| Summary: | 博士 === 國立臺南藝術大學 === 藝術創作理論研究所博士班 === 105 === This Dissertation “The Posthuman Body Regulation and Control in Contemporary Arts” addresses the main question of the contemporary body aesthetics on “cyborg” and “posthuman”. After the introduction, the chapter 2 traces the development of subjective philosophy and the evolution of science and technology. Following, through the case studies of contemporary arts in the chapter 3 and the chapter 4, this paper looks for the problematics of cybernetic regulation and control system in the arts field, which interact with “information technology” and “biotechnology” academic categories. In the chapter 5, this study aims to explore the posthuman body aesthetic in contemporary arts by collating and analyzing the works from four aesthetic points of view including “Interaction and Control”, “Reality and Virtuality”, “Being and Becoming” and “Individual and Community”. Hence, this research may criticize and respond to the lack of body aesthetics study in the “posthuman” discourse through subjectivity philosophy, science and technology histories and the posthuman discourse as three clues of genealogical discussions, which lead to the conclusion in chapter 6.
The research scope is restricted to the revolution of digital information technology from the 1940s and also the molecular biotechnology revolution from the 1970s until today. The democratizing process of contemporary arts is fusing new technology and emphasizing the interaction and openness, and furthermore, under the influence from Critical Theory of Frankfurt School, the critical points of view about the hegemony of mass media and technology from the sociological aspects gradually appear in the new media arts, the technology art creations and art criticism. However, the cyborg feminism encourages women to embrace science and technology, by taking the new technology as revolutionary weapons to break through the constraints of the natural body. In 1985, Donna Haraway declared “A Cyborg Manifesto” to carry out “cyborg” as a complex life form of “human/nonhuman, organic/inorganic, natural/artificial”, since then the “cyborg” has become a symbol of new identity and fictitious subject. In the 1990s, the “posthuman” study inherited from the “cyborg” theory and escalated the self-fashioning skills with biotechnology. Today, questions might shift from asking, “Who am I?” to “What do I want to be?” in respond to new role of “post-human” in this changing society.
The domestic and foreign research of “cyborg” and “posthuman” discourses are mainly from the Science, Technology and Society(STS) studies, which focus on the sociology orientation, there is still a lack of discussion of contemporary arts, especially in the field of the aesthetic discussion and case study in Taiwan. Therefore, the aims of this study are to indicating the feedback from aspects of contemporary arts to explore the posthuman body aesthetics, and inquiring after the possibility of re-invent the self and self-reproduction on the battlefield between technological interaction and social module controls, which embodies the aesthetic of posthuman reflections when “everyone can be an art(work)”.
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