Abstract. This essay discusses the deep perceptual and social changes that the advanced applications of biotechnology could bring in the West. It examines the probable collapse of a fundamental perceptual bipolarity on which the Western mind and social mobilization have been based since its inception in the West: Athens--Jerusalem. This collapse will quite possibly radically reshape Western perceptions of self and nature and will remodel established constellations and modes of social mobilization and social organization. The radical collapse of the preceding (...) established feature of Western modernity is due to take place in the field of biotechnology, since the latter promises to produce a deliverable perfection of flesh and an equally corporeal personal bliss. I call this promise ``eutopia,'' an actual and tangible utopia-- ``a laboratory on the hill.''. (shrink)

The declared aim of this highly charged monograph is "to explore the rich and exhilarating spectrum of pro-European sentiment evident" in 130 years of original critical and creative contributions of Welsh intellectuals to cosmopolitanism. Thomas More's original coinage punned on eutopia and outopia and M. Wynn Thomas's title Eutopia similarly challenges his readers to choose between admiring the inspirational power of Wales's visions of her European identity and dismissing as them as wishful thinking. However one feels about Utopianism (...) per se, after reading 372 pages densely packed with well-marshalled evidence culled from over a century of Welsh periodicals and print publications, there is... (shrink)

Human beings have imaged ideal societies across the time, with the aim of going beyond real ones, and solving the problems emerged from common life. This article intends to remark that theorical conceptions of society frequently have an ‘eutopian’ counterpart, that means, a very best physical or geographical location. It can be appreciated precisely in the Ancient Greek world. In order to approach to this subject, we will depart from the usual version in the pólis of the Golden Age given (...) by Hesiod, and we will put it together with the eutopian reformation proposed by Pythagoreans and the ‘conservative’ presentation found in Aristotle’s Politics and Ethics. (shrink)

The contemporary conceptions of universal basic income, tax havens extraction, and climate emergency are briefly presented in the form of exposition in Massive Attack?s Eutopia EP. These conceptions address the most concerning issues of today?s world, while the concept of eutopia, proposed by Massive Attack?s Robert Del Naja and Mark Donne, represents?a place of well-being, as a practical aspiration,? a realistic utopia in which those issues are resolved. The present paper discusses the conceptions presented in Eutopia, assessing (...) the possibility of the materialisation of eutopia. As suggested by Massive Attack, the ideas of Eutopia can be traced back to More?s Utopia, being rooted in a humanistic endeavour of improving humanity, inspiring engagement and search for a better and just society. Apart from discussing Eutopia, the paper explores Another Now, the political science-fiction novel by Yanis Varoufakis. Varoufakis? critique of capitalism and the alternative he proposes in the novel Another Now argue along the same line as Eutopia, encouraging engagement in today?s world. (shrink)

The “eutopia” vision of the future, promulgated by technoscientists and libertarian thinkers, could herald the coming of a third axial age that could reshape and reformulate the legacy of the Great Religions and their transcendental moral imperatives, and of Modernity and the democratic imperative of equality of social conditions. A sociological diagnosis of a third, technosomatic, morality, is not a matter of supporting or rejecting such a possibility, but a matter of detecting its rise and regulating its impact.

