By J. Parker-Starbuck
This booklet articulates the 1st theoretical context for a 'cyborg theatre,' metaphorically integrating on-stage our bodies with the technologized, digitized, or mediatized, to re-imagine subjectivity for a post-human age. It covers various examples, to suggest new theoretical instruments for realizing functionality in our altering international.
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Additional resources for Cyborg Theatre: Corporeal Technological Intersections in Multimedia Performance (Performance Interventions)
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Case, 2007: 224, n. 18) Although Case is here discussing Artificial Intelligence in her study of the cross-currents between science, performance, and the virtual, this reimagining of DNA might remap the mutating codes that are the basic building blocks of “humanness” to invent the potential cyborg. Because the cyborg emerged from scientific practices, I turn in spirit to science to model cyborg theatre practices, which themselves function as a laboratory for investigations of body-technology merging.
Clynes’s horror overlooks the fact that while he and Kline coined the word cyborg, the concept had wide-ranging historical and theoretical precursors in fiction. The scientifically “hopeful” cyborg envisaged by Clynes and Kline, along with the politically hopeful cyborg of Haraway’s “Manifesto,” may be the inverse of the many cyborg forerunners in thought and fiction, but it is also their potential. Cyborg precursors Throughout history, the points of connection between bodies and technologies often interweave as a means of reconciling ontological questions arising from the emerging technologies of the period.
Questions posed by the increasing machinic ubiquity are ongoing, carrying through the decades of the Depression and World War II, through the radios, telephones, televisions, and personal computers that became mainstays in the home. Almost seventy years after The Belt, Miles Orvell posed the following questions in After the Machine: Can the imagination understand, let alone dominate, technology? Or is the machine overwhelming and even stupefying in its power. 34 Cyborg Theatre The question is a metaphysical one, but also a social question: for it is not just a matter of something abstract like “technology,” it is a question of the individuals who create it, a question, then, of who controls it and for what purposes, of who owns it.