Books in the In Vivo: The Cultural Mediations of Biomedical Science series

Are humans unwitting partners in evolution with psychedelic plants? Darwins Pharmacy shows they are by weaving the evolutionary theory of sexual selection and the study of rhetoric together with the science and literature of psychedelic drugs. Long suppressed as components of the human tool kit, psychedelic plants can be usefully modeled as eloquence adjuncts that intensify a crucial component of sexual selection in humans: discourse.Psychedelic plants seduce us to interact with them, building an ongoing interdependence: rhetoric as evolutionary mechanism. In doing so, they engage our awareness of the noosphere, or thinking stratum of the earth. The realization that the human organism is part of an interconnected ecosystem is an apprehension of immanence that could ultimately benefit the planet and its inhabitants.To explore the rhetoric of the psychedelic experience and its significance to evolution, Doyle takes his readers on an epic journey through the writings of William Burroughs and Kary Mullis, the work of ethnobotanists and anthropologists, and anonymous trip reports. The results offer surprising insights into evolutionary theory, the war on drugs, the internet, and the nature of human consciousness itself.Watch the book trailer: https://www.youtube.com/watch?v=xof-t2cAob4

Despite increasingly nuanced understandings of the neurobiology of addiction and a greater appreciation of the social and economic conditions that allow drug dependency to persist, there remain many unknowns regarding the individual experience of substance abuse and its treatment. In recent years, novel pharmaceutical therapies have given rise to both new hopes for recovery and renewed fears about drug diversion and abuse. In The Clinic and Elsewhere, Todd Meyers looks at the problems of meaning caused by drug dependency and appraises the changing terms of medical intervention today.By following a group of adolescents from the time they enter drug rehabilitation treatment through their reentry into the outside world-the clinic, their homes and neighborhoods, and other institutional settings-Meyers traces patterns of life that become mediated by pharmaceutical intervention. His focus is not on the drug economy but rather on the therapeutic economy, where new markets, transactions of care, and highly porous conceptions of success and failure come together to shape addiction and recovery. The book is at once a meditative work of anthropology, a demonstration of the theoretical and methodological limits of medical research, and a forceful intervention into the philosophy of therapeutics at the level of the individual.Watch the trailer: http://www.youtube.com/watch?v=-Nfyy21fxp8&list=UUge4MONgLFncQ1w1C_BnHcw&index=12&feature=plc

Explains the technological, economic, cultural and even narrative transformations necessary to make genetic thinking possible. This book provides an inter-disciplinary contribution to intellectual and scientific history, science studies, and cultural studies.

Generating Bodies and Gendered Selves examines the textured interrelations between medical writing about generation and childbirth - what we now call reproduction - and emerging notions of selfhood in early modern England. At a time when medical texts first appeared in English in large numbers and the first signs of modern medicine were emerging both in theory and in practice, medical discourse of the body was richly interwoven with cultural concerns.Through close readings of a wide range of English-language medical texts from the mid-sixteenth to the early eighteenth centuries, from learned anatomies and works of observational embryology to popular books of physic and commercial midwifery manuals, Keller looks at the particular assumptions about bodies and selves that medical language inevitably enfolds. When wombs are described as "e;free"e; but nonetheless "e;bridled"e; to the bone; when sperm, first seen in the seventeenth century by the aid of the microscope, are imagined as minute "e;adventurers"e; seeking a safe spot to be "e;nursed"e;: and when for the first time embryos are described as "e;freeborn,"e; fully "e;independent"e; from the females who bear them, the rhetorical formulations of generating bodies seem clearly to implicate ideas about the gendered self.Keller shows how, in an age marked by social, intellectual, and political upheaval, early modern English medicine inscribes in the flesh and functioning of its generating bodies the manifold questions about gender, politics, and philosophy that together give rise to the modern Western liberal self - a historically constrained (and, Keller argues, a historically aberrant) notion of the self as individuated and autonomous, fully rational and thoroughly male.An engagingly written and interdisciplinary work that forges a critical nexus among medical history, cultural studies, and literary analysis, Generating Bodies and Gendered Selves will interest scholars in early modern literary studies, feminist and cultural studies of the body and subjectivity, and the history of women's healthcare and reproductive rights.

