The "ontological Turn" in philosophy, the "material turn" in anthropological and sociological sciences, the "posthuman" moment in the humanities, and the "Cognitive Archaeology" movement in cognitive science, among others, all share a common thread of critiquing the anthropocentrism of the humanities and social theory. This project is therefore indebted to various recent movements in the social sciences and the humanities that have begun to take more seriously the ways in which "things" impact human life.
In particular, this dissertation focuses on the relationship among humans and nonhumans, and the material and the non-material in the creation of digital art and design. As such, Ellison’s classic sci-fi horror story I Have No Mouth And I Must Scream remains unfilmable even with all of the advances made in visual filmmaking technology and the loosening of censorship rules.This dissertation examines the social relationships of material objects (including, but not limited to, humans and things) and idea objects (including, but not limited to, broad cultural and social forces) that constitute the world.
Many of the scariest elements of the short story are deeply felt and, while it is disturbing to envision an endless, hopeless search for imaginary food in a pitiless labyrinth, this could translate to watching characters wander around pointlessly in a movie adaptation. However, the ending would be tricky to bring to life onscreen, as would the general plot of I Have No Mouth And I Must Scream. Like the prospect of a supercomputer torturing humans for fun or the idea of a global apocalypse, this image is unsettling in the original short story. While horror anthology shows like Guillermo del Toro's Cabinet of Curiosities have attempted to bring Lovecraft's monsters to life on-screen, Ellison's ending for I Have No Mouth And I Must Scream only seems like a gruesome predicament because the reader can't see it realized. The sentient supercomputer that kept him and four over humans alive is frustrated when the other humans kill themselves and each other out of frustration, so the machine spends years softening the main character until he can’t hurt himself, hurt anyone else, move, or do anything else.
Ellison’s story works best in book form because the main character’s eventual fate could look unintentionally comical if realized on screen.
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