Weird Fictions Research Group cordially invites you to a lecture about biomedicalization in the Mass Effect franchise!

Karolina Kowalska

I Settle for Nothing but the Best: Biomedicalization in the Mass Effect Franchise

Monday, April 29, 2024
 4:45PM

You can get 3 OZN points for participating in this event.

Where?

Dobra 55, room: 2.118
(the building features some mobility accommodations: ramp and lift)

What?

“Transformations range from life after complete heart failure […] to the capacity to genetically design life itself.”
(Adele E. Clarke, et al, ‘Biomedicalization: Technoscientific Transformations of Health, Illness, and U.S. Biomedicine’)
From prenatal gene therapy, through biotic implant enhancement, to the Lazarus Project, health in Bioware’s Milky Way galaxy belongs as much to you as it does to a private company. Step into the world of Mass Effect, where cutting-edge biomedical technologies redefine the boundaries of human potential, where organic and synthetic life blur, and where health becomes a commodity. In this lecture, we delve into the concept of biomedicalization within the sci-fi franchise, exploring how advancements in genetics, cybernetics, and artificial intelligence reshape the fate of humanity, at the cost of human privacy. Issues such as profiling, ethics, and privatization serve as pivotal points in understanding how Mass Effect navigates the fine line between progress and the compromise of choice. The lecture aims to encourage critical thinking about the consequences of such technological advancements, sparking discussion on the ethical dilemmas of biomedicalization.

Who?

Karolina Anna Kowalska holds an MA degree in American Literature. Her academic interests include revisionist comic book studies, sapphic subversion of the horror genre, and speculative fiction video games.
She is the editor of Second Thoughts, a student magazine at the Institute of English Studies, and the founder of the American Classics Book Club, a literary discussion club in Warsaw libraries. She is currently enrolled in the ASC’s BA program and spends her free time volunteering at UW’s Welcome Point.

News

Changes in Dr. Gajda-Łaszewska’s office hours schedule

June 26, 2024

Dr. Gajda-Łaszewska will be available in the office on Tuesday (2 July 2024), 1:30-3:30 pm and online (ZOOM) on Thursday (4 July 2024), 12:00-2:00 pm.

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June 17, 2024

Konferencja „Jak uczyć o płci i seksualności? Interdyscyplinarność, instytucjonalizacja, zaangażowanie społeczne” ma na celu stworzenie przestrzeni, w której mogą się spotkać społeczności akademickie, aktywistyczne, artystyczne, eksperckie tworzące i przekazujące wiedzę o płci i seksualności. Jaka mogłaby być dziś edukacja seksualna? Gdzie jest miejsce na feministyczny i queerowy aktywizm w akademii? Czy słowem kluczowym jest „równość” czy „nierówności”? Czy potrafimy wspólnie wyobrazić sobie studia magisterskie o płci i seksualności w Polsce? Zapraszamy na 6 paneli dyskusyjnych.

Year 2023/2024

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Weird Fictions Research Group cordially invites you to the very last event this semester! The lecture will show how medical anthropology and cultural studies can shed light on medicine-related social and cultural phenomena.

Year 2023/2024

June 6: Marketing Barbie’s “Curvy New Body”: Mattel’s Fashionistas Line and its Legacy Brand Politics

June 6, 2024

We would like to invite you to an upcoming lecture given by a Fulbright Scholar, Doctor Rebecca C. Hains! During this lecture, you will have the pleasure of listening to Dr. Hains’s exploration of Barbie from the feminist perspective, the history of Barbie’s body type, and the feminist critique around it. The talk will also discuss the PR surrounding the “Curvy” Barbies’ release, a topic that has sparked many intense debates.

Year 2023/2024

June 5: Dissecting Theater: Medical Horror on Stage

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Weird Fictions Research Group cordially invites you to a penultimate event this semester! We will discuss the ways in which medicine and theater are correlated and how medical horror stories can thrive on stage. We will explore the universal nature of theater by analyzing the sources of fear in Starkid’s The Guy Who Didn’t Like Musicals as well.