Disentangling the Posthuman: Broadening Perspectives of Human/Machine Mergers Through

Total Page:16

File Type:pdf, Size:1020Kb

Disentangling the Posthuman: Broadening Perspectives of Human/Machine Mergers Through Disentangling the Posthuman: Broadening Perspectives of Human/Machine Mergers through Inter-relational Subjectivity by Judy Ehrentraut A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2019 © Judy Ehrentraut 2019 Examining Committee Membership The following served on the Examining Committee for this thesis. The decision of the Examining Committee is by majority vote. External Examiner Dr. Isabel Pedersen Title: Associate Professor Supervisor Dr. Marcel O’Gorman Title: Professor Internal-external Member Dr. Daniel Vogel Title: Associate Professor Internal Members Dr. Aimée Morrison Title: Associate Professor Dr. Neil Randall Title: Associate Professor ii Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii Abstract In the conclusion of How We Became Posthuman, N. Katharine Hayles states that the terror of posthumanism comes from its dual connotation of superseding the human and coming after it, implying that the days of being human are coming to an end. Certain branches of posthuman discourse suggest that the intersection of humans and advanced technologies has already resulted in the dissolution of essentialist understandings of the human to make way for the posthuman. While some theorists interpret this emergence as marking the human’s fall and subsequent rise as a transcendent being imbued with technological adornments, others rightly see it as the disbanding of the human of Enlightenment philosophy. Yet as this dissertation argues, even iterations of posthuman thought that attempt to reject anthropological and sociocultural essentialisms inadvertently re-affirm humanist ideologies. This is mainly due to normative and dogmatic ideas about technology’s place in the human world that frame it as dehumanizing and oppositional on the one hand, or transcendent and empowering on the other. In both cases, the human/technology relationship is pre-coded by the assumption that technology gesticulates a dislodging of “natural” human purity, which encourages the fear that human agency predicated on self-possession is at risk. Engaging with the works of Hayles, Rosi Braidotti and Karen Barad, I propose that agency is not something one possesses, but an outcome of entanglements where identity is formed when the subject recognizes difference over assimilation. My contention is that humans typically approach potential connections with technologies as opportunities to extend the individual unitary self, rather than exploring the self as open, incomplete and always emerging. When technology is perpetually seen as an intrusive addition to the human, a false dichotomy develops where authentic self-representation is endangered by technological mediation. As well, iv the rhetoric that technology possesses the power to make us “more human” (Case 2010; Hauskellar 2013; Taylor 2011; Casey 2013) frames it as a vehicle with which the normative able-bodied human elevates its control over the world. Thus, in response to the increasing demonization of communication technologies, my critique of digital abstinence initiatives reveals the ableist, racist and classist underpinnings that discount the varied ways all humans entangle with artifacts to participate in subject-making. Rather than theorizing how posthumanism represents the promises of technological extension, I evaluate the underlying exclusions that assign certain humans as lacking and needing improvement. Building on Braidotti’s ethics of becoming and the movement from a unitary to nomadic subject, my conception of “inclusive posthumanism” disengages from the idea that the human’s purpose is to progress. By rejecting individualism and self-interest to promote a larger inter-relationality with other human and non-human artifacts, I see the inclusive posthuman as an opportunity to theorize subjectivity as a decentralization of the human’s role within a larger system. This both recognizes the human’s importance without implying its obliteration, and offers constitutions of a collective self that is uncovered through chance encounters. v Acknowledgements First and foremost, I need to thank my family for their limitless patience while I completed this PhD. None of you quite understood what I was doing or why, but you were all on board from the beginning, and I can’t thank you enough for being there throughout my journey and continuing to encourage me for all these years. I’d also like to thank the English department at the University of Waterloo, and my supervisor Dr. Marcel O’Gorman for his long-standing support of my research, going back to my second year where he oversaw me in a directed reading course where I wrote my first book chapter that ultimately helped shape this dissertation. Thank you for helping me train for this marathon, and for including me in the Critical Media Lab’s many ventures