Abstractabstract:Marjorie Barnard (1897–1987) and Flora Eldershaw (1897–1956) were prolific Australian authors who co-wrote, under the pseudonym "M. Barnard Eldershaw," five novels and four works of nonfiction published between 1929 and 1947. Their final collaboration, a future fiction entitled Tomorrow and Tomorrow, first appeared in Melbourne in 1947 and was reissued by the London feminist publisher Virago in 1983. Lyman Tower Sargent's bibliography of Australian utopian fiction describes the novel thus: "Dystopia. Public opinion sampling used to limit liberty." This is a (...) reasonable enough shorthand description of the novel's frame narrative, set in the "Tenth Commune" located somewhere in what is now the Riverina district on the border of New South Wales and Victoria, at some time in the twenty-fourth century. This article will argue, however, that the Tenth Commune is closer to a flawed eutopia than an outright dystopia; and that the novel's truly dystopian content lies in its core narrative, Knarf's novelistic account of mid-twentieth century Australia, which culminates in a quasi-apocalyptic destruction by fire of the city of Sydney. The extraordinary violence of this account will be contrasted to the essentially nonviolent character of the Tenth Commune and both will be situated in relation to Barnard's growing involvement in the pacifist Peace Pledge Union. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Going to our Happy Place: Idealism, Realism, and Nishida's Eutopia: A Response to Christian UhlChristopher S. Goto-JonesWords can be tricky things; their significance is often found in unexpected places. The word 'utopia,' for example, is usually considered to have originated in the early sixteenth century in Louvain when Thomas More fused two Greek words (ou, 'not,' and topos, 'place'). The result was a new, Greek-sounding compound, utopia, translatable (...) as 'Noplace.' Apparently, it was a small, newly discovered island where people did things differently from Europeans. By a happy coincidence, utopia was almost homophonous with another Greek compound, eutopia, which might be translated as 'Happyplace.' The word has come to be used to describe models of nonexistent societies that are imagined to be better than the ones in which we live.In his stimulating, thorough, and carefully crafted review of my recent book, Political Philosophy in Japan: Nishida, the Kyoto School, and Co-Prosperity, Christian [End Page 482] Uhl makes a great deal of my claim that Nishida's political project was utopian. He also takes issue with my characterization of Nishida as a political idealist. In the interests of clarification and in the spirit of engaged debate, I think that it is important to consider what these important (and often complicated) terms mean. In particular, the idea that 'idealist' and 'utopian' are coterminous should not be allowed to stand unchallenged. In a related way, it may be helpful to clarify what is meant by 'realist' in political thought, since Uhl claims that, far from being an idealist, Nishida was actually a realist "in a very fundamental sense of the word."Uhl is quite right to observe that I identify Nishida's political scheme as utopian in the sense that he provides a model of an ideal society as a means of demonstrating the problems in the society in which he lived.1 However, when it comes to the effectiveness of Nishida's utopian vision qua dissent in wartime Japan (or simply qua practice), the key problem slides from being utopianism itself to idealism. A utopia is an ideal society; the method required to realize that society is not necessarily part of the vision itself, although it may be implied in the structure. Consider a socialist utopia: for Marx, the road to this perfect society was paved by historical materialism; for a number of other socialists (including many Japanese socialists), the route to a broadly similar society was defined in humanist or even idealist terms. In a rather casual sense we might label the later Marx a realist and, say, Kawakami Hajime as an idealist. Nishida's utopia is no simpler,2 although it does, in fact, contain a sense of process: it is defined as a type of self-realization and it is premised upon an underlying faith in the power of the mind to transform both the self and the everyday world.I would contend that Nishida was an idealist (a thinker who works on the principle that the reality in which we live is somehow mind-correlative), although not a simple idealist, and also a political utopian. A number of his students, for example Nishitani and Kōyama, broadly shared their mentor's goals but differed in their construction of the paths to them. The quotation from Nishitani that Uhl selects reveals this clearly: he argues that if we do not "have both feet firmly grounded in the consciousness of the past as well as in the practice of the present, any idea will remain a mere concept, a utopian ideal."3 Nishitani is not taking issue with the utopia; he is challenging the process appropriate to its realization. He argues (in common with many of the other second-generation members of the Kyoto School) that an idealist philosophy that pays no attention to the significance of history can offer no blueprints for the achievement of its ideals in reality. The implied challenge to Nishida's thought here is to his understanding of the forces of historical change: idealist self-power (jiriki) is laid bare as ahistorical and inadequate as an engine for social change. Having said that, however, Nishitani does not make... (shrink)

Over the years of the printing of the Utopia by Thomas More, the paradigm of the bene ordinata res publica takes shape in Italian culture. It is a model both political and urbanistic, which is inspired by the neo-Platonic revival of the Fifteenth and Sixteenth century and concretized by the «new style» of Renaissance architects. The rationalization of the civitas, evident from the geometric definition of the urban plans, introduces a principle of order and measuring to which it is assigned (...) the task to re-form and harmonize the multiple instances of a real State – naturaliter unstable, corrupt, conflictual – within the form of an achievable eutopia. (shrink)

We start from the idea that Utopia is a Renaissance alternative to the Medieval Garden of Eden and, consequently, that dystopia, as a failed utopia, continues the theme of Paradise Lost. Inheriting such a rich tradition, the word “utopia” designates a semantic hybrid that encompasses several fields and disciplines. In this paper, we propose a reorganisation of the species of the utopian genre by reusing, with a minimum of violence, the already existing, albeit rather lax terms of utopia, eutopia, (...) dystopia and antiutopia. The main criteria for distinguishing these species are the moral value, the degree of verisimilitude, the constructing procedures. (shrink)

In this essay, I explore Cassirer’s brief discussion of utopia in An Essay on Man, as likely built upon Kant’s theory of genius as from the Critique of Judgment. This exploration of Cassirer’s theory of utopia lays the groundwork to argue that a utopia is the dynamic product of the “ethical genius,” a work that advances culture by luring it, via ideal imaginaries, to new realms of possibility for ethical advancement. Utopias have their dangers and limits, but nevertheless have a (...) critical role to play in improving our ethical life. (shrink)

