La Transcendencia Del Homo Sapiens: El Icono Del

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La Transcendencia Del Homo Sapiens: El Icono Del ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en Departamento de Filología Española Programa de doctorado en Teoría de la Literatura y Literatura Comparada TESIS DOCTORAL LA TRANSCENDENCIA DEL HOMO SAPIENS: EL ICONO DEL POSTHUMANO EN LA CIENCIA FICCIÓN Jaume Llorens Serrano Directora de tesis: Sara Martín Alegre Universitat Autònoma de Barcelona, 2016 Agradecimientos En primer lugar quiero transmitir mi agradecimiento a mi directora de tesis, la doctora Sara Martín Alegre, por su guía, las correcciones de este trabajo, su paciencia y entusiasmo. Gracias también a los profesores que tuve en la licenciatura y el máster de Teoría de la Literatura por todo lo que he aprendido de ellos. Mi más sincero agradecimiento a mis compañeros de viaje en el doctorado, la doctora Ada Cruz y el doctor Romuald Berty, y a los compañeros del máster, especialmente Miguel Ángel León, Daniela Poch, Salvatore Maldera y Lola Butez, por ser una fuente de motivación. A Francesc Castellano y Anna Casellas por las cenas, los juegos y el humor, y Miquel Martí por los cafés y las conversaciones. Me gustaría también recordar y extender un agradecimiento especial a mi amigo Gerard Diago. Deseo expresar todo mi aprecio y gratitud a mis padres, Jaci y Jaume, por el apoyo incondicional que siempre me han dado, y a mi tía Isabel Serrano y su familia, Quim, Núria y Miquel Perelló, por su ayuda. Por último quiero expresar mi gratitud a Jannika Melkko, su apoyo y compañía han sido más importantes de lo que sabe y me gustaría dedicarle esta tesis a ella. Contenidos INTRODUCCIÓN 1 0.1. La evolución humana y la literatura de ciencia ficción 1 0.2. El encaje de la ciencia ficción con el posthumanismo 4 0.3 ¿Qué es la ciencia ficción? 8 0.4. La identidad humana 14 0.5. El pensamiento posthumanista 19 0.6. Nota sobre la terminología 24 0.7. El icono del posthumano en la ciencia ficción 26 CAPÍTULO 1. EL ICONO DEL POSTHUMANO: LA IMAGINACIÓN POSTHUMANISTA Y LA CIENCIA FICCIÓN 35 1.1. Más que humano, menos que humano: la invención de una nueva especie y la polarización del debate posthumanista 35 1.1.1. El legado del cyborg 35 1.1.2. Las tecnologías emergentes 40 1.1.3. El movimiento transhumanista 44 1.1.4. La ideología transhumanista 50 1.1.5. Las críticas al posthumanismo 56 1.2. Fantasías de evolución y progreso tecnológico: el desarrollo del posthumano en la ciencia ficción 63 1.2.1. Introducción a la ciencia ficción posthumana 63 1.2.2. Un icono del género 66 1.2.3. La tradición británica y la teoría de la evolución 71 1.2.4. La tradición americana y el progreso tecnológico 77 1.2.5. El cyborg y la nueva versión del ser humano 82 1.2.6. Old Man’s War, de John Scalzi 89 CAPÍTULO 2. LA VIDA POST-BIOLÓGICA: LA ESENCIA HUMANA Y EL PROBLEMA CUERPO/MENTE 103 2.1. De Descartes a Moravec: la actualización del dualismo cartesiano en la cultura informática 103 2.1.1. El humano cartesiano 103 2.1.2. La cibernética y la analogía funcionalista del cerebro como ordenador 109 2.1.3. La crisis del cuerpo en el mundo de la información 112 2.1.4. La transcendencia como solución al problema de la muerte 118 2.2. La vida después del cuerpo: la digitalización de la esencia humana 124 2.2.1. Cyberpunk 124 2.2.2. El cyberpunk como ficción posthumana 128 2.2.3. El ciberespacio y la realidad virtual 131 2.2.4. Postcyberpunk 134 2.2.5. Altered Carbon, de Richard Morgan 143 CAPÍTULO 3. LA VIDA BIOLÓGICA: EL MEJORAMIENTO HUMANO Y LA INGENIERÍA BIOLÓGICA 153 3.1. El camino hacia el auto-diseño: la herencia de la eugenesia y la manipulación biológica 153 3.1.1. Los principios de la eugenesia 153 3.1.2. Las prácticas eugenésicas en la civilización occidental 156 3.1.3. La nueva eugenesia y el mejoramiento humano 161 3.1.4. Genética, biotecnología y bioética 164 3.1.5. El posthumanismo y el auto-diseño de la vida humana 169 3.2. El sueño de Haldane y la pesadilla de Huxley: la ingeniería biológica de seres humanos en la ciencia ficción 172 3.2.1. Las utopías eugenésicas y el progreso humano 172 3.2.2. Las distopías biotecnológicas y las castas genéticas 177 3.2.3. La ingeniería biológica y el posthumano 183 3.2.4. The Windup Girl, de Paolo Bacigalupi 188 CAPÍTULO 4. LA VIDA ARTIFICIAL: TECNOLOGÍA AUTÓNOMA Y LA SUSTITUCIÓN DEL HUMANO 199 4.1. Máquinas inteligentes: tecnologías emergentes y la Singularidad tecnológica 199 