in its many locations. I’m especially grateful that I was able to host the Posthuman Film Club (and thank you from the bottom of my heart to everyone who attended, no matter how weird the films were). Thank you to Dr. Neil Randall for his unwavering support dating back to my first year in the program, and through the many changes this project went through. A big thank you to Agata, the VR Working Group and everyone at the Games Institute for giving me the green light every time I proposed a research project. Also, thank you to Dr. Aimée Morrison for her invaluable insights and for helping me take on a very challenging but necessary perspective in the later stages of writing. A profound thank you to my many friends in Toronto, Kitchener, and Hamilton. I couldn’t have done this without you. Thank you all for letting me spend the night whenever I needed to, for helping me take the breaks I desperately needed to take, and for excitedly asking me how the work was going every time I showed up to things. You made these last few years easier and helped me see the importance of work/life balance. I’m forever grateful for the music, the forest, and the good vibes. Lastly, thank you to Bean, who was there the whole time. vi Table of Contents Introduction: Technology for the People 1 Chapter 1: The End of the Human: Extricating Posthumanism from Humanism 25 Chapter 2: Bad Posthumanism and Fearful Wish-Fulfillment: Androids, Cyborgs, 57 and Uploaded Consciousness Chapter 3: The Promise of Mobile Telephony: ‘Real’ Connections and 90 Individual Spaces of Control Chapter 4: Assembling with Technology: Considering the Incomplete Body 133 Chapter 5: Unpredictable Encounters with the Technological Kind 169 Conclusion: Future Speculations of the Human in a Posthuman World 208 References 222 vii Introduction: Technology for the People We need to become the sorts of subjects who actively desire to reinvent subjectivity as a set of mutant values and to draw our pleasure from that, not from the perpetuation of familiar regimes. Rosi Braidotti, The Posthuman, 93 “Mobile phones, once created to connect, are now putting more distance between us.” This is what a European start-up company called Mudita1 believes is the greatest consequence of telecommunication technology, an otherwise exciting cultural enterprise that has put all the world’s information at our fingertips. As their mission statement explains, “this paradise of endless options is turning into a hell of anxiety” because people can no longer enjoy moments of solitude without incurring boredom. As a solution, Mudita advocates “technology of the present moment” intended to “bring balance and quality to your life.” They advertise “humane products that put well-being first” by creating a minimalistic phone that blocks apps and has a screen made of electronic ink to reduce eye strain. The product claims it “supports your conscious use of technology” and is “inspired by your wise choices.” It is intended to bring smartphone usage back into the control of the individual, helping users “find deeper focus, get more done and build authentic relationships” (Mudita). Mudita is not the first company to try to solve the problem of attention deficit by reducing smartphone functionality, and their product is merely symbolic of a larger mindfulness 1 “Mudita” is a Sanskrit word that roughly means “sympathetic or unselfish joy in the good fortune of others. English-speaking teachers broaden the definition of mudita to include ‘empathy’” (O’Brien). 1 movement that Silicon Valley has been popularizing for over a decade.2 Mudita advocates for meditation practice as a pathway to self-awareness that can only begin by alleviating distraction and regaining control of our devices. Yet despite their campaign for mental calmness, the underlying message is carefully centered on efficiency. Mudita juxtaposes smartphone mobility, which has allowed us to “finally fulfill all our potential and make profitable use of every minute,” with a new social model that encourages a repossession of our time and energy so we can accomplish more. With this comes an understanding of agency as something we must also possess, predominantly over the very devices now thought to be holding us back. But what exactly are we being held back from, and why does the conversation begin with the design of these devices, rather than on their societal conception and cultural use? The Cyborg Conversation When we speculate about the seamless integration of pervasive devices and human life, we are engaging in a conversation about modern-day cyborgs, whether we realize it or not. A person may claim they can barely tell the difference between their hand and their mobile phone, and wonder what measure of authenticity and human experience they lose through digital engagement. Their conversation partner might remind them we have always been cyborgs, for the distinction between organic and inorganic has always been blurred, as Donna Haraway tells us in her 1985 manifesto.
