DOCSLIB.ORG

Untitled Photograph by F

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Cyborg Experiments TECHNOLOGIES: STUDIES IN CULTURE & THEORY Editors: Gary Hall, Middlesex University, and Chris Hables Gray, University of Great Falls CONSULTANT EDITORS Parveen Adams, Keith Ansell-Pearson, Jim Falk, Steve Graham, Donna Haraway, Deborah Heath, Manuel DeLanda, Paul Patton, Constance Penley, Kevin Robins, A vital Ronell, Andrew Ross, Allucquere Rosanne Stone Technologies is a series dedicated to publishing innovative and provoc- ative work on both 'new' and 'established' technologies: their history, contemporary issues and future frontiers. Bringing together theorists and practitioners in cultural studies, critical theory and Continental philosophy, the series will explore areas as diverse as cyberspace, the city, cybernetics, nanotechnology, the cosmos, AI, prosthetics, genetics and other medical advances, as well as specific technologies such as the gun, telephone, Internet and digital TV. BOOKS IN THE SERIES The Architecture of the Visible: Technology and Graham MacPhee Urban Visual Culture The Cyborg Experiments: The Extensions of the Joanna Zylinska (ed.) Body in the Media Age Transductions: Bodies and Machines at Speed Adrian Mackenzie THE CYBORG EXPERIMENTS The Extensions of the Body in the Media Age edited by JOANNA ZYLINSKA continuum LONDON NEW YORK CONTINUUM The Tower Building, 11 York Road, London SE1 7NX 370 Lexington Avenue, New York, NY 10017-6503 First published 2002 © Joanna Zylinska and the contributors 2002 All rights reserved. No part of this publication may be reproduced in any form, by print, photoprint, microfilm, microfiche, mechanical recording, photocopying, translation, or any other means, known or as yet unknown, or stored in an information retrieval system, without written permission obtained beforehand from the publishers. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 0-8264-5902-1 (hardback) ISBN 0-8264-5903-X (paperback) Library of Congress Cataloging-in-Publication Data The cyborg experiments: the extensions of the body in the media age / edited by Joanna Zylinska. p. cm. - (Technologies) Includes bibliographical references and index. ISBN 0-8264-5902-1 - ISBN 0-8264-5903-X (pbk.) 1. Human-machine systems. 2. Cyborgs. 3. Robotics—Social aspects. I. Zylinska, Joanna, 1971- . II. Technologies (London, England) TA167 .C93 2002 303.48'3-dc21 Typeset by CentraServe Ltd, Saffron Walden, Essex Printed and bound in Great Britain by MPG Books Ltd, Bodmin, Cornwall Contents Notes on Contributors vii Acknowledgements xi Extendingo McLuhan into the New Media Ageo : An Introduction 1 Joanna Zylinska PART 1: THE CYBORG LINKS Chapter 1. High-Tech Frankenstein, or Heidegger Meets Stelarc 15 Mark Poster Chapter 2. The Human/Not Human in the Work of Orlan and Stelarc 33 Julie Clarke Chapter 3. Stelarc and Orlan in the Middle Ages 56 Meredith Jones and Zoe Sofia Chapter 4. Towards a Compliant Coupling: Pneumatic Projects, 1998-2001 73 Stelarc PART 2: THE OBSOLETE BODY? Chapter 5. What Does an Avatar Want? Stelarc's E-motions 81 Edward Scheer Chapter 6. Planned Obsolescence: Flying into the Future with Stelarc 101 John Appleby v CONTENTS Chapter 7. Probings: An Interview with Stelarc 114 Joanna Zylinska and Gary Hall ChapterS. Para-Site 131 Gary Hall PART 3: SELF-HYBRIDATION Chapter 9. Morlan 149 Fred Rotting and Scott Wilson Chapter 10. The Virtual and/or the Real 168 Orlan Chapter 11. Anger, Art and Medicine: Working with Orlan 172 Rachel Armstrong PART 4: AESTHETICS AND ETHICS: TECHNOLOGICAL PERSPECTIVES Chapter 12. In Defence of Prefigurative Art: The Aesthetics and Ethics of Orlan and Stelarc 181 Chris Hables Gray Chapter 13. Ph/autography and the Art of Life: Gillian Wearing'o s Ethical Realism 193 Jay Prosser Chapter 14. 'The Future ... Is Monstrous': Prosthetics as Ethics 214 Joanna Zylinska Name Index 237 VI Notes on Contributors John Appleby is a doctoral student in the Department of Philosophy at the University of Warwick, UK, pursuing research into methodolo- gies of anti-humanist contagion, and consequent materialist expla- nations of new technology. Rachel Armstrong is a writer and former medical doctor. She works as a collaborator with artists on projects that are a hybrid between art and science. She is a part-time lecturer at the Bartlett School of Architecture, London, and has edited two publications: Sci-Fi Aesthetics (1998) and Space Architecture (2000). Her fiction novel The Gray's Anatomy was published by Serpents Tail in 2001. Fred Dotting is Professor of English Literature at Keele University, UK. He has co-edited (with Scott Wilson) The Bataille Reader and The Bataille Critical Reader for Blackwell and has published (also with Scott Wilson) two books: Bataille (Palgrave, 2000) and The Tarantinian Ethics (Sage, 2001). Julie