Lyman Tower Sargent has had a personal and professional impact upon me. I cannot separate the effects of reading his work from engaging with him as a mentor—and more. Hence, this piece will focus on personal and professional texts and their contexts. I revisit Sargent's “An Ambiguous Legacy: The Role and Position of Women in the English Eutopia,” an essay he contributed to my Future Females: A Critical Anthology. I include passages from my novels Oy Pioneer! and Oy Feminist (...) Planets: A Fake Memoir which describe protagonist Sondra Lear's relationship with Thurston Howell III, interactions stemming from my longstanding association with Sargent. I describe a prominent male scholar's positive—almost utopian—influence on what I am here calling a retrospective autobiographical portrait of the professor as a young woman. This piece emphasizes that a festschrift contribution is about reciprocity between author and honoree. (shrink)

The paper seeks to examine whether Roman emperors legitimized their political actions with a view towards the future achievement of social and political order. The heuristic point of departure is Koselleck’s concept of ‚futures past‘ (vergangene Zukunft) which has been widely discussed in early modern and medieval research while its applicability to prechristian antiquity is still unexplored. The example of the so-called reforms of Augustus and Diocletian reveals that even in response to severe crises in the Roman Empire the emperors (...) did not command any ideas of order in alternative to prevailing conditions. Neither did they have any ‚master plan‘ of coordinated reforms, but reacted in a situational manner with improvements of administrative practice which were mainly aimed at consolidating their power and authority. All ‚reforms‘ were pronounced retrotopically as a return to better days (restitutio) or as a preservation (conservatio) of ‚happier times‘ (felicitas temporum). Looking at the monarchical discourse of power and the messages exchanged in various media between the emperor and his subjects, it is evident that the dominant time regime of imperial chronopolitics lay in a ‚presentism‘ which extended the present, as ‚eutopia‘, into eternity and glorified it as a golden age, whereas the future was only envisaged in dynastic terms. The horizon of expectations of both the emperor and his subjects was restricted to present-day provision. Only Christians were able to imagine a worldly and transcendent horizon of the future. The political success and duration of the Roman Empire left no room for alternative horizons of possibilities, which also explains why the Roman Empire – in contrast to the Greek world – had no notion of utopia. (shrink)

Utopia can be conceived as a possibility – a space within language, a set of principles, or the product of technological development – but it cannot be separated from questions of place, or more accurately, questions of “no place.” 1 In between the theoretically imaginable utopia and its realisation in a particular time and place, there is a space of critique, which is exploited in anti-Utopian and critical dystopian narratives. 2 In Science Fiction narratives of this kind, technology is responsible (...) for the transformation of the utopian impulse into a set of principles that are precisely stated and rigidly enforced. The critique focuses on the impossibility, due to the reductive force of instrumental reason, of any systematic realisation of a eutopia where the positive qualities of freedom, individualism and creativity are nurtured. The films Minority Report, directed by Steven Spielberg , and Gattaca, written and directed by Andrew Niccol , both examine utopian claims through speculation on the possible future use of current technologies, the tools of crime investigation and the genome project respectively. However, an examination of the plot cannot attend sufficiently to the particular properties of film and how it, as a medium, constructs utopia as a place. This article aims to address this issue by examining how technologically derived images of utopia are realised in the visual space of film, that is, on the level of the mise en scène. These images are often dystopian but the distinction between dystopia and eutopia is not crucial to the argument, because the aim is not to return utopian ism to its place at the vanguard of progressive politics, nor to reject utopianism on the basis that it is unrealisable, but rather to examine how technology and utopianism can combine in the visual language of film. My concern here is to investigate how utopia is conceived according to the specific features of the medium rather than to present an overarching narrative judgement as to the value of utopian principles. In Gattaca, the utopianism of a genetically determined future is reproduced in the mise en scène as a set of aesthetic principles, whereas in Minority Report the utopian technology itself resembles the apparatus of film. This involves two quite different approaches to the visualisation of utopia: 4 in Gattaca, utopia is embodied in a society in which there can be “no other place,” realised through the subtraction or reduction of visual difference; in Minority Report, utopia is an expression of a panoptic regime that can incorporate all visual and cultural difference such that the visible is “every place.”. (shrink)

The Onlife Manifesto rightfully points to the emergence of new forms of subjectivity in the digital age and how ICT calls for the re-distribution of tasks and responsibilities between humans and their technologies. However, Attention is still conceived in the Manifesto in modernist terms, as a problem of distraction. Within the terminology of Attention economy, the Manifesto is critical about the abuse of traditional forms of Attention, but does not make the next step to develop an alternative. In this chapter, (...) I elaborate on the notion of Attention and think of its new form in the digital age. A genealogy of the notion shows how Attention reflects the dominant technologies of a period. In the age of the printed book, Attention meant focusing on one activity at a time, and the background had to be silent and unnoticeable. In the age of radio and television, when stations and channels were switched with a single button, Attention was still focused on a single item but for shorter periods of time. Today, in the age of multi-processor computers and cell phones, Attention is distributed among tasks. In its distributed form, Attention can provide a subversive answer to the Attention economy that requires our undivided Attention. (shrink)