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On the Aestheticization of Technologized Bodies a Portrait of a Cyborg(Ed) Form of Agency JYVÄSKYLÄ STUDIES in HUMANITIES 319

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On the Aestheticization of Technologized Bodies a Portrait of a Cyborg(Ed) Form of Agency JYVÄSKYLÄ STUDIES in HUMANITIES 319 JYVÄSKYLÄ STUDIES IN HUMANITIES 319 Mimosa Pursiainen On the Aestheticization of Technologized Bodies A Portrait of a Cyborg(ed) Form of Agency JYVÄSKYLÄ STUDIES IN HUMANITIES 319 Mimosa Pursiainen On the Aestheticization of Technologized Bodies A Portrait of a Cyborg(ed) Form of Agency Esitetään Jyväskylän yliopiston humanistis-yhteiskuntatieteellisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston vanhassa juhlasalissa S212 kesäkuun 9. päivänä 2017 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities and Social Sciences of the University of Jyväskylä, in Auditorium S212, on June 9, 2017 at 12o’clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2017 On the Aestheticization of Technologized Bodies A Portrait of a Cyborg(ed) Form of Agency JYVÄSKYLÄ STUDIES IN HUMANITIES 319 Mimosa Pursiainen On the Aestheticization of Technologized Bodies A Portrait of a Cyborg(ed) Form of Agency UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2017 Editors Mikko Yrjönsuuri Department of Social Sciences and Philosophy, University of Jyväskylä Pekka Olsbo, Sini Tuikka Publishing Unit, University Library of Jyväskylä Jyväskylä Studies in Humanities Editorial Board Editor in Chief Heikki Hanka, Department of Music, Art and Culture Studies, University of Jyväskylä Petri Karonen, Department of History and Ethnology, University of Jyväskylä Paula Kalaja, Department of Language and Communication Studies, University of Jyväskylä Petri Toiviainen, Department of Music, Art and Culture Studies, University of Jyväskylä Tarja Nikula, Centre for Applied Language Studies, University of Jyväskylä Epp Lauk, Department of Language and Communication Studies, University of Jyväskylä Cover drawing by Mimosa Pursiainen Permanent link to this publication: http://urn.fi/URN:ISBN:978-951-39-7086-4 URN:ISBN:978-951-39-7086-4 ISBN 978-951-39-7086-4 (PDF) ISSN 1459-4331 ISBN 978-951-39-7085-7 (nid.) ISSN 1459-4323 Copyright © 2017, by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2017 To the strong women in my family Some of us may feel like “cogs” in a machine, but we are really bodies hooked into machines, and bodies linked to other bodies by machines. Gray, Mentor & Figueroa-Sarriera Homo aestheticus is becoming the new role-model [...]. Wolfgang Welsch The idea of high tech, then, involves not only a shift in the conception of technology, and of aesthetics, but also a shift in the very definition of humanity. R.L. Rustky The ultimate consumption is to cyborg yourself [...]. Chris Hables Gray Search nothing beyond the phenomena, they themselves are the theory. Johann Wolfgang von Goethe ABSTRACT Pursiainen, Mimosa On the Aestheticization of Technologized Bodies. A Portrait of a Cyborg(ed) Form of Agency. Jyväskylä: University of Jyväskylä, 2017, 219 p. (Jyväskylä Studies in Humanities ISSN 1459-4323; 319 (print) ISSN 1459-4331; 319 (PDF)) ISBN 978-951-39-7085-7 (print) ISBN 978-951-39-7086-4 (PDF) Diss. Discussions revolving around cyborgs seldom include aesthetics, let alone propose aesthetics as an inextricable part of the phenomenon of the cyborg. Rather, the term “cyborg”, a contraction of “cybernetic organism”, evokes a figure of the (hu)man- machine. In the field of social and political sciences, the cyborg is designated a human-machine hybrid, a metaphor of humans becoming machinelike, or a portrait of (political) agency in an era of high technology. These approaches promote a figure of technologized bodies, that is, the cyborg as a figure of technologically dominated and altered bodies. I will sustain that the cyborg contributes to our understanding of agency in the age of high technology. However, in contrast to the general view, I assert that viewing high technology solely as a more efficient version of “modern technology” is an insufficient position. Rather, contemporary technology should be termed high technř: recent developments indicate the re-emergence of an aesthetic component in the conception of technology. Following this conception, the understanding of the phenomenon of the cyborg is altered. My aim is to bring to the fore the theme of aesthetics in order to portray cyborg(ed) agency without the prejudice of the “man- machine”. The effort to advocate the value of the cyborg as a prevalent form of agency requires exploring aspects commonly shared in cyborg studies. First, the body is presumed the basis of the cyborg; second, cyborg is considered to consist of contradictory elements; and third, the cyborg is related to the age of high technology and cyberspace. In other words, corporeality, oxymoron, and novelty form the cyborg condition. My investigation of these conditions, carried out by applying both classical philosophy (Plato, Aristotle, René Descartes, and Julian Offray de La Mettrie) and contemporary philosophy (Maurice Merleau-Ponty and Michel Foucault) in an updated manner, reveals astonishing requirements. First, the body