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 Ku'uleinapuananiolikoawapuhimelemeleolani Furtado, Stephan Gunzel, Simon Makhali, Dieter Mersch, Grant Palmer, Joerg Sternagel, Anna Suchard, James Tobias, Allison de Fren.
Joerg Sternagel is a scholar in media studies with a focus on media philosophy at the Universities of Konstanz and Passau. James Tobias is associate professor in the Department of English at the University of California, Riverside. Dieter Mersch is Professor Emeritus for philosophical aesthetics at Zurcher Hochschule der Kunste.
Acknowledgments Introduction 1. Making Photography after Still Lovers, Elena Dorfman 2. Pathos of the Actor, Joerg Sternagel 3. Mathematical Imagery and the Aesthetic of Radical Amimetic, Dieter Mersch 4. Dances With Dolls: The Uncanny as Pas de Deux, Allison de Fren 5. The Uncanny as Mythical: "Character of Expression" in the Process of the Uncanny Valley, Nadja Ben Khelifa 6. Pornotroping the Machine: Medial Agency, Following-Gesture, and the Cultic Artifice of 'Technological Nature', James Tobias 7. Stay at Home: Animal Crossing: New Horizons, Casual Gaming, and Catachrestic Media Practices during the COVID-19 Pandemic, Grant Palmer 8. In the Uncanny Valley of Augmented Reality, Stephan Gunzel 9. Carving Identities in Cyberspace: Indigenous Virtual Reality, Nicole Ku'uleinapuananiolikoawapuhimelemeleolani Furtado 10. Translating Structures of Surveillance into Technologies of Care: Counter-cognitive Assemblages, Misha Choudhry 11. Artificial vs. Artistic Intelligence-A Trialogue on the (Re-)Storation of Behaviour and its Deviations, Simon Makhali, Carolin Bebek, Anna Suchard About the Authors Index
