Post on 22-Apr-2015
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Figurazioni cyborg
Hannah Hoch
Estetica dei nuovi mediaProf. Federica Timeto,
A.A. 2010-2011
Due possibilità per il cyborg(Yvonne Volkart)
• Corpo chiuso, perfetto, automa, privo di genere (assunzione del modello molare)
• Corpo aperto, fluido, metamorfico (assunzione del modello informatico - molecolare)
Teknolust, Lynn Hershman Leeson, 2002
Martha Rosler, Vital statistics of a citizen simply obtained, 1977 Video
Borjana Rossa
http://www.reactfeminism.org/artists/rossa_en.html
Corps étranger, Mona Hatoum, 1994,video installation with cylindrical wooden structure, video projector, amplifier, speakershttp://www.youtube.com/watch?v=Qsci0WAd_Lk
Corpo umano Prototipo di Primo Posthuman
Durata limitata eterno
Geni ereditari Geni rimpiazzabili
Si logora migliora
Errori casuali correzione
Senso di umanità Trasnumanità illuminata
Capacità intellettiva: 100 trilioni di sinapsi
Capacità intellettiva: 100 quadrilioni di sinapsi
Limitato a un genere Genere mutevole
A rischio di danni ambientali Inattaccabile dall’ambiente
Logorato da irritabilità e depressione Ottimismo turbo
Elimina gli scarti Ricicla e purifica gli scarti
Table 1. "Primo Posthuman Prototype Comparison Chart"
Il CsOcorpo ipocondriaco,
paranoico,schizo, masochista
“non è assolutamente una nozione, un concetto.
Piuttosto è una pratica,Un insieme di pratiche”
(Gilles Deleuze e Felix Guattari)
Cindy Sherman, Untitled #261, 1992
“Non è l’assenza di pulizia o di salute a rendere abietto,
ma quello che turba un’identità,un sistema, un ordine. Quel
che non rispetta i limiti, i posti, le regole. L’intermediario, l’ambiguo,
il misto…”Julia Kristeva
Cindy Sherman,Untitled #348, 1999
“La donna, come segno della differenza, è mostruosa. Se definiamo il mostro come un’entità corporea anomala e deviante rispetto alla
norma, allora possiamo sostenere che il corpo femminile condivide col mostro il privilegio di indurre un singolare miscuglio di orrore e fascinazione […]. Il mostruoso, o il deviante, è figura dell’abiezione
in quanto oltrepassa e trasgredisce i confini tra le norme riconoscibili e le definizioni date”
(Rosi Braidotti, Madri, Mostri, MacchineMadri, Mostri, Macchine)
Frida Kahlo, My Birth, 1932
Cesare Lombroso, La donna delinquente, la prostitutae la donna normale, 1893
Saartje Bartman, o la Venere Ottentotta
Giulia Pastrana, la donna babbuino, 1850
Guerrilla Girls
Restless, 2000 Social Studies, 200136 degrees on the 14th, 2000
SO2 - The Siren Mole (Exallopcephalla Parthenopa)
computers, silicone and plastics
Patricia Piccinini
The Young Family, 2003
Plasmid Region, 2003
"Things are different today,"I hear every mother say
Cooking fresh food for a husband's just a dragSo she buys an instant cake and she burns her frozen steak
And goes running for the shelter of a mother's little helperAnd two help her on her way, get her through her busy day
Doctor please, some more of theseOutside the door, she took four more
What a drag it is getting old Mother’s Little Helper, Mick Jagger and Keith Richards, 1965
The Embrace(Nature Little Helpers)2005Silicone, fibreglass, human hair, plywood, leather, clothing
Big Mother, 2005. Silicon, fiberglass, human hair, leather, studs, and diaper.
The Comforter, 2010
The Gathering, video, 2006http://www.youtube.com/watch?v=wCrNVHGHr5w
The danger here is to confuse creation with control. Just because we can create and manipulate things does not necessarily mean that we can control our creations.
I am particularly fascinated by the unexpected consequences, the stuff we don’t want but must somehow accommodate. There is no question as to whether there will be undesired outcomes; my interest is in whether we will be able to love them. In Another Life catalogue, Wellington City Gallery,
Wellington, NZby Patricia Piccinini (2006)
Artist’s Statement
“Per la salamandra, dopo una ferita, come per esempio la mutilazione di un arto, c’è una rigenerazione che
comporta la ricrescita di una struttura e il recupero di una funzione, con la possibilità costante di una
gemellazione o di altre strane produzioni topografiche al posto della mutilazione. L’arto ricresciuto può essere
mostruoso, doppio, potente. Siamo tutti feriti, in profondità. Abbiamo bisogno di rigenerazione, non di
rinascita”D. Haraway
With an image, we ask: Does X go anywhere? Does it flourish, reproduce itself, thrive and circulate?
the question of value is transformed into a question of vitality. We can ask if
a picture is a good or bad specimen, but with an image, the question is: Is it
alive?The criterion of value for images is liveliness [not lifelikeness]
perhaps the most interesting consequence of seeing images as living things is that the question of their value
(understood as vitality) is played out in a social context.