Recommended publications
  • Webb Management Services
    building creativity Webb Management Services ✲ Webb Management Services, Inc. is North America’s leading provider of arts and cultural project planning services ✲ We work for governments, schools, developers, and arts organizations on facility feasibility, business planning, strategic planning, and cultural planning ✲ Our practice was founded in 1997, and we just started our 348th assignment ✲ Previous work in the region includes projects in Chandler and Mesa, as well as a Cultural Facilities Master Plan for the Scottsdale Cultural Council Webb Management Services Inc. Page 1 building creativity Additional team members Elizabeth Healy, Healy Entertainment Elizabeth recently re-launched Healy Entertainment, a development and production company. One of her first clients is The Recording Academy (GRAMMY Awards Organization), which follows on the heels of her eight- year term as senior executive director of The Recording Academy New York Chapter. Her work there included developing and producing over 400 special programs and events for the company. Elizabeth's past experience also includes working at significant performing arts organizations such as Lincoln Center for the Performing Arts, New York City Ballet, Saratoga Performing Arts Center, and Finger Lakes Performing Arts Center, in addition to several major record companies, and with world renowned artists. Christine Ewing, Ewing Consulting Christine has a proven track record of more than 25 years producing successful financial development programs for a broad range of vital nonprofit
    [Show full text]
  • Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales.
    [Show full text]
  • Casual and Hardcore Players in HBO's Westworld (2016): the Immoral and Violent Player
    Casual and Hardcore Players in HBO’s Westworld (2016): The Immoral and Violent Player MA Thesis Ellen Menger – 5689295 [email protected] Supervisor: Dr. René Glas Second reader: Dr. Jasper van Vught Utrecht University MA New Media & Digital Culture MCMV10009 - THE-Masterthesis/ MA NMDC May 8, 2017 Abstract This thesis approaches the HBO series Westworld (2016) through the lens of game studies and interprets the series as a commentary on the stereotype of casual and hardcore players and immoral violence in video games. By performing a textual analysis, this thesis explores how Westworld as a series makes use of the casual and hardcore player stereotype, looking at the way the series explores the construction of player categories and how it ties these to the dialogue about violence and immoral behaviour in video games. Keywords: Westworld, games, player types, Western, casual gamer, hardcore gamer, violence, ethics, morals SPOILER WARNING This thesis reveals certain plot twists that may spoil part of the storyline of the first season of HBO’s Westworld. If you have not watched the series, read at your own risk. Table of Contents 1. Introduction ........................................................................................................................ 1 2. Theoretical framework ....................................................................................................... 7 2.1. (Im)moral Behaviour in Game Worlds ....................................................................... 7 2.2. The Player as a Moral
    [Show full text]
  • Sight & Sound Films of 2007
    Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic
    [Show full text]
  • 6182 Rhodes & Singer.Indd
    Consuming Images 6182_Rhodes & Singer.indd i 18/12/19 3:04 PM Robert Abel’s Bubbles (1974) 6182_Rhodes & Singer.indd ii 18/12/19 3:04 PM Consuming Images Film Art and the American Television Commercial Gary D. Rhodes and Robert Singer 6182_Rhodes & Singer.indd iii 18/12/19 3:04 PM Dedicated to Barry Salt and Gerald “Jerry” Schnitzer Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Gary D. Rhodes and Robert Singer, 2020 Edinburgh University Press Ltd The Tun—Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 6068 2 (hardback) ISBN 978 1 4744 6070 5 (webready PDF) ISBN 978 1 4744 6071 2 (epub) The right of Gary D. Rhodes and Robert Singer to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 6182_Rhodes & Singer.indd iv 18/12/19 3:04 PM Contents List of Figures vi Acknowledgments ix Introduction 1 1. Origins 16 2. Narrative 36 3. Mise-en-scène 62 4.
