Somatic Technologies: Embodiment, New Technologies and the Undead

Cranny-Francis, A

Somatic Technologies: Embodiment, New Technologies and the Undead

Cranny-Francis, A

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Publisher:: Macquarie University
Publication Type:: Journal Article
Citation:: SCAN, 2006, 3 (3), pp. 1 - 10
Issue Date:: 2006-01

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Field	Value	Language
dc.contributor.author	Cranny-Francis, A https://orcid.org/0000-0002-5747-1183	en_US
dc.date.issued	2006-01	en_US
dc.identifier.citation	SCAN, 2006, 3 (3), pp. 1 - 10	en_US
dc.identifier.issn	1449-1818	en_US
dc.identifier.uri	http://hdl.handle.net/10453/14118
dc.description.abstract	After the publication of Donna Haraway's 'A Cyborg Manifesto' (Haraway 1991) the trope of the cyborg, already widely deployed in science fiction, became a major tool for critical analysis of the relationship between human embodiment and technology. The striking feature of this trope has always been its power to express not only ideas, but also feelings, about technology and being; it is not only an intellectual tool, but also affect-laden. For contemporary western users of information technology it enhances access by providing an imaginary relationship between the user and the interface, which enables users to manipulate the interface effectively. Also, because of its hybridity (the cyborg has always been a composite being - human/human (as in Mary Shelley's Frankenstein [1818]), human/animal (as in Wells's Island of Dr Moreau [1896]), human/machine (as in James Cameron's Terminator films [1984, 1991]), the cyborg also articulates contemporary perceptions of the nature of embodiment, implicated as it is with digital and bio-technologies. Which raises the question of why the cyborg trope has this power; from where does it derive?	en_US
dc.publisher	Macquarie University	en_US
dc.relation.ispartof	SCAN	en_US
dc.title	Somatic Technologies: Embodiment, New Technologies and the Undead	en_US
dc.type	Journal Article
utslib.citation.volume	3	en_US
utslib.for	2002 Cultural Studies	en_US
utslib.for	1203 Design Practice and Management	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
utslib.for	2001 Communication and Media Studies	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/School of Communication
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.issue	3	en_US
pubs.volume	3	en_US

Abstract:

After the publication of Donna Haraway's 'A Cyborg Manifesto' (Haraway 1991) the trope of the cyborg, already widely deployed in science fiction, became a major tool for critical analysis of the relationship between human embodiment and technology. The striking feature of this trope has always been its power to express not only ideas, but also feelings, about technology and being; it is not only an intellectual tool, but also affect-laden. For contemporary western users of information technology it enhances access by providing an imaginary relationship between the user and the interface, which enables users to manipulate the interface effectively. Also, because of its hybridity (the cyborg has always been a composite being - human/human (as in Mary Shelley's Frankenstein [1818]), human/animal (as in Wells's Island of Dr Moreau [1896]), human/machine (as in James Cameron's Terminator films [1984, 1991]), the cyborg also articulates contemporary perceptions of the nature of embodiment, implicated as it is with digital and bio-technologies. Which raises the question of why the cyborg trope has this power; from where does it derive?

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/14118