Shapiro has contributed many essays to the journal of technology and society NoemaLab — on technological art,[11] software theory,[12] Computer Science 2.0,[13] futuristic design,[14] the political philosophy of the information society,[15] and Baudrillard and the Situationists.[16]
Career
Shapiro has been visiting professor in the Department of Film and New Media at the NABA (Nuova Accademia di Belle Arti) University of Arts and Design in Milan.[17]
He has also been a lecturer at the Goethe University in Frankfurt, at the Art and Design Universities in Offenbach (where he taught creative coding and futuristic design from 2012 to 2015)[18] and Karlsruhe;[19] at the Institute of Time-Based Media at the University of the Arts, Berlin;[20] at Domus Academy of Design and Fashion in Milan;[21] and at ABADIR Design Academy in Catania.[22]
From October 2015 to September 2017, Shapiro was visiting professor of Transdisciplinary Design in the Department of Industrial Design at the Folkwang University of the Arts, Essen.[23]
Since October 2017, Shapiro is a lecturer in media theory at the Art University of Bremen, and teaches design and informatics at the University of Applied Sciences, Lucerne, Switzerland.
Shapiro is also a software developer, with nearly 20 years of industry experience in C++ and Java development. He has worked on several projects for Volkswagen, Deutsche Bahn (DB Systel), and media and telecommunications companies. [citation needed]
Shapiro is the editor and translator of The Technological Herbarium by Gianna Maria Gatti, a groundbreaking book about technological art.[24] He has three contributions to the innovative book on social choreography Framemakers: Choreography as an Aesthetics of Change[25] edited by Jeffrey Gormly.
He has chapters in the books Design und Mobilität: wie werden wir bewegt sein? (2019),[28]Nevertheless: Manifestos and Digital Culture (2018),[29]Searching for Heterotopia (2019),[30] and Tracelation (2018).[31]
Shapiro has published several widely cited essays on the disaster of Donald Trump in relation to hyper-modernism.[32][33][34] In 2019, he published an influential essay on Dialogical Artificial Intelligence in the magazine of the German national cultural foundation.[35] He has lectured several times on the meaning of Patrick McGoohan's TV show The Prisoner.[36]
The 2017 Audi Annual Report features a discussion about the impact of AI on society between Shapiro, Audi CEO Rupert Stadler, and David Hanson of Hanson Robotics, Hong Kong.
Shapiro has also been featured as a thinker by Bertellsmann in "We Magazine",[37] by Deutsche Bank in "Economy Stories,"[38] and in the technology and fashion print magazine WU (Milan).[39]
Science fiction
In a 10-page review-essay of his book Star Trek: Technologies of Disappearance, the journal Science Fiction Studies called his book one of the most original works in the field of science fiction theory.[40] See also the extensive discussions of Star Trek: Technologies of Disappearance in Csicsery-Ronay's major reference work on science fiction studies,[41] in The Routledge Companion to Science Fiction[42] and in The Yearbook of English Studies.[43]
Shapiro was accepted at age 15 as an undergraduate student at the Massachusetts Institute of Technology (MIT). He studied at MIT for 2 years. He received his B.A. from Cornell University, where he studied government and European Intellectual History. He has an M.A. in sociology from New York University (NYU). In April 2024, he was awarded a Ph.D. in Artistic and Media Research from the Faculty of Language and Cultural Studies of the Carl von Ossietzky University of Oldenburg, Germany.
References
↑Shapiro, Alan N. (2004). Star Trek: Technologies of Disappearance. Berlin: AVINUS Press. ISBN3-930064-16-2.
↑Csicsery-Ronay, Istvan, Jr., The Seven Beauties of Science Fiction (Middletown, CT: Wesleyan University Press, 2008), 136-138
↑Mark Bould, Andrew M. Butler, Adam Roberts, and Sherryl Vint, eds., The Routledge Companion to Science Fiction (Routledge Literature Companions) (New York: Routledge, 2009), 228-234 passim, 370-372,
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