Clarke is a digital artist and writer who completed her undergraduate studies at RMIT, Melbourne, Australia. She completed her Honours year at the University of Melbourne, being awarded a Postgraduate Diploma in Fine Arts (Art History). She gained her Master's Degree in Fine Arts, Art History by research thesis in 1997 at the University of Melbourne, where she is currently a candidate for a Ph.D. Her poetic pros e and articles have been published in Australia, the United Kingdom and Norway (in translation). She co-won the inaugurao l Fauldinog Award for writingo for multimedia at the Adelaide Festival of the Arts in 1998, later exhibited at 'Lovebit', Staffordshire. Chris Hables Gray, Ph.D., is an associate professor of the Cultural vii NOTES ON CONTRIBUTORS Studies of Science and of Computer Science at the University of Great Falls in Montana. He is also part-time core faculty in the Graduate College of the Union Institute and University. He is the author of Cyborg Citizen (Routledge, 2001) and of Postmodern War (Guilford/ Routledge, 1997), and editor of The Cyborg Handbook (Routledge, 1995). Currently he is working with others on a collection about contemporary anarchism and with another collective on a radio play about an Irish demi-god. Alone, he is writing a book about infor- mation technology and peacemaking and another about human— machine integration in space exploration (NASA and the Cyborg, Athlone/Continuum, forthcoming). Gary Hall is Senior Lecturer in Media and Cultural Studies at Middlesex University, London. As well as general co-editor of the Technologies series, he is also founding co-editor of the electronic journal Culture Machine <http://culturemachine.tees.ac.uk>. His work has appeared in numerous books and journals, including parallax, Surfaces, Angelaki and The Oxford Literary Review. He has just completed a book on cultural studies, deconstruction and new technology entitled Culture in Bits for Athlone/Continuum. Meredith Jones is a doctoral candidate at the University of Western Sydney, where she is writing a dissertation about cosmetic surgery, anti-ageing technologies, cyberspace and notions of immortality. She teaches media studies at Sydney's University of Technology. Orlan is a French multimedia and performance artist who lives and works in Paris. Her projects have involved poetry, drama, painting, photography and, famously, installations with trousseau fabric stained with sexual fluids which were intended to challenge the splitting of the female image into the 'madonna and whore' dichotomy. In the 1990s Orlan embarked on a sequence of surgical operations — performances by means of which she self-mockingly modelled herself on selected mythological figures. The operating theatre became the artist's studio in which Orlan literally 'gave her body to art'. The surgeries were precisely staged and recorded in order to be shown in art galleries and other public spaces all over the world. Orlan's most recent project, viii NOTES ON CONTRIBUTORS Refiguration/Self-Hybridation, involves the production of digital photo- images and interactive video installations dealing with body transfor- mations in Maya and Olmec cultures. Orlan's Web site: <www.orlan.net>. Mark Poster is Director of the Film Studies Program at the University of California, Irvine, and a member of the History Depart- ment. He has a courtesy appointment in the Department of Infor- mation and Computer Science. He is a member of the Critical Theory Institute. His recent books are What's the Matter with the Internet: A Critical Theory of Cyberspace (University of Minnesota Press, 2001), The Information Subject in Critical Voices Series (Gordon & Breach Arts International, 2001), Cultural History and Postmodernity (Columbia Uni- versity Press, 1997), The Second Media Age (Polity and Blackwell, 1995) and The Mode of Information (Blackwell and the University of Chicago Press, 1990). Jay Prosser is Lecturer in American Literature at the University of Leeds. He is the author of Second Skins: The Body Narratives of Transsexuality (Columbia University Press, 1998). He is currently completing a book on photography and autobiography. Edward Scheer lectures in performance studies in the School of Theatre, Film and Dance at the University of New South Wales and is a freelance arts writer. He is the editor of 100 Years of Cruelty: Essays on Artaud (Sydney: Power Publications and Artspace, 2000) and Antonin Artaud: A Critical Reader (Rouledge, forthcoming), and is secretary of the board of directors of The Performance Space in Sydney. Zoe Sofia (a.k.a. as Zoe Sofoulis) lectures in humanities at the University of Western Sydney and writes on the irrational and corporeal dimensions of our relations
Recommended publications
  • Split at the Root: Prostitution and Feminist Discourses of Law Reform

