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Providing a solid media-philosophical groundwork, Beyond Mimesis
contributes to the theory of mimesis and alterity in performance
philosophy while serving to stimulate and inspire future inquiries
where studies in media and art intersect with philosophy. It
collects a wide range of philosophical and artistic thinkers' work
to develop an exacting framework with clear movement beyond mimesis
in aesthetic experiences in uncanny valleys. Together, the chapters
ask if intersubjective acts of relating that are defined by
alterity, responsivity or witness and trust can be transferred to
artificial beings without remainder. The proposed framework uses a
particularly fruitful theoretical model for this inquiry known as
the “uncanny valley”—a fictitious schema developed in 1970 by
Japanese roboticist Masahiro Mori. According to Mori, artificial
beings or animated dolls become more eerie to us the more
“humanlike” they appear. The model’s utility requires
distinguishing between visual media and real life, but in general,
it suggests that there is a fundamental incommensurability between
people and artificial beings that cannot be ignored. This
necessitates that all-too realistic representations as well as
fictional encounters with artificial beings do not transgress
certain limits. According to Mori, it is an ethical imperative of
their design that they evidence a certain degree of dissimilarity
with people. This notion seems especially applicable to artistic
projects in which animated dolls or robots make explicit their
“doll-ness” or “robot-ness” and thus inscribe a moment of
reflexivity into the relations they establish. List of
contributors: Carolin Bebek, Nadja Ben Khelifa, Misha Choudry,
Elena Dorfman, Nicole Kuʻuleinapuananiolikoawapuhimelemeleolani
Furtado, Stephan Günzel, Simon Makhali, Dieter Mersch, Grant
Palmer, Jörg Sternagel, Anna Suchard, James Tobias, Allison de
Fren.
Providing a solid media-philosophical groundwork, the book
contributes to the theory of alterity in Performance Philosophy,
while stimulating and inspiring future inquiries where studies in
media, art, and literature intersect with philosophy. It collects a
selective as well as productive diversity of philosophical,
literary, and artistic figures of thought, attaining an exacting
framework as a result of a clearly elaborated ethics of alterity,
innovatively opened up by way of an aisthetics of existence:
Touching upon the Aristotelian concept of aisthesis, the material,
perceptual and sensory dimensions of everyday bodily existence are
highlighted to move beyond what aesthetics in Modern Philosophy
just specializes in, namely art and the beautiful. The notion of
existence is therefore borrowed from Maurice Merleau-Ponty, who
understands it as something concrete and richly interrelated, so as
to avoid the dualisms both of psychological processes of
consciousness and of physiological mechanisms. It is thus made
explicit such that the unity of body and soul is not any
arbitrarily arranged connection between “subject” and
“object” but, rather, that it is enacted at every instant in
the movement of existence. Imaginatively then, the book puts into
writing how alterity not only can be treated theoretically but can
be also made accessible through writing as well as rendered
relatable through reading. That is why it deals with exemplary
interpersonal encounters in the lifeworld, in the arts, and in the
media, which are initially thematized as intercorporeal
experiences, so as to enable an approach for an ethics of alterity
by way of, in particular, sites located within a phenomenology of
perception oriented towards the lived body.
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