Este artigo trata da presença da mística enquanto elemento presente e dinamizador do movimento feminista. Entende-se a mística como o mistério de preparar-se e jamais se encontrar com a totalidade daquilo que se aspira alcançar. Trata-se do mistério que move e impulsiona o sujeito para viver sua causa e construir sua utopia individual e / ou coletiva. Considera-se a mística feminista em duas dimensões: a religiosa e a secular. Entende-se que, no caso das mulheres, como a história do cristianismo no (...) Ocidente tem contribuído para a construção de uma imagem e de uma identidade negativa, é a mística secular que melhor tem contribuído para a construção do projeto de equidade entre os gêneros, tal como propõe o movimento feminista. No entanto, como o movimento feminista é plural, há, dentro do próprio movimento, pessoas e grupos que estão se ocupando com a construção de uma mística feminista cristã. A partir de informações bibliográficas, este artigo desenvolve os seguintes aspectos: conceito de mística; a mulher e a mística religiosa: um olhar na história; o feminismo e a mística secular; o feminismo e a mística religiosa: um olhar para a atualidade. Palavras-chave : Místicas religiosas. Místicas seculares. Cristianismo. Feminismo. Teologia feminista.: This article deals with the presence of mystic while element present and dynamic of feminist movement. Understand the mystic as the mystery of prepare and never meet the entirety of what aspires to achieve. This is the mystery that moves and drives the subject to live his cause and build your individual and/or collective utopia. It is considered a feminist mystic in two dimensions: the religious and the secular. Understand that, in the case of women, as the history of Christianity in the West has contributed to the construction of an image and an identity, as negative, is the secular mystic that best has contributed to the construction of gender equity project, as proposed in the feminist movement. However, as the feminist movement is plural, there are, within the movement itself, people and groups who are occupied with the construction of a Christian feminist mystic. From bibliographic information, this article it elaborates on the following aspects: mystical concept; the woman and the religious mystic: a look at history; feminism and the secular mystic; feminism and the religious mystic: a look at the present. Keywords : Religious mystic. Secular mystic. Christianity. Feminism. Feminist theology. (shrink)

This paper analyzes from a pragmatic postphenomenological point of view the performative practice of CREW, a multi-disciplinary team of artists and researchers. It is our argument that this company, in its use of new immersive technologies in the context of a live stage, gives rise to a dialectics between an embodied and a disembodied perspective towards the perceived world. We will focus on W (Double U), a collaborative interactive performance, where immersive technology is used for live exchange of vision. By (...) means of a head mounted omni-directional camera and display the fields of vision of two participants are swapped, which enables the participants to perceive the world through another person’s point of view. This intermedial experience brings a classic dichotomic perception of space to falter: material reality as a ‘live’ condition can no longer be opposed to a virtual mediated reality. In the shifting moment between the embodied and the perceived world, on the fracture between what one sees and what one feels, the distinction between live and mediated is blurred, moreover, can no longer be made. The perception of the body is pushed to the extreme, causing a most confusing corporal awareness, a condition that intensifies the experience and causes an altered sense of presence. In a dynamic cognitive negotiation, one tends, however, to unify the divergent ontologies of the ‘real’ and the ‘virtual’ to a meaningful experience. In this respect, we refer to recent neurological experiments such as the ‘rubber hand illusion’ in order to clarify the spectator’s tendency to fuse both ontologies and to embody a coherent image-world. (shrink)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some (...) ontological features that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

There are only a few ethical regulations that deal explicitly with robots, in contrast to a vast number of regulations, which may be applied. We will focus on ethical issues with regard to “responsibility and autonomous robots”, “machines as a replacement for humans”, and “tele-presence”. Furthermore we will examine examples from special fields of application (medicine and healthcare, armed forces, and entertainment). We do not claim to present a complete list of ethical issue nor of regulations in the (...) field of robotics, but we will demonstrate that there are legal challenges with regard to these issues. (shrink)