    Split at the Root: Prostitution and Feminist Discourses of Law Reform

    Split at the Root: Prostitution and Feminist Discourses of Law Reform Margaret A. Baldwin My case is not unique. Violette Leduc' Today, adjustment to what is possible no longer means adjustment, it means making the possible real. Theodor Adorno2 This article originated in some years of feminist activism, and a sustained effort to understand two sentences spoken by Evelina Giobbe, an anti- prostitution activist and educator, at a radical feminist conference in 1987. She said: "Prostitution isn't like anything else. Rather, everything else is like prostitution because it is the model for women's condition."' Since that time, t Assistant Professor of Law, Florida State University College of Law. For my family: Mother Marge, Bob, Tim, John, Scharl, Marilynne, Jim, Robert, and in memory of my father, James. This article was supported by summer research grants from Florida State University College of Law. Otherwise, it is a woman-made product. Thanks to Rhoda Kibler, Mary LaFrance, Sheryl Walter, Annie McCombs, Dorothy Teer, Susan Mooney, Marybeth Carter, Susan Hunter, K.C. Reed, Margy Gast, and Christine Jones for the encouragement, confidence, and love. Evelina Giobbe, Kathleen Barry, K.C. Reed, Susan Hunter, and Toby Summer, whose contributions to work on prostitution have made mine possible, let me know I had something to say. The NCASA Basement Drafting Committee was a turning point. Catharine MacKinnon gave me the first opportunity to get something down on paper; she and Andrea Dworkin let me know the effort counted. Mimi Wilkinson and Stacey Dougan ably assisted in the research and in commenting on drafts.
  • Envisioning Cyborg Hybridity Through Performance Art: a Case Study of Stelarc and His Exploration of Humanity in the Digital Age Cara Hunt

    Envisioning Cyborg Hybridity Through Performance Art: a Case Study of Stelarc and His Exploration of Humanity in the Digital Age Cara Hunt

    Vassar College Digital Window @ Vassar Senior Capstone Projects 2015 Envisioning Cyborg Hybridity Through Performance Art: A Case Study of Stelarc and His Exploration of Humanity in the Digital Age Cara Hunt Follow this and additional works at: http://digitalwindow.vassar.edu/senior_capstone Recommended Citation Hunt, Cara, "Envisioning Cyborg Hybridity Through Performance Art: A Case Study of Stelarc and His Exploration of Humanity in the Digital Age" (2015). Senior Capstone Projects. Paper 400. This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Envisioning Cyborg Hybridity Through Performance Art: A Case Study of Stelarc and His Exploration of Humanity in the Digital Age Cara Hunt Advisors: Janet Gray & Ken Livingston Spring 2015 Thesis submitted in partial fulfillment of the requirements for a major in the program in Science, Technology, and Society (STS) ABSTRACT In this paper I argue that artistic representation has historically been and continues to be a valuable medium for envisioning new bodily forms and for raising important questions regarding changes in what it means to be human in an era of rapid technological advancement. I make this claim using Stelarc, an eccentric Australian performance artist, as a case study. Stelarc’s artistic exploration of the modern-day cyborg enacts and represents philosophical and ontological concepts such as identity, hybridity, and embodiment that are subject to change in the digital age. In order to arrive at this claim, Chapter 1 will trace the cyborg back to its use in 20th century Dada art.
  • Open Etoth Dissertation Corrected.Pdf

