to conduct an internet-based study with a convenience sample of 42,063 people from 88 countries.We sought to determine to what extent people could identify subtle characteristics of human behavior, thinking, emotions, and social relationships which currently distinguish humans from non-human entities such as bots. Many people were surprisingly poor at this task, even (...) when asked simple questions about human relationships or anatomy. Participants were best at identifying subtle aspects of human cognition and worst at identifying subtle aspects of human communication. Test scores were good predictors of whether someone was employed and modest predictors of other self-reported criterion measures. We also found that people identifying themselves in marginal societal categories identified themselves as less human and also scored lower on our test. As computers continue to become more human-like, our study suggests that the vast majority of humankind will likely have great difficulty distinguishing them from people. Can methods be devised for improving this ability? Might humanness sensitivity help people to make such distinctions? Will people who excel at differentiating humans and non-human entities—like the “blade runners” in the 1982 and 2017 feature films—someday hold a special place in society? (shrink)

This article critically engages with Denis Villeneuve’s Blade Runner 2049, focusing on the relationship between colonial logics and biological engineering that understands the natural world as property. First, it discusses the connections between the film and the shifting status of biopolitics becoming thanatopolitics, prompted by advances in synthetic biology. It argues that the film’s preoccupation with the reproductive capacity of its replicants retraces a racialized colonialism and reconfigured slavery, or the voluntary labour of the occupied – as (...) normalized in synthetic biology and the ongoing processes of devaluing of some lives over others for socioeconomic reasons. Second, and relatedly, the film reveals how deeply the thanatopolitics of a biopolitical economy is rooted in an intensification of racialized and colonial logics. The film thus doubles as a medium in which to grasp the centrality of colonial and racial logics to the ongoing real subsumption of life by capital, and the ways in which it continues to shape the present. (shrink)

Analysis of Fry's dream in the Futurama episode "A FishFul of Dollars" in relation to Žižek and Lacan. This short essay delves into the ideological conception of reality and the way in which individuals utilize fantasy to compensate for their personal lack.

Despite claims that STS science education promotes ethical responsibility, this approach is not supported by a clear philosophy of ethics. This paper argues that the work of Emmanuel Levinas provides an ethics suitable for an STS science education. His concept of the face of the Other redefines education as learning from the other, rather than about the other. Extrapolating the face of the Other to the non‐human world suggests an ethics for science education where the goal of pedagogy is peace (...) with each other and the world through the rupture, eros and justice that arises from openness to the demands of the world. Understanding the infinite responsibility of the invocation presented by the face of the Other radically reconceptualizes science education from STS towards an E‐STS curriculum of responsiveness that critically employs the said of modern science and opportunities of experience to enable the next generation of citizens to act in peace to what the world is saying. (shrink)

Despite claims that STS(E) science education promotes ethical responsibility, this approach is not supported by a clear philosophy of ethics. This paper argues that the work of Emmanuel Levinas provides an ethics suitable for an STS(E) science education. His concept of the face of the Other redefines education as learning from the other, rather than about the other. Extrapolating the face of the Other to the non‐human world suggests an ethics for science education where the goal of pedagogy is peace (...) with each other and the world through the rupture, eros and justice that arises from openness to the demands of the world. Understanding the infinite responsibility of the invocation presented by the face of the Other radically reconceptualizes science education from STS(E) towards an E‐STS curriculum of responsiveness that critically employs the said of modern science and opportunities of experience to enable the next generation of citizens to act in peace to what the world is saying. (shrink)

This book is the result of an idea launched by the present editors of providing a gift to Dr. Runner in the form of a Festschrift written by former students. The response was overwhelming. Glenn Andreas, one of Dr. Runner's closest friends, and Paul Schrotenboer, secretary of the Reformed Ecumenical Synod, enthusiastically joined us, together with Bernard Zylstra of the Institute for Christian Studies and Harry Van Dyke of the Free University of Amsterdam, to form a committee for (...) this purpose... Upon the appearance of this publication the editors wish to express their sincere thanks to the members of the committee for the advice and encouragement they gave and for the work they have done. (shrink)

The way we access dance is changing as the form is now widely viewed via digital transmission and documentation. This paper considers the ontological impact of this cultural shift. It sets out to challenge the view that dance works are accessible only through live performance. Adopting a non-realist ontological perspective,, I suggest that the way we relate to screenings and recordings of dance works impacts on the ontological status of the form, thus problematising existing schemata and calling for further philosophical (...) consideration. (shrink)

Seventy-five years before Niander Wallace brutally kills a newborn replicant in Blade Runner 2049, the National Commission for the Protection of Human Subjects of Biomedical and Behavioral Research was formed. Its formation led to the creation of the Belmont Report, which established guidelines for the treatment of human subjects. Wallace uses a scalpel as the instrument of disposal, of the newborn replicant, stabbing her in the womb, thereby ending her life moments after wishing her a happy birthday. (...) The conjunction of 2049 and the Belmont Report leads us to important questions concerning biomedical research, given that replicants are “bioengineered humans.” For example, is the “defective” replicant a human subject, and thus protected by research guidelines, or is she a product or consumer good that did not meet expectations? (shrink)