In an era when technology, biology, and culture are becoming ever
more closely connected, The Dada Cyborg explains how the cyborg as
we know it today actually developed between 1918 and 1933 when
German artists gave visual form to their utopian hopes and
fantasies in a fearful response to World War I. In what could be
termed a prehistory of the posthuman, Matthew Biro shows the ways
in which new forms of human existence were imagined in Germany
between the two world wars through depictions of cyborgs. Examining
the work of Hannah Hoech, Raoul Hausmann, George Grosz, John
Heartfield, Otto Dix, and Rudolf Schlichter, he reveals an
innovative interpretation of the cyborg as a representative of
hybrid identity, as well as a locus of new modes of awareness
created by the impact of technology on human perception. Tracing
the prevalence of cyborgs in German avant-garde art, Biro
demonstrates how vision, hearing, touch, and embodiment were
beginning to be reconceived during the Weimar Republic. Biro's
unique and interdisciplinary analysis offers a substantially new
account of the Berlin Dada movement, one that integrates the
group's poetic, theoretical, and performative practices with its
famous visual strategies of photomontage, assemblage, and
mixed-media painting to reveal radical images of a "new human."
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