Jeremy Chang-ling Hsu Modular Geometric Organism: The Amoebic Movement in K-Pop Performance Abstract In this article I consider K-Pop music videos a newly contagious amoeba to explore how K-Pop performance moves us and how its amoebic body moves in and out of the screen. Using research drawn from Posthumanism, I argue that technics opens up the border of human body through programmability, promoting the cyborgian assemblage that suggests the mobility of technics and the technicity of human bodies. In particular, I focus on the choreography of K-Pop, which I argue is a modular geometric organism that consists of human prosthesis and shares the same quality of the amoebic movement, in order to suggest that this contagious media is able to extend its pseudopods to engulf viewers while listening, watching, and recreating the performance. Due to the immersiveness of K-Pop performance videos, their amoebic movement is perceived more easily, and reshapes the relationship between the viewers and the videos, creating a new organism in their digital circulation. K-Pop, as one of the strongest popular cultural same choreography, soundtrack, facial expressions trends, breaks the obstacle of language and creates of the artists, and camera movement, while the a newly contagious vibe through its catchy songs only difference is the outfits on the performers that and synchronization of memorable choreographies. marks the distinction of space and time. The visuals of K-Pop performance is known to be As Steven Shaviro stated in Connected, Or orderly arranged, creating a symmetrical, harmonic What it Means to Live in the Network Society, “a movement that reshapes human bodies, and the network is a self-generating, self-organizing, self- extreme measures that allow for this presentation sustaining system.”1 This system functions like an are intense training or strict diet plans executed by organism that passes on its genetically identical the entertainment agency. As the entertainment form to the next and makes connection. Despite agency periodically releases a K-Pop group’s the multiple versions of videos mentioned above music video, this video itself goes through a media are uploaded onto mediascape by different users, transformation based on its original soundtrack these K-Pop videos inherit the genetic traits of and choreography on various media platforms, the original soundtrack and choreography. For especially YouTube, which showcase Korean a viewer in front of the screen, this sequence of broadcast music programs such as M Countdown, performance videos builds up like a reproduction SBS Inkigayo, or dance practice version performed of organisms embodied in the dancing shapes. by original artist and dance cover covered by fans These dancing shapes, consisting of human worldwide. More specifically, a live recording can bodies, resemble the movement of a living cell, also turn into a FanCam version, recorded by fans with each moving component creating an organic who attend the live show, or a Stage mix version, unity. While K-Pop artists perform with the same which compiles and edits performances into a single choreography on different music programs, this video, creating a magical image by presenting the organism, programmed from their bodies into CONTAGION 59 Ennuri Jo and Michael Anthony Turcios, editors, Spectator 39:1 (Spring 2019): 59-65. MODULAR GEOMETRIC ORGANISM an audiovisual element, is reproduced through “Taylor” or “Taylorism,” a system that precisely the recording media with exactitude and widely rendered the human body into small components; spread on video platforms. Furthermore, different hands on the assembly line in the Taylor system screens that act as key factors of duplication have became legs in the geometric shapes in the Tiller become a mirror to reflect the sameness of an Troupe’s performance.4 Therefore, Kracauer gave organic unity of these bodies, enabling the viewers an outlook on Tiller Girls as a “mass ornament” to mimic the planned choreography, creating the that “ends in itself,” concerning that it would lead exact composition of the organism-to-organism to the discarding of individuality.5 A century conjunction. The articulation of K-pop as a process has passed; the dancers that stood beside the of contagion requires consideration of the body assemblage line have evolved into a newly in the condition of becoming a component, and designed cyborgian assemblage called K-Pop of media environment and screens to serve as an groups. attachment surface for such body-components to contact. K-Pop has demonstrated and epitomized Cyborgian Body in the Digital Circulation the posthuman body within the context of digital circulation. This paper aims to discuss how K-Pop Despite the fact that there are similarities