By Pasi Väliaho
In Biopolitical displays, Pasi Väliaho charts and conceptualizes the imagery that composes our affective and conceptual fact lower than twenty-first-century capitalism. Väliaho investigates the position monitor media play within the networks that this present day harness human minds and our bodies -- the ways in which photographs lively on console video game structures, digital fact applied sciences, and desktop monitors catch human power by means of plugging it into preparations of finance, struggle, and the intake of leisure. Drawing on present neuroscience and political and fiscal proposal, Väliaho argues that those pictures paintings to form the atomistic people who populate the neoliberal international of accumulation and war.Väliaho bases his argument on a large suggestion of the picture as whatever either noticeable and sayable, detectable in a number of display systems but in addition in clinical notion and theoretical principles. After laying out the conceptual foundations of the e-book, Väliaho bargains concentrated and distinctive investigations of the present visible economic system. He considers the imagery of first-person shooter games as instruments of "neuropower"; explores the layout and building of digital fact applied sciences to regard post-traumatic pressure ailment in veterans of Iraq and Afghanistan; and examines 3 cases of video install artwork that experience the facility to disrupt the dominant regime of sensibility instead of toughen it.
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Extra info for Biopolitical Screens: Image, Power, and the Neoliberal Brain
This shift from “selfhood” to “brainhood” can be considered an instance of the workings of the contemporary biopolitical apparatus, which interweaves development of scientific techniques and discourses with the political rationalities of our times. 72 Instead of being concerned only negatively with its subjects in the form of the power to kill or let live, biopolitics seeks to positively promote the productive capacities of bodies and populations. 77 First, the science of political economy, which had developed in the eighteenth and nineteenth centuries, inaugurated the notion of production as the indispensable source of value.
112 Brain scan images exemplify such premediation in the scientific context, but, in more general terms, images today speak of the reality of what has not yet happened, of what our brains simulate and what we in our gestures mime will happen. From video games beating the rhythms of actual wars and virtual realities of past contingencies to stock market speculations and risk assessments, the internal and external cause of these images is not in the present but in the future—and its “living” host medium, the brain.
In line with current neuroscientific reasoning, we should note how the visual economy of the first-person shooter coincides with that of the cerebral subject: both are driven and shaped by the brain’s learned or genetic automatisms—or “zombies,” as Vilayanur S. 39 In his study of perceptual illusions, Ramachandran showed how much unconscious and “automatic” brain processes structure and direct our perception and behavior, echoing a common and decisive theme in neuroscientific thought, which considers agency with respect to a neurological unconscious to be at the origin of self-awareness.
Biopolitical Screens: Image, Power, and the Neoliberal Brain by Pasi Väliaho