Robert Brain traces the origins of artistic modernism to specific technologies of perception developed in late-nineteenth-century laboratories. Brain argues that the thriving fin-de-sicle field of physiological aesthetics, which sought physiological explanations for the capacity to appreciate beauty and art, changed the way poets, artists, and musicians worked and brought a dramatic transformation to the idea of art itself.

Winner of the Sociology of Health and Illness Book PrizeHIV has changed in the presence of recent biomedical technologies. In particular, the development of anti-retroviral therapies (ARVs) for the treatment of HIV was a significant landmark in the history of the disease. Treatment with ARV drug regimens, which began in 1996, has enabled many thousands to live with the human immunodeficiency virus without progressing to AIDS. Yet ARVs have also been fraught with problems of regimen compliance, viral resistance, and iatrogenic disease. Besides intensifying the technological and ethical complexities of medicine, the drugs have also affected conceptions of risk and risk practices, in turn presenting new challenges for prevention.In order to devise safer, more effective forms of treatment, prevention, and possibly cure, Marsha Rosengarten asserts, it is essential to understand the relationship between HIV, medical technologies, and ideas about the body. HIV is an entity that constitutes and is constituted by complex material and informational environments. Recognition of this two-way traffic between the medical science of HIV and the expression of HIV in individuals and societies provides a novel basis for devising new or supplementary modes of thinking about and intervening in the epidemic.Through such diverse materials as drug advertisements, pill formulations, scientific articles, clinical trials, diagnostic test results, and viral imaging as well as interviews with those living and working with HIV, Rosengarten provides numerous demonstrations of how the entities comprising the HIV epidemic - bodies, viral resistance, diagnostic results, safe sex - are forged through dynamic relations.These various phenomena challenge existing prevention models and raise social and ethical concerns about the impact of additional technologies such as HIV pre- and post-exposure prophylaxis and the promise of vaccines and microbicides.HIV Interventions is relevant to those engaged in questions of the social and ethical dimensions of biomedicine, biotechnology, and genomics. Further, the specific focus of the project offers HIV practitioners - in the sciences and social sciences, in clinical research, clinical practice, social research, policy development and prevention education - new perspectives and analytic tools for intercepting a virus that continues to endure and, most critically, to change in the course of doing so.

Jose van Dijck is professor of media and culture and chair of the Media Studies Department, University of Amsterdam. She is the author of Imagenation: Popular Images of Genetics and Manufacturing Babies and Public Consent: Debating the New Reproductive Technologies.

From the potent properties of X rays evoked in Thomas Mann's Magic Mountain to the miniaturized surgical team of the classic science fiction film Fantastic Voyage, the possibility of peering into the inner reaches of the body has engaged the twentieth-century popular and scientific imagination. Drawing on examples that are international in scope, The Transparent Body examines the dissemination of medical images to a popular audience, advancing the argument that medical imaging technologies are the material embodiment of collective desires and fantasies--the most pervasive of which is the ideal of transparency itself. The Transparent Body traces the cultural context and wider social impact of such medical imaging practices as X ray and endoscopy, ultrasound imaging of fetuses, the filming and broadcasting of surgical operations, the creation of plastinated corpses for display as art objects, and the use of digitized cadavers in anatomical study.In the early twenty-first century, the interior of the body has become a pervasive cultural presence - as accessible to the public eye as to the physician's gaze. Jose van Dijck explores the multifaceted interactions between medical images and cultural ideologies that have brought about this situation. The Transparent Body unfolds the complexities involved in medical images and their making, illuminating their uses and meanings both within and outside of medicine. Van Dijck demonstrates the ways in which the ability to render the inner regions of the human body visible - and the proliferation of images of the body's interior in popular media - affect our view of corporeality and our understanding of health and disease. Written in an engaging style that brings thought-provoking cultural intersections vividly to life, The Transparent Body will be of special interest to those in media studies, cultural studies, science and technology studies, medical humanities, and the history of medicine.