    Open Etoth Dissertation Corrected.Pdf

    The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity.
  • The Hong Kong Polytechnic University Subject Description Form

    The Hong Kong Polytechnic University Subject Description Form

    Form AS 140 The Hong Kong Polytechnic University Subject Description Form Please read the notes at the end of the table carefully before completing the form. Subject Code CBS1A20 Subject Title Self-representation in New Media Credit Value 3 Level 1 Pre-requisite / Exclusion Co-requisite/ GEC1A05W Self-representation in New Media Exclusion GEC1A05 Self-representation in New Media CBS1A20M Self-representation in New Media Objectives This subject aims to examine how the emergence of different new media has mediated the conception and production of the self, identity, and autobiography by visual and verbal means. The complex human conditions behind such self-representation from different cultures will be investigated. Intended Learning Upon completion of the subject, students will be able to: Outcomes (a) enhance students’ literacy skills in reading and writing; (Note 1) (b) identify the mediated personal narratives embedded in different types of self-representation in new media; (c) pinpoint the boundary and difference between mere self-expression and performing/advertising the self in new media; (d) analyze how embodied self-expression in new media has transcended traditional means of communication; (e) evaluate critically the merit and limitation of specific forms of self- representation in new media. Subject Synopsis/ 1. Overview about Interpreting Life Narratives in Different Media (1 Indicative Syllabus lecture) (Note 2) 2. Self-representation in Self-portraiture: Identity Construction (2 lectures) Vermeer, Velasquez, Rembrandt, Kathe Kollwitz, Courbet, Cèzanne, Van Gogh, Toulouse Lautrec, Charlotte Salomon, Picasso, Dali, Magritte, Egon Schiele, Frida Kahlo, Francis Bacon, Orlan, Ana Mendieta, Adrian Piper, Yu Hong, Fang Lijun, & Yue Minjun, Song Dong & Wilson Shieh 3.
  • Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive

    Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive

    Article Dear Sister Artist: Activating Feminist Art Letters and Ephemera in the Archive Kathy Carbone ABSTRACT The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The CalArts Feminist Art Program (1971–1975) played an influential role in this movement and today, traces of the Feminist Art Program reside in the CalArts Institute Archives’ Feminist Art Materials Collection. Through a series of short interrelated archives stories, this paper explores some of the ways in which women responded to and engaged the Collection, especially a series of letters, for feminist projects at CalArts and the Women’s Art Library at Goldsmiths, University of London over the period of one year (2017–2018). The paper contemplates the archive as a conduit and locus for current day feminist identifications, meaning- making, exchange, and resistance and argues that activating and sharing—caring for—the archive’s feminist art histories is a crucial thing to be done: it is feminism-in-action that not only keeps this work on the table but it can also give strength and definition to being a feminist and an artist. Carbone, Kathy. “Dear Sister Artist,” in “Radical Empathy in Archival Practice,” eds. Elvia Arroyo- Ramirez, Jasmine Jones, Shannon O’Neill, and Holly Smith. Special issue, Journal of Critical Library and Information Studies 3. ISSN: 2572-1364 INTRODUCTION The 1970s Feminist Art movement continues to serve as fertile ground for contemporary feminist inquiry, knowledge sharing, and art practice. The California Institute of the Arts (CalArts) Feminist Art Program, which ran from 1971 through 1975, played an influential role in this movement and today, traces and remains of this pioneering program reside in the CalArts Institute Archives’ Feminist Art Materials Collection (henceforth the “Collection”).
  • Downloaded from Brill.Com09/28/2021 03:24:39AM Via Free Access ,    

