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

Natasha Vita-More, Primo Posthuman

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"

Cyborg WebShopAndreja Kuluncic

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

Shelley Jackson, My Body

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