Anna Greenspan – författare

Explores the increasingly intimate relationship between China and wireless technology, taking the wave as a central conceptProvides a new theoretical apparatus that reimagines key issues around technological evolution in a shifting geopolitical landscapeOffers a corrective to certain myopias of Western media theoryPresents a deep, historical engagement with issues and debates surrounding Chinese cybercultureBrings together contemporary media theory with modern Chinese philosophical thoughtIn the 21st century city, wireless waves constitute an imperceptible, immersive, all-encompassing environment. Nowhere is this more so than in China, where a hyperdense network of mobile media has restructured daily life.Anna Greenspan re-imagines the relationship between China and wirelessness by synthesising contemporary media theory with modern Chinese thought. It focuses specifically on the work of three critical figures: Tan Sitong ??? (1865 1898), Xiong Shili ??? (1885 1968) and Mou Zongsan ??? (1909 1995).

In the twenty-first century city, wireless waves constitute an imperceptible, immersive, all-encompassing environment. Nowhere is this more so than in China, where a hyperdense network of mobile media has restructured daily life. Anna Greenspan re-imagines the relationship between China and wirelessness by synthesizing contemporary media theory with modern Chinese thought. It focuses specifically on the work of three critical figures: Tan Sitong ??? (1865 1898), Xiong Shili ??? (1885 1968) and Mou Zongsan ??? (1909 1995).

China is in the midst of the fastest and most intense process of urbanisation the world has ever known, and Shanghai - its biggest, richest and most cosmopolitan city - is positioned for acceleration into the twenty-first century. Yet, in its embrace of a hopeful - even exultant - futurism, Shanghai recalls the older and much criticised project of imagining, planning and building the modern metropolis. Today, among Westerners, at least, the very idea of the futuristic city - with its multilayered skyways, domestic robots and flying cars - seems doomed to the realm of nostalgia, the sadly comic promise of a future that failed to materialise. Shanghai Future maps the city of tomorrow as it resurfaces in a new time and place. It searches for the contours of an unknown and unfamiliar futurism in the city's street markets as well as in its skyscrapers. For though it recalls the modernity of an earlier age, Shanghai's current re-emergence is only superficially based on mimicry. Rather, in seeking to fulfill its ambitions, the giant metropolis is reinventing the very idea of the future itself. As it modernises, Shanghai is necessarily recreating what it is to be modern.