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THE THEATRICAL SPACE AS A CYBORG (Medialni performance uzavreneho a otevreneho obvodu)

100%
Horakova J.
Slovak Review. A Review of World Literature Research
|
2008
|
vol. 17
|
issue 2
53-62
EN
The study is a contribution to the discourse which by the means of the cybernetic terms has created a widely spread and diversely formulated concept of cyborg. The authoress of the study transcends this discourse by the effort to use this typically anthropological concept as a topological metaphor. The cyborg - a cybernetic organism - has been conceived in the framework of thinking limited by the fundamental cybernetic terms like 'back-coupling loop' and 'pen and closed circuit'. She uses these terms as aesthetic categories and metaphors and examines two types of performances which she calls performance of closed and open circuit. In this way she tries to contribute to a better understanding of medial performances as a specific form of artistic creation on the boundary between the theatre and the medial art.
2

CANGUILHEM UPROSTRED KYBORGOV

100%
Hacking I.
Filozofia (Philosophy)
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2015
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vol. 70
|
issue 1
23 – 37
EN
George Canguilhem’s 1947 lecture, ‘Machine and organism,’ is a rich source of ideas for thinking about the relationships between living organisms and machines. He takes all tools and machines to be extensions of the body, and part of life itself (which does not make machines any more good or bad than every living organism is good or bad). These insights are updated with a discussion of cyborgs. An account is given of the original idea of the cyborg (Clynes and Kline, 1960), and of its transformations in science fiction and at the hands of Donna Haraway and Andrew Pickering. Canguilhem is profoundly anti-Cartesian, but on account of his vision of life which breaks down the old barriers between natural and artificial, mind and body, manufactured and created.
3
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Estetyka technociał.

86%
Gajewska G.
Studia Europaea Gnesnensia
|
2012
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issue 6
123-138
PL
The article Aesthetics of the Techno-bodies deals with the cultural and contextual complexity of the modern and postmodern figure of the cyborg, or rather the human relation to technology. The main problem is the formulation of the scope of the aesthetics of techno-bodies or aesthetic of artificial bodies. It is a contribution to a more extensive problem concerning the aesthetic, condition and possibilities of development of contemporary human who enters more and more intensively and further and further into the postbiological era. In the article I am analysing four artistic works: 1. “Das schöne Mädchen” (Beautiful Girl) by Hannah Höch; “Tête Méchanique” (Mechanical head) by Raul Hausmann; “All You Zombies: Truth before God” by Roberd Long; Cyborg by Lynn Randolph. Analysis of these artworks is used to show different ideological and aesthetic approaches towards techno-bodies.
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