In her dissertation project Ulrike Küchler investigates the particular forms and functions of medial problems as related to artificial life in literature. Ever since the 18th century the creation of man and art is brought into dialogue with the techniques that created them thus challenging the boundaries between artificial creatures, mediality and artistic forms of expression: literary texts stage automata as a composition of (medial) prostheses including writing machines, speaking machines and music machines; at the laboratories of art and technology artificial creatures emerge from artistic experiments with phonographic sounds, photographic projections and filmic presentations; synaesthetic experiences of multimedia spaces transform both man and world into artwork themselves; finally, artificial artists and recipients challenge the question of the very artificial reproducibility of art. Such, both canonical and lesser-known literary texts (amongst others by Jean Paul, Villiers de l’Isle Adam, Yevgeny Zamyatin and Richard Powers) reflect, comment and transform the discoursive construction of man and machine as well as medium and art. They tell stories of how man will be capable of eventually calling machines into life, they transfer new medial techniques into poietic principles and therefore question man’s relation to both himself and such medial novelties. The dissertation is thus concerned with hybrid figures and modes of narration that are liminal beings between seemingly disparate forms of existence – especially with regard to its methodology and the comparative text corpus and due to intermedial and interdiscoursive references the project thus eventually turns out to be a liminal being itself.