is in need of a reconceptualization; second, the contradictory elements must be reconsidered; and, third, it is necessary to identify a difference between man- machines and cyborgs. Within this philosophical investigation, undertaken from the entry point of fluctuation between technology and aesthetics, cyborg(ed) agency is portrayed as a phenomenon of the aestheticization of technologized bodies. Keywords: cyborg, agency, technology, aesthetics, Maurice Merleau-Ponty, Michel Foucault Author Mimosa Pursiainen Department of Social Sciences and Philosophy University of Jyväskylä Supervisors Professor Mikko Yrjönsuuri Department of Social Sciences and Philosophy University of Jyväskylä Adjunct Professor, Dr., University Lecturer Olli-Pekka Moisio Department of Social Sciences and Philosophy University of Jyväskylä Reviewers Professor Arto Laitinen Faculty of Social Sciences University of Tampere Professor Jessica Wiskus Duquesne University Pittsburgh, PA, USA Opponent Professor Jessica Wiskus Duquesne University Pittsburgh, PA, USA ACKNOWLEDGEMENTS I am just a body through which the wind blows: I feel that I have only been an instrument of making the phenomenon visible. Naturally, I am responsible for all the weaknesses this written form may contain. More importantly, I would not have been able be to make this phenomenon visible without the amazing people who have lent me their manner of seeing and their support. First of all, I am grateful to my principal supervisor Mikko Yrjönsuuri. Without him, I would have never begun this project. He has always shown acceptance towards my unconventional way of thinking, my artistic way of working, and even my stubbornness. Olli-Pekka Moisio became my second supervisor after I had made a “Grand Tour” to the aesthetics of existence, arts, and motherhood. Without him, I probably would have never finished my work. He offered me the much-needed help and encouragement during the last stages of the process, talked me out of discarding my manuscript, and ensured that everything went as smoothly as possible. I am also grateful to those who have steered the course of this research, among them Jussi Kotkavirta, Johanna Oksala, and Erika Ruonakoski. This research would not exist without inspiration, and intellectual, emotional, and financial support. The projects “Human and Animal Minds in European Philosophy”, directed by Mikko Yrjönsuuri, and “Limits of Personhood”, directed by Jussi Kotkavirta, both funded by the Academy of Finland, provided me the financial assistance. I also thank my colleagues in these projects for offering me valuable criticism of early versions of my ideas. In addition, this research would not have been possible without the generosity of the Finnish Cultural Foundation and its Central Finland Regional Fund, and the University of Jyväskylä (Department of Social Sciences and Philosophy). I would also like to thank the members of the Working Group for Phenomenology, Organisation and Technology (POT) for all their encouragement. I am grateful to all those who read my manuscript from cover to cover. Anna Sinkkonen, thank you for making this work readable by doing detailed work on my English. My dear referees, Jessica Wiskus and Arto Laitinen, your reports on my manuscript made all the moments of despair worthwhile, and all the moments of pleasure even more meaningful. It is hard to express the extent of my gratitude to Jessica Wiskus. Not only did her excellent critique and comments help me to give a final touch to the portrait as it is now, and means to paint a new and better version of it in the future, but her support, the way she valued my rather artistic and controversial approach––I am without words, silenced by my gratitude. I have been lucky to have friends who have supported me in various ways. Juhana Toivanen, thank you for being a kind of academic big brother to me. Jarno Hietalahti, thank you for making words delightful and cappuccinos meaningful. Ulla-Maija Matikainen, thank you for the poetry of life. Jani Ikonen, thank you for the walks and the dreams. Essi Ikonen, did you ever know that you’re my hero? My greatest debt is to my family. Joachim, my partner, thank you for holding me. Without you, I would not be free. My father Ahti, thank you for supporting my (hopefully never-ending) Grand Tour in all possible ways. My Grand Tour to the art of existence and art was essential in understanding and displaying the phenomenon of the cyborg, but becoming a mother gave me the proper distance I needed to finish my research. The name Mena means strength, and strength is what my daughter has given me. Mena, my love, thank you for teaching me those things becoming a philosopher requires: deep love and constant wonder. It is too late to thank my grandmother Raakel in person, but when my strength abandons me, I know I can trust the Karelian blood and attitude I inherited from her to keep me stubborn enough to continue. Finally, a very special gratitude goes out to my mother, Ritva: without you, I would not be a body that breaths life; a body through which the wind blows. A NOTE ON CITATIONS AND SOURCES I have used the French editions of the works of Maurice Merleau-Ponty and Michel Foucault.
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