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Milburn, Colin
February 14th, 2007 under Faculty

Assistant Professor, English Department; Member, Science & Technology Studies Program, UC Davis
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Colin MilburnColin Milburn is Assistant Professor of English and a member of the Science & Technology Studies Program at UC Davis. His research focuses on the intersections of science, literature, and media technologies. He is especially interested in science fiction; Gothic horror; the history of biology; the history of physics; comic books, film, and new media; and posthumanism. His book about the onrushing era of nanotechnology, Nanovision: Engineering the Future, is forthcoming from Duke University Press. He is now completing a related project about nanoscience and videogames, while also working on a book about monsters and abnormal organisms in the biological sciences, currently entitled Monstrology. At UC Davis, he is affiliated with the Critical Theory and Cultural Studies programs, as well as the research cluster in Technoscience, Culture, and the Arts.


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The breakdown of humanism accelerates through increasing collisions between flesh and technology, where the interface mediates the emergence of new posthuman spaces, hybrid realities of the machinic, the virtual, and the meaty. Where bodies bleed with machineries, where science bleeds with science fiction, the secure enveloping tissues of the human subject—cognitive, corporeal, and otherwise—rip apart. Within these wounds, these traumatic crash sites that become ever more refined through technical reductions approaching the quantum limits of fabrication, the natural and the constructed, the human and the nonhuman, wash together in a molecular flow. This confluence and convergence at the nanoscale thus makes possible a radical reshaping of reality, atom by atom. A reshaping of reality that, while still a fiction, is no less already a fact.

Nanovision: Engineering the Future (Duke University Press, forthcoming 2008)



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poem by Nari
Code may be mysterious, cryptic, and in a sense unknowable, but it is, as Ted Warnell’s “Lascaux Symbol.ic” reminds us, made. Analogizing the cave painting to code, “Lascaux” reminds us that the hand — craft, skill, technical expertise — comes in between code and surfaces of inscription, here the wall of the cave. Code may in a general sense be opaque and legible only to specialists, much like a cave painting’s sign system, but it has been inscribed, programmed, written. It is conditioned and concretely historical. Whether or not non-human agents have had a 'hand' in its formulation, code remains not only a constructing force but also that which is constructed.
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