    [Show full text]
  • 2018 – Volume 6, Number
    THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International
    [Show full text]
  • Gogo Vision What's Playing
    GOGO VISION WHAT’S PLAYING CATALOG 183 MOVIES (100) TITLE TITLE NEW CONTENT Harriet A Star is Born Harry Potter and the Chamber of Secrets Sherlock Holmes Harry Potter and the Deathly Hallows: Part 1 Sherlock Holmes: A Game of Shadows Harry Potter and the Deathly Hallows: Part 2 The Big Lebowski Harry Potter and the Goblet of Fire The Breakfast Club Harry Potter and the Half-Blood Prince The Croods Harry Potter and the Order of the Phoenix Those Who Wish Me Dead Harry Potter and the Prisoner of Azkaban Addams Family, The (2019) Harry Potter and the Sorcerer's Stone An American Pickle Horrible Bosses Batman Begins Horrible Bosses 2 Batman V Superman: Dawn of Justice Impractical Jokers: The Movie Bill and Ted Face the Music Invisible Man, The Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) It's Complicated Blinded By The Light Joker Boogie Judas and the Black Messiah Coco Just Mercy Crazy Rich Asians Kajillionaire Crazy, Stupid, Love Let Them All Talk Die Hard Lilo and Stitch Disneys Upside-Down Magic Limbo Doctor Sleep Locked Down E.T. The Extra-Terrestrial Lucy in the Sky Elf Marvel Studios' Black Panther Emma Marvel Studios’ Avengers: Infinity War Finding Dory Marvel’s the Avengers: Age of Ultron Finding Nemo Minions Frozen 2 Mortal Kombat Godzilla v. Kong Mulan Guardians of the Galaxy Vol. 2 My Spy Movies 1 TITLE News of the World The Dark Knight Nobody The Dark Knight Rises Nomadland The Kitchen Office Space The Lego Batman Movie Onward The Lego Movie Photograph, The The Lego Movie 2: The Second Part Queen & Slim
    [Show full text]
  • The Release: a Thesis
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-16-2014 The Release: A Thesis Jonathan Frey [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Other Film and Media Studies Commons Recommended Citation Frey, Jonathan, "The Release: A Thesis" (2014). University of New Orleans Theses and Dissertations. 1798. https://scholarworks.uno.edu/td/1798 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. The Release A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements for the degree of Master of Fine Arts In Film Production By Jonathan Frey B.A. Tulane University, 2003 May 2014 © 2014, Jonathan Frey ii Table of Contents Abstract .........................................................................................................................................
    [Show full text]
  • University of Groningen Narrative Metalepsis As Diegetic Concept In
    University of Groningen Narrative Metalepsis as Diegetic Concept in Christopher Nolan’s 'Inception' (2010) Kiss, M. Published in: Acta Universitatis Sapientiae, Film and Media Studies IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2012 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Kiss, M. (2012). Narrative Metalepsis as Diegetic Concept in Christopher Nolan’s 'Inception' (2010). Acta Universitatis Sapientiae, Film and Media Studies, 5, 35 - 54. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 26-09-2021 ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 5 (2012) 35–54 Narrative Metalepsis as Diegetic Concept in Christopher Nolan’s Inception (2010) Miklós Kiss University of Groningen (the Netherlands) Email: [email protected] Abstract. The paper aims to revitalise Gérard Genette’s literary term of ‘metalepsis’ within a cinematic context,1 emphasising the expression’s creative potentials for both analytical and creative approaches.
