<abstract xmlns="http://www.w3.org/1999/xhtml">In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure. Unlike steampunk narratives, however, their aim is not to criticise the socio-political effects caused by contemporary technological development. Such authors as Neal Stephenson or Ian Tregillis, among others, are interested in revisiting the model of development in Western societies, routing around the logic of progress. Moreover, they demonstrate that modernity is but an effect of manifold contingent and indeterminate encounters of humans and nonhumans and their distinct temporalities. Even the slightest modification of their ways of being could have changed Western societies and cultures. Thus, they necessitate a rather non-anthropocentric model of counterfactuality which is not tantamount to the traditional alternative histories which depart from official narratives of the past.By drawing on contemporary multispecies ethnography, I put forward a new understanding of counter-factuality which aims to reveal multiple entangled human and nonhuman stories already embedded in the seemingly unified history of the West. In this context, the concept of “polyphonic assemblage” (Lowenhaupt-Tsing) is employed to conceptualize the contingent and open-ended encounters of human and nonhuman historical actors which cut across different discourses and practices. I analyse Stephenson’s <italic>The Baroque Cycle</italic> to show the entangled stories of humans and nonhumans in 17th century sciences, hardly present in traditional historiographies. In particular, Stephenson’s depiction of quicksilver and coffeehouse as nonhuman historical actors is scrutinized to show their vital role in the production of knowledge at the dawn of modernity.</abstract>

In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure. Unlike steampunk narratives, however, their aim is not to criticise the socio-political effects caused by contemporary technological development. Such authors as Neal Stephenson or Ian Tregillis, among others, are interested in revisiting the model of development in Western societies, routing around the logic of progress. Moreover, they demonstrate that modernity is but an effect of manifold contingent and indeterminate encounters of humans and nonhumans and their distinct temporalities. Even the slightest modification of their ways of being could have changed Western societies and cultures. Thus, they necessitate a rather non-anthropocentric model of counterfactuality which is not tantamount to the traditional alternative histories which depart from official narratives of the past.By drawing on contemporary multispecies ethnography, I put forward a new understanding of counter-factuality which aims to reveal multiple entangled human and nonhuman stories already embedded in the seemingly unified history of the West. In this context, the concept of “polyphonic assemblage” (Lowenhaupt-Tsing) is employed to conceptualize the contingent and open-ended encounters of human and nonhuman historical actors which cut across different discourses and practices. I analyse Stephenson’s The Baroque Cycle to show the entangled stories of humans and nonhumans in 17th century sciences, hardly present in traditional historiographies. In particular, Stephenson’s depiction of quicksilver and coffeehouse as nonhuman historical actors is scrutinized to show their vital role in the production of knowledge at the dawn of modernity.

Counterfactuality as a Polyphonic Assemblage. Entangled Human and Nonhuman Stories of Early Modern Sciences in Neal Stephenson’s <italic>The Baroque Cycle</italic>

Performativity Studies at Jagiellonian University

Art History & Criticism

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Counterfactuality as a Polyphonic Assemblage. Entangled Human and Nonhuman Stories of Early Modern Sciences in Neal Stephenson’s 

In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure....

Counterfactuality as a Polyphonic Assemblage. Entangled Human and Nonhuman Stories of Early Modern Sciences in Neal Stephenson’s The Baroque Cycle

Pubblicato online: 14 dic 2018

Pagine: 110 - 121

Ricevuto: 09 mag 2018

Accettato: 31 ott 2018

DOI: https://doi.org/10.2478/mik-2018-0010

Parole chiave
counterfactuality, assemblage, science-fiction, Anthropocene, science studies

© 2018 Mateusz Chaberski, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Counterfactuality as a Polyphonic Assemblage. Entangled Human and Nonhuman Stories of Early Modern Sciences in Neal Stephenson’s The Baroque Cycle

Pubblicato online: 14 dic 2018

Pagine: 110 - 121

Ricevuto: 09 mag 2018

Accettato: 31 ott 2018

DOI: https://doi.org/10.2478/mik-2018-0010

Parole chiavecounterfactuality, assemblage, science-fiction, Anthropocene, science studies

© 2018 Mateusz Chaberski, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Parole chiave
counterfactuality, assemblage, science-fiction, Anthropocene, science studies