Assuming that the contemporary world is inevitably set in the context of moistmedia (Ascott 2000), this article discusses some artistic proposals that specifically seek to explore the relationship between dry technology and the wet human body, as in the case of telematic dance. This article is grounded in Clark’s (2003) concept of the ‘extended mind’ and ‘cognitive artefact’; Noë’s (2004; 2012) ‘activism’ theory; and Gallagher’s (2005) ideas surrounding ‘body image’ and ‘body schema’. My discussion of ‘moistmedia’ is focused on Ascott’s (...) ‘Moist Manifesto’ (2000, 2003a), as well as moist theories which contribute to rethinking notions of (tele)presence, time, space, distance and of the very body. Through these new comprehensions we can understand the new perceptual demands that dancers have to deal with in the context of telematic dance. This new art configuration promotes different sensory motor experiences compared with a stage-based dance environment. The networked field of telematic dance is one way in which to render reality fluid in a moist context. In this sense, telematic projects could be assumed as moist art – ‘the hybrid interval between cyber and physical space’ – and as the ‘digitally dry, biologically wet, and spiritually numinous’ (Ascott 2003). Analyses of performances created within the project entitled ‘Embodied Varios Darmstadt’ 58’ (2013–14), with the collaboration of artists from Mexico, Spain, Portugal and Chile, will contribute to my discussion of telematic dance. This telematic artistic project was created to develop the concept of the ‘(tele) sonorous body’ from a theoretical and aesthetic point of view, so as to follow my interest in exploring telepresence beyond visual image. In this article, it is assumed that a human being experiences her/his world through sensory motor skills and that these are in play when s/he interacts with the environment (Noë 2004), a milieu garnered from Ascott’s ‘Moist Manifesto’ (2003a). The cultural shift proposed by this manifesto brings into play some important considerations, including notions of negotiation, construction, context and distributed mind, which overlap with conventional ideas of reception, representation, content and the autonomous brain respectively. Our interactions via telepresence with a dance partner bring about different ways of perceiving one another and oneself, because body image and body schema play an active role in shaping our perceptions (Gallagher 2005). Our actions and perceptions, our body image and body schema are responsible for our behaviour and learning in this world, interweaving these bodies partially wet (i.e. those onstage) with the dry (i.e. those tele-transported through cyberspace. The analysis of ‘Embodied Varios Darmstadt’ 58’ will contribute to understanding the perceptual demands of the dancer within the telematic environment, as well as the new notions of time, space, distance, presence, and the very notion of relationship or body contact in dance embedded into this ‘+ + biological culture’. (shrink)

Based on insights of phenomenology, this article aims to contribute to a comprehensive understanding of embodied space and place of and for leader- and followership in organisations. From an interrelational perspective, the “spacing” and implacement of leadership and followership will be interpreted as local-historical and as local-cultural processes. Linked to questions of distance of leadership, embodied face-to-face interaction will be critically compared with distant, non-localised, displaced relationships and tele-presence mediated by information and communication technology. In addition to outlining (...) some links to “potential space” and place-responsiveness by concluding some implications, problems and perspectives on research of embodied space and place forleadership in organisation are discussed. (shrink)

This article traces the significant links that Virilio's dromological analysis posits between the social and political impact of mechanical vehicles and communications media. Focusing on the way that the 'revolutions' of transportation and transmission have fundamentally altered contemporary experiences of space and time, the article explores the implications of Virilio s concept of spatio-temporal 'overexposure". My contention is that Virilio's work has been of critical importance in placing questions about differential spatio-temporal regimes Oin the political agenda. However, his critique of (...) 'tele-presence. is ultimately hampered by his continued attachment to a phenomenological subject, which I argue does not provide an adequate basis from which to rethink the dominant social relations of time and space manifest in the contemporary media. (shrink)

In this article I bring together Jacques Derrida and Luce Irigaray's engagements with Sigmund Freud's vexed attempt to step beyond the pleasure principle. Derrida's speculations on the name, the house and the practice of Freud find him inadvertently rewriting the conditions of the autobiographical as that which erases as much as inscribes, while Irigaray requires a sexually different modelling of what we call language if the experience of the girl is to be addressed. Yet Irigaray uncannily repeats the teleological gesture (...) of laying claim to a legacy, diagnosed in Freud by Derrida, even as this legacy is newly imagined as that of the feminine to which Freud remained blind. I then interweave these revised stakes of the fort-da game as they are expressed in two experimental films; Lynn Hershman Leeson's feature Conceiving Ada (USA, 1997) and Hussein Chalayan's short Absent Presence (UK/Turkey, 2005). One self-consciously concerns the recovery of ‘lost’ women from history (da!), the other investigates the treatment of the foreigner staged with an all-female cast (in which the instability of foreign objects can secure no fortification for the scientific subject). The films differently engage fantasies concerning genetics, and differently engage the projection of a legacy as teleological ambition. Privileging Derrida's transformation of the pleasure into the postal principle as that which invokes ‘Tele–without telos’, I ask after the transmissibility of this ambition. (shrink)

Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very (...) class='Hi'>presence as wall-cum-images, or as images-out-of-a-wall, eroding its foundational condition to a flickering-tele-techno-pixelated spectral apparatus. Its radically modern and outdated presence reconfigures contemporary reflections on what architecture and what the modern is, indirectly referencing “Fundamentals,” the 2014 Venice Architecture Biennale curated by Rem Koolhaas. (shrink)

Covid-19 brought back memories of past pandemics. In society, a pandemic imaginary was installed, framing an imaginary landscape, alongside a rationalized pandemic intellect to which the media contributed a lot. We live immersed in tele technologies, adding present to the past and past to the present. At a time when home confinement became the rule, this was even more highlighted. In this screen technological Era, social practices were even more subject to the five great sociotechnical effects that condition information (...) and the way it articulates memory and the present: ubiquity, instantaneity, acceleration, mobilization and presentism. This article intends to demonstrate the presence of the imaginary of past pandemics in the present (Applying Einstein's Theory of General Relativity), the way in which we appropriate these memories to create solutions and the way in which we mix the present with the solutions that came from the past. (shrink)