each other and after one another, because they are dis-illusioned. [31]

In this respect, Yves Netzhammer's digital figures do not really contribute to an identification with or to a warning about monstrous cybernetic organisms, but to a questioning of subjective perception, which is deeply normed and relational. The exposure of the connection between what there was to see and its interpretation in view of the relation to things that cannot yet or no longer be seen reveals the uncertainty and the conventionality of interpreting, and not lastly their deferment in perception. In other words: The media games of the doll take up notions of the uncanny again and produce them using other means. In Yves Netzhammer's case, the feeling of the uncanny is not produced via the simulation of the ‹authenticity› or ‹naturalness› of human doppelgangers and the uncertainty about their ‹having been given a soul.› Uncertainty arises out of becoming conscious of the automatic interpretation of what was seen. The latter is made impossible by the subversion of a uniform point of view or point of vision that constitutes the subject's perception. Fear creeps into the idea in such

a way that the digital doll bodies, which are in continuous metamorphosis, can possibly see differently, see us differently—or overlook us. In their performance «fontaine bleu», the Swiss performance group cpx explicitly take up the motif of the doll as a figure of the uncanny and associate it with current fears of becoming a cyborg. Five people stood motionless behind Plexiglas in a park for an entire night. Next to them was a computer from which the audience could retrieve data about the people on display. In this case, the doll-like humans represent human models in a society of control and availability, a fantasy that—as I have attempted to demonstrate—has a history. And yet in a strange way, the situation in the park was uncanny and absurd at the same time.

In the age of media art, dolls can return as cyborgs. The constructions of cybernetic organisms and their associated fantasies and phantasms are incomprehensible without the history of the artistic treatment of the figure of the doll. Even in times of their digital constructibility, they point towards references that connect them with the life of human beings. [32]