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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 GĂĽnzel, Simon Makhali, Dieter Mersch, Grant
Palmer, Jörg Sternagel, Anna Suchard, James Tobias, Allison de
Fren.
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