Ele Canta o Corpo Elétrico: Câmara Neuronal como Performance Pós-humanista e Pós-digital

Authors

  • Sandra Bettencourt CLP, Universidade de Coimbra (Programa de Doutoramento em Materialidades da Literatura, Bolseira FCT)

DOI:

https://doi.org/10.14195/2182-8830_3-1_4

Keywords:

performance, intermediation, liveness, post-humanism, post-digital.

Abstract

The purpose of this article is to offer a critical reading of the multimodal and multimedia performance Câmara Neuronal (2012), based on notions such as mediation in live performances, post-humanism, and post-digital. The exploration of these relationships, informed by paradigms of digital culture (database and digital archives), suggests that the concept of mediation, in the context of Câmara Neuronal, should be, first and foremost, thought of as “intermediation” (Hayles, 2008). This concept is useful to reflect on the flows and processes that operate throughout Câmara Neuronal: a performance that relies on the feedback loops between computational and human subjectivities, based in a model of distributed cognitive processes between biological and technological entities.

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Author Biography

Sandra Bettencourt, CLP, Universidade de Coimbra (Programa de Doutoramento em Materialidades da Literatura, Bolseira FCT)

SANDRA BETTENCOURT holds a doctoral scholarship from FCT (Portuguese Foundation for Science and Technology) and is currently a doctoral student in the FCT PhD Program in Materialities of Literature at the University of Coimbra. From 2011 to 2013 she was a research fellowship holder (Project CILM – City and (In)security in Literature and the Media) at the Centre for Comparative Studies, University of Lisbon. She holds a degree in Art Studies, as well as an MA in Literary and Cultural Studies. She has taken part in international scientific meetings and her papers are printed in several journals and publications. She is member of the Editorial Board of the peer reviewed academic journal MATLIT. She is also the co-editor of the book (In)Seguranças no Espaço Urbano (Húmus, 2012) and of Fear and Fantasy in a Global World (Rodopi, 2015). 

References

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HAYLES, N. Katherine (2008). “Intermediation: From Page to Screen.” Electronic Literature: New Horizons for the Literary. Notre Dame, IN: Notre Dame University Press. 43-86.

HAYLES, N. Katherine (1999). How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: The University of Chicago Press.

MANOVICH, Lev (2008). “Database as Symbolic Form.” Database Aesthetics: Art in the Age of Information Overflow. Ed. Victoria Vesna. Minneapolis: University of Minnesota Press. 39-60.

MIAH, Andy (2008). “A Critical History of Posthumanism.” Medical En-hancements and Posthumanity. Eds. R. Chadwick e B. Gordijn. Dordrecht: Springer. 71-94.

MOURA, João Martinho, et. al. (2013). “Câmara Neuronal: a Neuro/Visual/ Audio Performance.” xCoAx 2013: Proceedings of the First Conference on Computation, Communication, Aesthetics and X. Bergamo, Itália. Eds Mario Verdicchio e Miguel Carvalhais. 4 de novembro de 2014. http://2013.xcoax.org/pdf/xcoax2013-moura.pdf

WOLFE, Cary (2010). What Is Posthumanism?. Minneapolis: University of Minnesota Press.

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Published

2015-10-28

How to Cite

Bettencourt, Sandra. 2015. “Ele Canta O Corpo Elétrico: Câmara Neuronal Como Performance Pós-Humanista E Pós-Digital”. MATLIT: Materialities of Literature 3 (1):55-71. https://doi.org/10.14195/2182-8830_3-1_4.

Issue

Vol. 3 No. 1 (2015): Arts, Media and Digital Culture

Section

Secção Temática | Thematic Section

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