Bioart, art that uses either living materials (such as bacteria or transgenic organisms) or more traditional materials to comment on, or even transform, biotechnological practice. This book offers a theoretical account of the art form, situating it in the contexts of art history, laboratory practice, and media theory.

In 1950, Alan Turing, the British mathematician, cryptographer, and computer pioneer, looked to the future: now that the conceptual and technical parameters for electronic brains had been established, what kind of intelligence could be built? Should machine intelligence mimic the abstract thinking of a chess player or should it be more like the developing mind of a child? Should an intelligent agent only think, or should it also learn, feel, and grow?Affect and Artificial Intelligence is the first in-depth analysis of affect and intersubjectivity in the computational sciences. Elizabeth Wilson makes use of archival and unpublished material from the early years of AI (194570) until the present to show that early researchers were more engaged with questions of emotion than many commentators have assumed. She documents how affectivity was managed in the canonical works of Walter Pitts in the 1940s and Turing in the 1950s, in projects from the 1960s that injected artificial agents into psychotherapeutic encounters, in chess-playing machines from the 1940s to the present, and in the Kismet (sociable robotics) project at MIT in the 1990s.

Explains the technological, economic, cultural and narrative transformations necessary to make genetic thinking possible. This book offers a cultural history that challenges our own ways of organizing knowledge even as it explicates those of an earlier era.

Since World War II, the biological and technological have been fusing and merging in new ways, resulting in the loss of a distinction between the two. This title deals with the fusion of biological and technological power and the entanglements of biocultures.

Focusing on the period between the 1970s and the present, Life as Surplus is a pointed and important study of the relationship between politics, economics, science, and cultural values in the United States today. Melinda Cooper demonstrates that the history of biotechnology cannot be understood without taking into account the simultaneous rise of neoliberalism as a political force and an economic policy. From the development of recombinant DNA technology in the 1970s to the second Bush administration's policies on stem cell research, Cooper connects the utopian polemic of free-market capitalism with growing internal contradictions of the commercialized life sciences.The biotech revolution relocated economic production at the genetic, microbial, and cellular level. Taking as her point of departure the assumption that life has been drawn into the circuits of value creation, Cooper underscores the relations between scientific, economic, political, and social practices. In penetrating analyses of Reagan-era science policy, the militarization of the life sciences, HIV politics, pharmaceutical imperialism, tissue engineering, stem cell science, and the pro-life movement, the author examines the speculative impulses that have animated the growth of the bioeconomy.At the very core of the new post-industrial economy is the transformation of biological life into surplus value. Life as Surplus offers a clear assessment of both the transformative, therapeutic dimensions of the contemporary life sciences and the violence, obligation, and debt servitude crystallizing around the emerging bioeconomy.

Bioart -- art that uses either living materials (such as bacteria or transgenic organisms) or more traditional materials to comment on, or even transform, biotechnological practice -- now receives enormous media attention. Yet despite this attention, bioart is frequently misunderstood. Bioart and the Vitality of Media is the first comprehensive theoretical account of the art form, situating it in the contexts of art history, laboratory practice, and media theory.Mitchell begins by sketching a brief history of bioart in the twentieth and twenty-first centuries, describing the artistic, scientific, and social preconditions that made it conceptually and technologically possible. He illustrates how bioartists employ technologies and practices from the medical and life sciences in an effort to transform relationships among science, medicine, corporate interests, and the public. By illustrating the ways in which bioart links a biological understanding of media -- that is, media understood as the elements of an environment that facilitate the growth and development of living entities -- with communicational media, Bioart and the Vitality of Media demonstrates how art and biotechnology together change our conceptions and practices of mediation. Reading bioart through a range of resources, from Immanuel Kants discussion of disgust to Gilles Deleuzes theory of affect to Gilbert Simondons concept of individuation, provides readers with a new theoretical approach for understanding bioart and its relationships to both new media and scientific institutions.