Cyborg Art: an Explorative and Critical Inquiry Into Corporeal Human-Technology Convergence
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Cyborg Art: An Explorative and Critical Inquiry into Corporeal Human-Technology Convergence A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Waikato, by Elizabeth Margaretha Borst Faculty of Arts and Social Sciences © Elizabeth M. Borst, 2009 All rights reserved. This work may not be reproduced without permission of the author. University of Waikato, 2009 i ii Abstract This thesis introduces and examines the undervalued concept of corporeal human- technology interface art, or ‘cyborg art’, which describes literal, figural and metaphorical representations of increasing body and technology integration. The transforming (post)human being is therefore the focus; who we are today, and who or what we may become as humanity increasingly interfaces with technology. Theoretical analysis of cyborg imagery centres on the science fiction domain, in particular film and television, as opposed to art. Yet a profusion of cyborg art and art practices abound within contemporary society; each differing art form (for example, performance, interactive, digital, sculpture or painting), offering possible ‘symbolic function’ and ‘critical potential’ concerning increasing cyborgisation. I therefore argue in this thesis that cyborg art has social value, and reveal throughout the way this artistic focus depicts key ontological and sociological themes of body-technology merger. Seventy-two artworks are examined in total, each demonstrating relevant concerns and aspirations regarding present and envisioned impacts of technoscience. The cyborg-inspired artworks included in this study are primarily situated within four fundamental dimensions of humanity: birth, death, gender and ethnicity; and within three main spheres of corporeal-technological developments: prosthetics, telematics and genetics. Key concepts and themes explored within these realms include ectogenesis, post-genderism, necrotic and ethno-cyborgs, augmentation and reconstruction, tele-erotics and tele-puppets, and transgenics. In addition, three new cyborgian concepts are introduced: the udopian cyborg, which is an aesthetic representing technology’s paradoxical dimension – technology as evoking fear and yearning, and having the potential to benefit and harm humanity; the permeative gaze of technoscience, which is a new technologised gaze focusing on how human skin no longer serves as a boundary and barrier to the inner corporeal realm; and lastly, triadic convergence, which denotes the way artists are increasingly creating entities which are a melding of animal, technological and human components. i Multimethod research serves as the methodological base for this thesis, as both qualitative and quantitative methods are incorporated into the research design. Hermeneutics is adopted as the analytical/interpretive perspective and approach. The empirical research includes semi-structured in-depth interviews, qualitative (artists’) email questionnaires, and structured quantitative questionnaires. Triangulation is employed in order to obtain varied responses to, and perspectives on, technology and the technological epoch, art and cyborg art, and the cyborg. A theory of cyborg art is constructed by interweaving the collated findings with interview participants’ responses to a selection of cyborg artworks, and theorists’ perspectives on the aforementioned concepts, derived from visual culture, cyborg theory, and critical postmodern theory. The ultimate goal of this thesis is to present the underlying theoretical breadth and creative depth of cyborg art, and to demonstrate that cyborg art can act as a catalyst for increasing societal awareness of, and interest in, corporeal human-technology merger. I analyse the critical relevance of this under-examined artistic focus, and address why cyborg art should be recognised as a new postmodern art genre, and complementary to theoretical discussions of cyborgisation. I argue overall that cyborg art is a valid and critical sphere of inquiry into the increasing integration which exists between humanity and technology. ii Acknowledgements Several individuals have given their assistance and support to this project. Dr Carolyn Michelle, my chief supervisor, is one of the most pivotal as she has resolutely and unwaveringly provided me with a vast amount of knowledge, enthusiasm, direction and above all support during the past three and a half years. I feel extremely grateful and enormously privileged that I have had Dr Michelle’s guidance throughout this project. I am also immensely grateful to my two additional supervisors, Dr Jo Barnes and Dr John Paterson, for the level of engagement they have offered me, and given to my work. They have been an integral aspect of this project’s trajectory and formation, providing me with invaluable insights and contributions. In addition, Associate Professor David Swain and Professor Sean Cubitt, who were both on my supervisory panel for a short time, were particularly supportive. They read my initial proposal and provided helpful and constructive feedback, which created a strong foundation for this research project. Dr Ted Ninnes, Dr Paul Harris and Bill Cochrane were also always available to discuss ideas, and I am grateful for their views and perspectives. I would also like to thank the administrators based in the Department of Societies and Cultures, Bev Campbell and Janice Smith, for their assistance with formatting and collection of my postal-return questionnaires. The University of Waikato library staff were also always extremely obliging. I am very grateful for their continuous support and eagerness to help me with my work. During the course of this research, I emailed several scholars and artists who generously replied with assistance, advice and support. In particular, I would like to thank Chris Hables Gray, Donna Haraway, Katherine Hayles, Jennifer González, David Kreps, Johnnie Wilcox, Rosemary Du Plessis, Naomi Singer, Darcy Nicholas, Haupai Puke, Ngahuia Te Awekotuku, and John Perrone. I am also indebted to the 110 research participants who were involved with this project: the interview participants who gave their time and provided such compelling discussions; the artists iii who graciously completed the email questionnaire and replied to the many emails I sent; and the hand-distributed questionnaire respondents who kindly accepted, completed, and promptly returned their questionnaires to the University of Waikato. I thank all these individuals for their willingness to be part of this study, and for their enthusiasm, candour and insight. I also thank the participants and artists who made contact with me, but who were unable to participate in the project for various reasons. I would like to thank all the artists whose inspiring creations and performances constitute the core of this thesis. I am constantly in awe of the depth of artistic talent that I have had the pleasure of working with during this extensive research project. Lastly, I am immensely grateful to my family and friends who have steadfastly supported me during the course of this study. In particular, heartfelt thanks goes to my mother Wilhelmina, my husband René, and my wonderful and patient children Reuben and Marina. iv Table of Contents Abstract................................................................................................................................ i Acknowledgements.............................................................................................................. iii List of Artworks................................................................................................................... ix List of Figures...................................................................................................................... xv List of Appendices ............................................................................................................... xvii Introduction........................................................................................................................ 1 The Cyborg and Cyborg Art: An Overview ................................................................... 14 Thesis Trajectory and Chapter Summaries..................................................................... 18 Chapter One: Foundational Theorists’ Perspectives and Frameworks........................ 23 Donna Haraway: Technology, the Cyborg, and Feminism............................................. 23 Jennifer González: Cyborg Bodies ................................................................................. 30 Chris Hables Gray: Cyborg Art and Aesthetics.............................................................. 33 Yvonne Volkart and Verena Kuni: Monstrous Bodies..................................................