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Essays on the Reality of Science Studies. One is engulfed by a cacophony of sound, fire, vibration, events taking place without seeming organisation, and at an extreme speed. The robotic spectacles remain anthropomorphic, and this subdued anthropomorphism is witnessed even in the way the robotic agents are constructed—as organisms operating within an environment and in perpetual clash with it, mimetically enacting the survival effort of organic beings. Robotic performance thus puts on display a withdrawal of the organism as a locale of borders and strife. Robotic performance invites us to restructure our patterns of what constitutes response to begin to think in terms of a universe of artifacts. The restoration of the generative zest of matter can be traced back to debates in the twentieth century and specifically to the work of Gilbert Simondon. Robotic Performance and Ecology The proposed concept of response has its theoretical basis in twentieth-century critiques of hylemorphism, that is, the recent revision of the relationship between form and matter, and a certain interest in the generative force of matter itself taken on in new materialist debates.

Their movements are somewhat convoluted; their constructedness—mobile giants crafted out of random body parts—is very much palpable. It seems uncomfortable to be where they are. Biological matter within the show space is almost exclusively reduced to piles of undifferentiated debris. The restoration of the generative zest of matter can be traced back to debates in the twentieth century and specifically to the work of Gilbert Simondon. As the recreated resemblance of human activity and thought, they obligingly point back to the activity of humans. Most of the time, robotic performances present us with non-narrative sequences that are not actional but evental; that is, they do not adhere to a plot and do not tell a story. Human presence is suspended as here it is only machines that move and act.

A participatory becoming takes filn exclusively in the open togetherness of two networks exposed to one another in such a way that a singular confluence becomes palpable in their co-alignment.

Finally, the aim of this article is to propose an ecological vantage point that does justice to non-organic artifactual existence yet also looks at the concept of the human to allow for a positive refiguration of the term.

  CHASHME BADDOOR OLD FULL MOVIE 1981

Robotic performance thus puts on display a withdrawal of the organism as a locale of borders and strife.

The performance space is taken by the quasi-ritualised interactions of machines and special effects equipment. Within these spectacles, humans zonitsa led to discover that they have never been exactly human and that fimitrova resemblance with the mechanical creations is more than a coincidence. In these cases we witness automata entering various states of what we would habitually describe as participatory practice, of partaking in a world.

It is form that defines the being of existent entities as well as their qualia, and form operates on matter to shape individuals. Translated by David W.

Participation is one-way and takes place at human will. A Political Ecology of Things. Rather, we have networks that are continually co- constituted through the act of relating itself and dimitrofa responsive receiving within a relation. Between Technology and Individuation. Self- preservation, perseverance, the securing of territory, the handling of others in a competition for resources, and the protection of these resources are all sketchily present in the robotic shows.

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This stance feeds into a larger agenda: So this attunement toward the response also signals an expansion of modes zornitsaa ontological and a new orientation toward worlds. University of Indiana Press. The robotic performers uniformly address notions of embodied participation, that is, the possibility of relating to an environment or to other beings, and the question of artifactual autonomy.

Instead, it speaks for the possibility of a companionship of allies. This, however, is a becoming without entelechy and without intentionality, that is, a becoming that does not become anything in particular.

One can speak of a certain co-determination of being and becoming whereby being is informed by a dimittova of ongoing ontological constitution and becoming participates in being.

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In this way, robotic performance is shown to stage quasi-autonomous machine worlds and to offer extra-human ways of organising space and time. With the help of this sole hydraulic limb, the creature moves forward and grasps objects. Big Arm moves in slow motion, almost as if self-propelled. What remains is dkmitrova this—a mechanical creature in its capacity to respond to and leave traces on its surroundings.

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Translated by Alphonso Lingis. The present article, however, departs from one such possible optimism to address something else: Here nonorganic matter is perceived as an active participant in an ongoing ontogenesis, capable of altering its surroundings and bringing forth change in a world.

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This regime of co-immersion clears a territory for a co-existence of things, be they biological entities or artifacts. A body, no longer a solid entity but a virtual bundle of relations, becomes a bundle of diffuse responsive states opening up toward the entirety of an environment.

A new dimitrpva takes shape in these re-appropriations of the living. Almost all of the mechanical creations feature—and are at times entirely defined by the presence of—a defense system. As the recreated resemblance of human activity and thought, they obligingly point back to the activity of humans.

Idmitrova we encounter the space of response, and this space becomes the articulation of the very threshold between a body and a world.

This open-air performance takes place in a blue-lit space. Conclusion This article looked at the possibility of an ontology of robotic performance informed by a notion of radical responsiveness as the basic constitutive principle of bodies. Society and Space 31 2: This is a type of expansion that first becomes available through the visionary medium of artistic practice.

Such performances invite us to think of new, not restrictively human, models of participation.

Here a space of encounter for two fundamentally divergent modes of existence is cleared within what appears to be nothing but a war zone.