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  1. The Posthuman Condition: Ethics, Aesthetics and Politics of Biotechnological Challenges.Kasper Lippert-Rasmussen, Mads Rosendahl Thomsen & Jacob Wamberg (eds.) - 2012 - Aarhus University Press ;.
    If biotechnology can be used to "upgrade" humans physically and mentally, should it be done? And if so, to what extent? How will biotechnology affect societal cohesion, and can the development be controlled? Or is this a Pandora's box that should remain closed? These are just a few of the many questions that arise as a result of the increasing ability of technology to change biology and, eventually, transform human living conditions. This development has created a new horizon of a (...)
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    Introduction.Jacob Lund & Jacob Wamberg - 2019 - Nordic Journal of Aesthetics 28 (57-58):5-9.
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    Monolith in a Hollow: Paleofuturism and Earth Art in Stanley Kubrick’s 2001: A Space Odyssey.Jacob Wamberg - 2020 - Nordic Journal of Aesthetics 29 (59):36-78.
    This article analyses 2001 in terms of what I term paleofuturism. Fusing deep future and deep past, this cyclical figure reconciles rational machinic intelligence with diverse repressed temporal layers: archaic cultures, the embryonic state of individuals, and bygone biological and geological eras. In 2001, paleofuturism is nourished by Nietzsche’s Übermensch of the future, reborn as a child, and by Jungian ideas of individuation, the reconciliation with the shadow of the collective unconscious that leads to the black cosmos itself. Further paleofuturist (...)
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    Paolo Squatriti, Landscape and Change in Early Medieval Italy: Chestnuts, Economy, and Culture. Cambridge and New York: Cambridge University Press, 2013. Pp. Xiii, 236; 4 Maps. $99.99. ISBN: 978-1-107-03448-8. [REVIEW]Jacob Wamberg - 2015 - Speculum 90 (3):853-854.
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    Shrink to Expand: The Readymades Through the Large Glass.Jacob Wamberg - 2019 - Nordic Journal of Aesthetics 28 (57-58):109-140.
    Departing from Duchamp’s advice in 1961 of finding the “com- mon factor” between the non-representative and the representa- tive, translated here into modernism and avant-garde, this article seeks to understand the readymades as objects that have passed metaphorically through Duchamp’s magnum opus, the unfinished Large Glass. More precisely, the readymades are seen as mass-produced utensils that have been stripped bare of their usual function, i.e. their actualization, in order to regain potentiali- ty. Mapping Giorgio Agamben’s interpretation of Herman Melville’s short (...)
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