Excerpts from J. W. T. Mitchell, The Surplus value of Images
“The Surrogate is nothing if not the mutter/matter of gestation out of place, a necessary if not sufficient cut into the female-defining function called reproduction. To be out of place is often to be in danger and sometimes also to be free, in the open, not yet nailed by value and purpose, but full of pastpresents. The point for me in Piccinini's Nature's Little Helpers is parenting, not reproducing. Parenting is about caring for generations, one's own or not; reproducing is about making more of oneself to populate the future, quite a different matter.” D. Haraway
Piccinini,Undivided (Nature Little Helpers series),2004
Lee Bul Cyborg W1-W4 (1998)
Linda Dement, Cyberflesh Girlmonster, 1995
Melinda Rackham, Infectious Agent
Linda Dement, Typhoid Mary, 1991
Marcel Li Antunez Roca, Epizoo (video) 1994
http://www.marceliantunez.com/
“Nel creare sensazioni costriusco le mie interiora. Sono sia il Golem che il suo creatore”
Jana Sterbak
Jana Sterbak,Vanitas.Flesh Dress for anAmbino Anorectic,1987
Jana Sterbak, Remote control, 1989
Sterbak, I want you to feel the way I do, 1984-5
Alba D’Urbano, Hautnah, 1995
Stahl Stenslie
SUFI 1La bomba anatomica suicida
2 Abito da sera
Stahl Stenslie Walker un corsetto suicida
Shelley e Pamela Jackson, The Doll Games
Shelley Jacksonvedi The Patchwork Girl
Lynn Hershman, Roberta Breitmore, 1971
Lynn Hershman,Lorna, 1979-84
Lynn Hershman, Agent Ruby, 2001
Avatar Body Collision, Screen Save Her,2002
Belonging, 2007
Juliet Davis, Polystyrene Dreams
Prema Murthy, Bindigirl, 1999http://www.thing.net/~bindigrl/
I am transreal, between realities, moving through layers of the symbolic, the imaginary and the real, simultaneously quivering, swapping out and swapping back in, too fast to find the border between them. I am existing between my fantasies and desires, which are driving the changing form of my body, and the moment of perception in which you see me and call me maam, sir, dude, miss, or avoid choosing a category.
Becoming Dragon Micha Cardenashttp://vimeo.com/3874238
Chela Sandoval, Methodology of the Oppressed, 2000:
la politica dell’articolazione
“Il differenziale può essere concepito come un costante riassetto dello spazio, dei confini [… ]. Si tratta di una rete trasversale della coscienza, una trans-coscienza che avviene in un registro
che permette che le stesse reti […] siano appropriate come arma ideologica”
Transborder Immigrant Tool, Transitionhttp://vimeo.com/6109723
Tansborder Immingrant Tool, Dublinershttp://vimeo.com/6108310
“The trans in transborder and transgender can signify a crossing, but also a hope and a bravery in crossing […] In a way this hope is always a hope for the unknown, for one can never know what the result of the crossing will be, a better life, a new body, death or life. “ Micha Cardenas The Transborder Immigrant Tool: Violence, Solidarity and Hope in Post-NAFTA Circuits of Bodies Electr(on)/ic 2009
Manifesto dell’arte carnalehttp://www.orlan.net/texts/
Orlan Gros plan sur un des rires pendant la septième opération-chirurgicale-performance2.
Orlan, Self Hybrid, 1998
Emil Nolde,Testa papuasica,
1914
Faith Wilding,Vulva De/Reconstructa
What is a Refugia?
subRosa
A Becoming Autonomous Zone (BAZ) of desirous mixings and recombinations; splicing female sexual liberation and
autonomy with cyberfeminist skills, theory, embodiment, and political activism.
A critical space of liberated social becoming and intellectual life; a space liberated from capitalist Taylorized production; a space of unregulated, unmanaged time for creative exchange
and play; experimental action and learning; desiring production, cooking, eating, and skill sharing.
Neither a utopia nor a dystopia, but a haunted space for reverse engineering, monstrous graftings, spontaneous
generation, recombination, difference, poly-versity hybridization, wildlings, mutations, mongrelizing, crop
circles, anomalies, useless beauty, coalitions, agit-crops, and unseemly sproutings. Biotech and transgenic work in
Refugia will be based on desire, consensual public risk assessment, informed amateur experimentation,
contestational politics, nourishment and taste value, non-proprietary expertise, convivial delight, and healing.
subRosa, Can You see us now? 2003 Mass MoCa installation1/3
2/3
Lobby installation
2/3
Faith Wilding,Duration Performance
This is a story about invisible hands.This is a story about endless work.This is a story about women’s work of maintenance and survival.This is a story about the laboring female body in the invisible feminine economyof production and reproduction.This is a story about repetition, boredom, exhaustion, stress, crashes.This is a story about tedious, repetitive, straining, manual labor harnessed to thespeed of electronic machines.clean, wash, dust, wring, iron, sweep, cook, shop, phone, drive, clean, iron,enter, mix, drive, delete, clean, purge, wash, merge, edit, shop, fold, phone, file,select, copy, curse, cut, sweep, paste, insert, format, iron, program, type,assemble, cook, email, fax, cry, forward, sort, type, click, dust, clean, etc.
Faith Wilding,Duration Performance. The Art of
Feminized Maintenance Work, l998,
Ars Electronica Center, Linz, Austria.
Lecture/performance
Mythic Hybridby
Prema Murthy
Ursula Biemann,Writing Desire,2000 www.geobodies.org
Raqs Media Collective, A/S/L, 2003
http://www.youtube.com/watch?v=mAjK4PQOh0M
Rimini Protokoll, 2008