    Downloaded from Brill.Com09/28/2021 03:24:39AM Via Free Access ,    

    Blood, Sweat and Tears. The Martyred Body in Chinese Performance Art Tania Becker When we speak of offending images in the context of contemporary Chinese art, some of us may remember articles that were published in , voices of outrage in reaction to Zhu Yu’s performance Eating People: Is it art when a man eats a dead baby? london — My God, what kind of society do we live in? A Chinese man eats a dead baby on TV and actually claims it’s art! The announcement alone unleashed one of Great Britain’s hottest debates on the freedom of the media, the press, and art: the British tv Channel wanted to broad- cast the documentary Beijing Swings, which includes photographs of Chinese artist Zhu Yu apparently eating a dead baby. According to Zhu, the corpse is from a miscarriage. In one of the photographs, he’s washing the body in a sink. Another photo shows him biting into a dismembered body part. Zhu has said that the pictures were taken during a perfor- mance titled »Eating Humans« in his house in Beijing. Yesterday, Zhu Yu claimed that as an artist, it’s his job to initiate debates over morality and art. His work involves exploring whether boundaries still exist. It does not, however, seem to bother anyone when this »artist« transgress- es these boundaries. Not even the guardians of the law — because de- spite the fact that artists using human body parts for their art can be sentenced to ten years in prison, nothing happened [...]. Tania Becker - 9783846763452 Downloaded from Brill.com09/28/2021 03:24:39AM via free access , After the images made the rounds in the Internet, the shocking act of consum- ing a fetus met with reactions worldwide.
  • Fresh Meat Rituals: Confronting the Flesh in Performance Art

    Fresh Meat Rituals: Confronting the Flesh in Performance Art

    FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS By MILICA ACAMOVIC B.A., Saint Louis University, 2012 Kansas City, Missouri 2016 © 2016 MILICA ACAMOVIC ALL RIGHTS RESERVED FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART Milica Acamovic, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2003 ABSTRACT Meat entails a contradictory bundle of associations. In its cooked form, it is inoffensive, a normal everyday staple for most of the population. Yet in its raw, freshly butchered state, meat and its handling provoke feelings of disgust for even the most avid of meat-eaters. Its status as a once-living, now dismembered body is a viscerally disturbing reminder of our own vulnerable bodies. Since Carolee Schneeman's performance Meat Joy (1964), which explored the taboo nature of enjoying flesh as Schneeman and her co- performers enthusiastically danced and wriggled in meat, many other performance artists have followed suit and used raw meat in abject performances that focus on bodily tensions, especially the state of the body in contemporary society. I will examine two contemporary performances in which a ritual involving the use of raw meat, an abject and disgusting material, is undertaken in order to address the violence, dismemberment and guilt that the body undergoes from political and societal forces. In Balkan Baroque (1997), Marina Abramović spent three days cleansing 1,500 beef bones of their blood and gristle amidst an installation that addressed both the Serbo-Croatian civil war and her personal life.
  • The Affective Turn, Or Getting Under the Skin Nerves: Revisiting Stelarc

    The Affective Turn, Or Getting Under the Skin Nerves: Revisiting Stelarc

    Medienimpulse ISSN 2307-3187 Jg. 50, Nr. 2, 2012 Lizenz: CC-BY-NC-ND-3.0-AT The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc Jan Jagodzinski Jan Jagodzinski konzentriert sich dabei auf das 0,3-Sekunden- Intervall, das aus neurowissenschaftlicher Sicht zwischen einer Empfindung auf der Haut und deren Wahrnehmung durch das Gehirn verstreicht. Dieses Intervall wird derzeit in der Biokunst durch neue Medientechnologien erkundet. Der bekannte Performance-Künstler Stelarc steht beispielhaft für diese Erkundungen. Am Ende des Beitrags erfolgt eine kurze Reflexion über die Bedeutung dieser Arbeiten für die Medienpädagogik. The 'affective turn' has begun to penetrate all forms of discourses. This essay attempts to theorize affect in terms of the 'intrinsic body,' that is, the unconscious body of proprioceptive operations that occur below the level of medienimpulse, Jg. 50, Nr. 2, 2012 1 Jagodzinski The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc cognition. I concentrate on the gap of 0.3 seconds that neuroscience posits as the time taken before sensation is registered through the skin to the brain. which I maintain has become the interval that is currently being explored by bioartists through new media technologies. The well-known performance artist Stelarc is the exemplary case for such an exploration. The essay ends with a brief reflection what this means for media pedagogy. The skin is faster than the word (Massumi 2004: 25). medienimpulse, Jg. 50, Nr. 2, 2012 2 Jagodzinski The Affective turn, or Getting Under the Skin Nerves: Revisiting Stelarc The “affective turn” has been announced,[1] but what exactly is it? Basically, it is an exploration of an “implicit” body.
  • THE UN-HEROIC ACT Representations of Rape in Contemporary Women’S Art in the U.S