4.1.1. La visión sustantiva de la tecnología 199 4.1.2. Inteligencia artificial 204 4.1.3. Nanotecnología 208 4.1.4. La Singularidad 213 4.2. La amenaza del posthumano: la visión tecnofóbica y catastrófica de la vida artificial 218 4.2.1. Tecnofilia y tecnofobia en la ciencia ficción 218 4.2.2. La tradición apocalíptica en la ciencia ficción 225 4.2.3. El robot y la inteligencia artificial 228 4.2.4. Nanotecnología, Singularidad y el apocalipsis posthumano 234 4.2.5. Fairyland, de Paul McAuley 240 CAPÍTULO 5. EL HUMANO Y EL POSTHUMANO: 255 EL PROBLEMA DE LA COEXISTENCIA Y LA CUESTIÓN DE LA IDENTIDAD 5.1. Repensar el antropocentrismo: la llegada del posthumano y la desnaturalización del humano 255 5.1.1. ¿Una nueva revolución en la historia de nuestra especie? 255 5.1.2. La especiación en el pasado evolutivo y el futuro posthumano 259 5.1.3. Posthumanismo en el discurso cultural 265 5.2. La amenaza del humano: la esencia humana y la diversidad posthumana 273 5.2.1. La alteración de los límites de lo humano 273 5.2.1. La persecución de los posthumanos en la ciencia ficción 279 5.2.3. Darwin’s Children, de Greg Bear 285 CONCLUSIONES 293 BIBLIOGRAFÍA 303 Fuentes primarias 303 Filmografía 311 Fuentes secundarias 312 INTRODUCCIÓN ____________________________________________________________________________________ 0.1. LA EVOLUCIÓN HUMANA Y LA LITERATURA DE CIENCIA FICCIÓN En el artículo de 1893 “The Man of the Year Million”, H. G. Wells describió su primera predicción del futuro evolutivo de la especie humana. El humano futuro imaginado por Wells, the Coming Man, ha perdido sus rasgos simiescos y ha desarrollado un cerebro desproporcionado. Ya a finales del siglo XIX Wells consideraba que el camino evolutivo de nuestra especie avanzaría de la mano del progreso tecnológico; según anticipa en este artículo, la consecuencia será el desarrollo de un cerebro desproporcionado, que dejará a nuestros descendientes con un cuerpo atrofiado que necesita ser complementado por aparatos mecánicos. A lo largo de su carrera como ensayista y escritor de ficción Wells volvió una y otra vez al relato sobre el futuro evolutivo del ser humano, notablemente en el conjunto de novelas publicadas en la última década del siglo XIX y primeros años del XX que Wells definió como scientific romances, y que incluyen entre otras The Time Machine (1895), The Island of Doctor Moreau (1896) y The War of the Worlds (1898). El escritor Brian Stableford (1985) argumenta que los scientific romances británicos de este periodo, y especialmente la obra de H. G. Wells, dieron forma a una tradición literaria precursora de la ciencia ficción –una tradición que Stableford distingue de la ‘ficción científica’ de las revistas pulp norteamericanas. Estas tempranas historias de Wells contienen muchos de los temas e iconos que darían forma al género de la ciencia 1 ficción, tal como el interés por la aventura evolutiva de la humanidad. En el momento presente abundan las historias de ciencia ficción, en la literatura y en otros medios, que imaginan, de una forma u otra, el futuro de la especie humana. Lo que diferencia a los humanos evolucionados de la ciencia ficción actual de las creaciones de Wells —el humano grotesco de “The Man of the Year Million”, o los Eloi y los Morlocks en The Time Machine— es que el paradigma desde el que concebimos nuestra evolución ha cambiado. En el momento presente, la selección natural está quedado desplazada por el discurso del progreso científico y la fusión con lo tecnológico. Los humanoides de Wells tienen su origen en la fascinación del autor por la teoría de la evolución, que a finales del siglo XIX aún estaba compitiendo con el mito de la creación como el relato principal de nuestro lugar en el mundo. Pero la selección natural es lenta: the Coming Man no llegará hasta dentro de un millón de años, y el científico que se sienta en la máquina del tiempo encuentra a los Eloi y los Morlocks en el año 802.701. En el marco de la historia de las especies animales, el relato de la selección natural sugiere que tendrían que pasar decenas de milenios antes de que las mutaciones biológicas produzcan una especie distinta al Homo sapiens. En la actualidad, uno de los debates más importantes que acompaña la investigación científica y la producción de nuevas tecnologías es precisamente cómo el progreso que estamos experimentando puede acelerar de forma drástica el lento proceso evolutivo.
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