between creates a modular geometric organism that Tiller Girls and K-Pop groups, stating that redefines the human as a self-complete system and members of K-pop groups like Girls’ Generation how K-pop as a media system reveals its amoebic are “factory girls” or “factory-made products” tendency to extend its body and form a living being manipulated by their entertainment organism. In particular, I will focus on the chapter agency,6 configuring K-Pop groups as “the body “Who? What? The Invention of the Human” of of human in the age of its digital reproducibility”7 Bernard Stiegler’s Technics and Time I, to examine requires a more complex circulation system rather how technics opens up the boundaries of the body than a simple and linear one like assembly line and creates not only “this body qua human” but also on which Tiller Girls stood. Walter Benjamin “this body qua dance” in the K-Pop context. brings up the idea that the new technology has The choreographed dance routines, artificially already liberated the way people perceive art crafted beauty, and the mechanical training process through mechanically mediated techniques.8 usually makes K-Pop be thought of as a factory- Hence, considering the “start-to-end” assembly made product under industrial management. line system as a process of reproduction should In accordance to this presentation, The Tiller no longer be the modern process in the digital Troupe at the end of the 19th century can be context. Instead, one should rethink how the seen a precursor to the embodiment of mediated viewers or participants, when they project their individuality in a technologically developing perception while seeing, listening, mimicking, era. Established by the English choreographer or covering the K-Pop performance, reshape John Tiller, the Tiller Troupe consisted of female the concept of singularity in the age of digital dancers with similar body figures. The group shared reproducibility. the goal of diminishing individuality, becoming a In 2015, Red Velvet from SM Entertainment “non-human,” as Ramsey Burt depicts, for whom released their single with a music video named the choreography was “demanding a precision “Dumb Dumb,” annotating a posthuman body in that in its day was called military,”2 and eventually the digital era.9 This music video is set in a classic developing a perfect dance design. Here, a dance setting of Taylor System, juxtaposing Red Velvet performance is no longer an expression to present performers with the operating machines to imply individual expression, but to turn bodies into the similarity between human and technical fragmental pieces of the choreography. Siegfried instruments. (See Fig. 1: Red Velvet as a gear of Kracauer described the Tiller girls as “no longer an operating machine.) We witness the members individual girls, but indissoluble girl clusters whose of Red Velvet on the linear assembly line. (See movements are demonstrations of mathematics.”3 Fig. 2: Red Velvet members being reproduced by Moreover, “Tiller” happened to hide the message of themselves) 60 SPRING 2019 HSU In this digital circulation, participants are the cyborgs a la Donna Haraway’s “Cyborg Manifesto,” created through asexual reproduction, or anti- reproduction. This can be seen in the scene of dropping eggs and smashing the infant baby on the ground. The cyborg community originates as Red Velvet and participants constantly reproduce themselves. (See Fig. 3) The reproducibility of cyborgian bodies has left the organic ovum and germ cells malfunctioning, shaping what Haraway had suggested as the “technological polis” that topples the oikos and embodies a cyborgian hybrid 10 Fig. 1 space and the ductility of media. Fig. 2 Fig. 3 The products are the copies of the original Red The posthuman potential that lies in K-Pop Velvet, and the models from the other scenes performance is that its aesthetics has broken the are the copies of the copies. However, when the body’s unity into fragmented pieces as components operators of the assembly line are reproduced in of an organism. The individuality extends through large numbers, we may ask: are they the original Red the conjunction of movements. It challenges the Velvet? In fact, the packing procedure here is a mere concept of the human body or the fixed identity metaphor of dissemination. In the age of digitality, demonstrated by classical humanism, the classical Red Velvet has spread throughout various media ideal of “Man.” According to Haraway, “the relation outlets, signaled to simulation and delivered toward between organism and machine has been a border the world within the bits of 0 and 1 voltage. There war;”11 we are all cyborgs that live in a hybrid form. is never a physical but simulated Red Velvet for A cyborgian body