    THE UN-HEROIC ACT Representations of Rape in Contemporary Women’S Art in the U.S

    PRESS KIT, SEPTEMBER 1 30, 2018 THE UN-HEROIC ACT Representations of Rape in Contemporary Women’s Art in the U.S. curated by Monika Fabijanska exhibition accompanied by a fully-illustrated catalog September 4 – November 2, 2018 Anya and Andrew Shiva Gallery John Jay College of Criminal Justice City University of New York New York City The following material contains 1/ press release 2/ public programming 3/ the outline of the exhibition structure, with all artworks accompanied by an image, caption, and description 4/ artists’ biographies Public programming details will be announced at the press preview Captions must be used as provided in this document. For website and print quality images, please contact [email protected] Please contact the gallery at [email protected], 212.237.1439 for inquiries, images and interview requests. You may also direct questions to the curator, [email protected] For more information, visit www.shivagallery.org, detailed updates at www.monikafabijanska.com ARTISTS IN THE EXHIBITION (in the chronological order of the work creation): Yoko Ono Natalie Frank Ana Mendieta Jennifer Karady Senga Nengudi Sonya Kelliher-Combs Suzanne Lacy Andrea Bowers Lynn Hershman Leeson Ada Trillo Carolee Thea Kara Walker Guerrilla Girls Roya Amigh Jenny Holzer Naima Ramos-Chapman Kathleen Gilje Bang Geul Han Angela Fraleigh Guerilla Girls BroadBand 1 FOR IMMEDIATE RELEASE THE UN-HEROIC ACT: Representations of Rape in Contemporary Women's Art in the U.S. curated by Monika Fabijanska September 4 – November 2, 2018 opening reception: September 12, 5:30-8:30 PM symposium: October 3, 5-9 PM tours & artists talks: September 26, 6-8 PM, October 24, 6-8 PM gallery hours: Monday-Friday 10-6 Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977.
  • Art in the Twenty-First Century Screening Guide: Season

    Art in the Twenty-First Century Screening Guide: Season

    art:21 ART IN2 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON TWO SEASON TWO GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Two of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities.
  • ON PAIN in PERFORMANCE ART by Jareh Das

    ON PAIN in PERFORMANCE ART by Jareh Das

    BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed.
  • The Human Machine

    The Human Machine

    EXPLORING THE INCREASINGLY BLURRED LINES BETWEEN HUMANS AND TECHNOLOGY COMPILED BY HOWIE BAUM Almost everyone in the OUR TECHNOLOGY IS AN EXTENSION OF OUR world has a life, dependent HUMANITY on technology. More than a billion people right now are already dependent on assistive technologies like: ❖ Hearing aids ❖ Pacemakers ❖ Prosthetic limbs ❖ Wheelchairs. 1/3 of the world’s population will be wearing glasses or contact lenses by the end of this decade. TYPES OF HUMAN AUGMENTATION The types of Human Augmentation in order of importance can be divided into 2 categories: MOST IMPORTANT: PHYSICAL AND COGNITIVE (THINKING) LEAST IMPORTANT: PERSONALITY AND COSMETIC SIMILAR WORDS ABOUT THE HUMAN MACHINE BIONIC HUMAN TRANSHUMAN AUGMENTED HUMAN CYBORG EYEBORG CYBERNETICS ENHANCED HUMANS HUMAN AUGMENTICS Transhumanism’ is an ‘intellectual and cultural movement’ that promotes the use of technology in order to advance the human condition. What this essentially means, is that a transhumanist is someone who believes we should use technology in order to give ourselves: ▪ Enhanced abilities ▪ Higher IQ’s ▪ Greater strength ▪ Longer lifespans ▪ Sharper senses, etc. Bionic leg components: (a) the artificial hip, (b) artificial knee, and (c) “blade runner” prostheses made with carbon fiber “blades”. A MAJORITY OF PEOPLE IN THE WORLD ARE DEPENDENT ON TECHNOLOGY ❖ Hearing aids ❖ Glasses ❖ Medications ❖ Prosthetics ❖ Smartphones ❖ Contraceptives ❖ Wheelchairs Human existence is a cycle of inventing things to shape life, and in turn, be shaped. There is no “natural” state for humans, not since we mastered fire. https://www.youtube.com/watch?v=xBiOQKonkWs 4.5 minutes The term “Cyborg” was coined in 1960 by scientists Manfred Clynes and Nathan Kline as part of discussions during the Space Race.