    [Show full text]
  • Download Download
    Canadian Journal of Disability Studies Published by the Canadian Disability Studies Association Association Canadienne des Études sur le handicap Hosted by The University of Waterloo www.cjds.uwaterloo Tricky Ticks and Vegan Quips: The Lone Star Tick and Logics of Debility Joshua Falek Gender, Feminist and Women’s Studies, York University [email protected] Cameron Butler Social Anthropology, York University [email protected] Abstract In this article, we explore the discourse around the Lone Star tick, predominately through the platform of Twitter, in order to highlight the way the tick is imagined as a potential tool for increasing veganism, as the Lone Star tick’s bite has been found to cause allergies to a carbohydrate found in red meat. In particular, the article questions why the notion of tick-as- vegan-technology is so widespread and easily called forward. In order to explain this pattern, we turn to Sunaura Taylor’s monograph, Beasts of Burden and Jasbir Puar’s notion of debility. Taylor’s monograph provides a framework for analyzing the imbrications of power between ableism and speciesism. Puar’s debility helps articulate how the imagination of widespread red meat allergies is an imagination of decapacitation. Puar’s analysis of the invisibilizing of debility also helps reveal how both ticks and humans are debilitated and instrumentalized in this articulated fantasy. We argue that the governance impulse in these discourses reflect a continued alignment with biopolitical forces that always designate some lives as worthy of care and others as useable, which is fundamentally at odds with broader goals of animal liberation.
    [Show full text]
  • Trevor Morris
    TREVOR MORRIS COMPOSER Trevor Morris is one of the most prolific and versatile composers in Hollywood. He has scored music for numerous feature films and won two EMMY awards for outstanding composition for his work in Television. Internationally renowned for his music on The Tudors, The Borgias, Vikings and the hit NBC television series Taken, Trevor is a stylistically and musically inventive soundtrack creator. Trevor’s unique musical voice can be heard on his recent film scores which include The Delicacy, Hunter Killer, Asura, Olympus Has Fallen, London Has Fallen, and Immortals. And further Television compositions including Another Life, Condor, Castlevania, The Pillars oF the Earth for Tony and Ridley Scott, Emerald City and Iron Fist for Marvel Television. Trevor has also worked as a co-producer/ conductor/ orchestrator on films including Black Hawk Down, The Last Samurai, The Ring Two, Pirates of the Caribbean, and Batman Begins and collaborated with Tony and Ridley Scott, Neil Jordan, Luc Besson, Jerry Bruckheimer, Antoine Fuqua, Tarsem Singh Dandwar, as well as composers James Newton Howard and Hans Zimmer. Trevor is also a Concert Conductor, conducting his music in live concert performances around the globe, including Film Music Festivals in Cordoba Spain, Tenerife Spain, Los Angeles, and Krakow Poland where he conducted a 100-piece orchestra and choir for over 12,000 fans. Trevor has been nominated 5 times for the prestigious EMMY awards, and won twice. As well as being nominated at the World Soundtrack Awards in Ghent for the ‘Discovery of the Year ‘composer award for the film Immortals. Trevor is a British/Canadian dual citizen, based in Los Angeles.
    [Show full text]
  • Trends in Marketing for Books on Animal Rights
    Portland State University PDXScholar Book Publishing Final Research Paper English 5-2017 Trends in Marketing for Books on Animal Rights Gloria H. Mulvihill Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/eng_bookpubpaper Part of the English Language and Literature Commons, and the Publishing Commons Let us know how access to this document benefits ou.y Recommended Citation Mulvihill, Gloria H., "Trends in Marketing for Books on Animal Rights" (2017). Book Publishing Final Research Paper. 26. https://pdxscholar.library.pdx.edu/eng_bookpubpaper/26 This Paper is brought to you for free and open access. It has been accepted for inclusion in Book Publishing Final Research Paper by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Mulvihill 1 Trends in Marketing for Books on Animal Rights Gloria H. Mulvihill MA in Book Publishing Thesis Spring 2017 Mulvihill 2 Abstract Though many of us have heard the mantra that we shouldn’t judge a book by its cover, marketers in book publishing bank on the fact that people do and will continue to buy and read books based not only on content, but its aesthetic appeal. This essay will examine the top four marketing trends that can be observed on the Amazon listings for books published on animal rights within the last ten years, specifically relating to titles, cover design, and the intended audience. From graphic adaptations of animals to traditional textbook approaches and animal photography, publishers are striving to evoke interest and investment in literature concerning a politically charged and inherently personal topic.
    [Show full text]