pf: #cyborgs--list of artworks

I believe when advancements like facial recognition technology and apps like Apple’s Siri mimic the human body, we are expanding definitions of our embodiment and the way humans are situated in larger systems. I am interested in the material limits of this cyborg embodiment - human bodies/systems and technology in conjunction. The work I make follows this by using myth and spiritual symbols to map out the boundaries of biology, technology, and desire, all of which are made legible through cyborg social relations.
we are all cyborgs, and have always been, although each generation of cyborg has differed in many ways, defined by which form of technology that the "pure natural human" is understood as intersecting with at that time. each cyborgian generation understands itself, fellow cyborgs, and supposedly non-cyborg subjects differently.
as a queer artist/performer, i have been thinking more and more about the donna haraway quote "i would rather be a cyborg than a goddess" through the lens of drag, wherein the natural response to such a statement is "i'd rather just be both". to me cyborgs and drag queens share an inherent link in that both are a rejection of what is deemed "natural", and a celebration of what haraway has described as a "fraying of identities".
The kind of aesthetics of cyborg bodies affects the attitude of the human being at high speed.
Since the moment humans have produced its first tool, artificial organ extensions, we are already cyborgs.
We are all cyborgs. We have long been supplemented by mechanical and technical infrastructures around and within us. Slipping between cracks, existing within and between borders, vehemently disobeying our fathers because they are, after all, illegitimate. It is imperative, now, to take on this identity and use it to our advantage.
digital identity on the plane of desire, infinite hot spares of the networked body cyborg propagate and configure to gratify every need but you must have permission
i wish i could be a cyborg, i think it as a way to redefine identity.
Recently I’m thinking about cyborgs as the embodiment of a deep desire for reunification between technologies and the body. In his writings, Marshall McLuhan postulates every technology as an extension of the human body: the wheel as extension of the foot, the book as extension of the eye, electronic medias as extensions of the nervous system. As newer and more powerful technologies become increasingly integrated into daily life, more and more tools of perception are seemingly separated from the body. Every technology is a new alienation from the body. The cyborg in this context represents wholeness: a restoration between the body and its senses. Through the cyborg, the body once again becomes the site of perception, agency, and capability. The cyborg then, represents a return, a full circle of technologies extending and then rejoining the body. We all long to be cyborgs.
In the hopes that essentialism might survive the anti-naturalist revolution, its protectors (the governing body) have taken the task to regulate our bodies. Desperate to kill the cyborg and limit the human to the capacities of its ‘easilier-controlled’ predecessor, they disengage with the notion of the developing commodified body. Soma-somatic in its pretext, it concludes that the human can at its best think about virtual space, but never dream to be virtual space. Fortunately, the cyborg doesn't give a fuck about what essentialists want. The posthuman cyborg considers its preconceived limitations merely a part of its original prosthesis. The body, the interface, our shared world wide web and semantic discourse are just prostheses under constant manipulated development. This posthuman position allows the cyborg to become a powerful agent in both the allegorical and real revolution. The cyborg is notional and biotechnical. As a very real and tangible materialisation, it has altered itself with hormones, pharmaceuticals, iphones, interfaces, gadgets and widgets. It has delegated its memory to computal systems and enhanced its dysfunctionality with techno solutions. It is; beyond anatomical power. As an allegorical existence, it becomes language, metaphor and revolutionary. It is an extended mind; the inhabitant and co-creator of a constantly widening landscape. It is data and metadata: beyond time and inescapably bound in the now. It is the world we live and the ‘we’ that lives in it. From its selfies we create informatic infrastructure and through its channels we bend material to our will. The cyborg is as both battlefront and soldier (and conflict) in the present day negotiation of what we get to be. Once again, HOUSE OF KILLING reiterates: the cyborg doesn't give a fuck about what essentialists want.
Cyborg From Wikipedia, the free encyclopedia For other meanings, see Cyborg (disambiguation). A cyborg (short for "cybernetic organism") is a being with both organic and biomechatronic body parts. The term was coined in 1960 by Manfred Clynes and Nathan S. Kline. [1] The term cyborg is not the same thing as bionic, biorobot or android; it applies to an organism that has restored function or enhanced abilities due to the integration of some artificial component or technology that relies on some sort of feedback. [2] While cyborgs are commonly thought of as mammals, including humans, they might also conceivably be any kind of organism.
In Sharing Lazy Gains a single figure is iterated exponentially in an infinite field of carpet as a virtual camera endlessly spirals above. The dialogue in the video is a subjective, transformative sequencing of text from fictional cyborgs, over-sharers, spammers, phishers, robots, trolls, advertisers, musicians, philosophers, poets, and rappers. This melange emanates from a male body caught in perpetual half dress.
We’re all cyborgs… taking on Haraway's perspective on her pivotal essay “A Manifesto for Cyborgs: Science, Technology, and Socialist Feminism in the 1980s” and thinking about the constant propagation / regeneration of ourselves through the mediation of the self, the individual is already a cyborg from the moment it extends itself into the image of itself towards a pursuit for self recognition. As human beings we have an immersive experience of the self through the relation not only with each other and with objects but also in relation to a constantly changing reflection that is nothing more than a construct of what we think we are. In this perspective the cyborg exists through it’s own (im)material construct. We become cyborgs the moment we spread across different mediums our own sense of being.
I'm grateful for the clear headed thinking of my brother. When my cat, Bacon, died suddenly from an illness, I put AR images of him throughout the house. The process helped me deal with grief and letting go. Four years later my first wife passed away in another sudden incident. I had planned to recreate the process of placing AR videos and images of her throughout our house. Luckily, my brother warned against the impact of this action on my mental health. Relying on technology as a crutch to hold onto her instead of dealing with grief could very well have led to me losing my mind, living in a house technologically haunted by the past. I wonder if, in the future, we will be required to travel to places of total isolation to remove ourselves from preserved memories that might haunt us. The permanence of a network beyond our control.
The potentially of human kind fusion with the technological and mechanical limited only by current medical knowedge.The speed of which is gaining as much momentum as our fascination with tecnology as interface to an alternative realty not marred by dystopian warnings but guided like a small blue ball in a pin machine.
The cyborg as a central place in Haraway's work but also in today's life. It is a metaphor for the inter relationship between human and technology. It is in fact scary to think of new generations to come who will probably become more technological than human, where technology will become a person in itself. Cyborgs embody the relationship we have with our phone, our computer and other devices. It is how we see other people through those devices, how we communicate with other people. It has become this essential thing that allows us to live and think. Cyborg is what we will become as technology is becoming more intelligent, smaller and better. The cyborg is the way we project ourself and show ourselves online and how people view us. It's the way we desire to be them, to be seen and the way we express that desire.
Posthumanist thought argues that a full understanding of human experience requires consideration of non-human experience that sees around our "blind spots." Donna Haraway proposed a genderless "cyborg" that would see gender differently in order to disrupt limiting norms of gender and identity. With recent technological advancements, artificial intelligence makes possible the construction of a computational other, a posthumanist outside observer that employs machine vision to see and interpret the world without the influence of cultural history.
My mom <3 cyborgs
they exist!!!
metal inserted into flesh
Cyborgs are complex hybrids of meat and metal. An alternative to the heteronormativity of the lived world, their bodies are assembled sanctuaries that hold immovable optimism.
Intelligence analysts are all cyborgs, but not all cyborgs are intelligence analysts.
a[sigh]bor[g]tive lift:: remove br.ace[likelihood]:: push N pull muscula[tor]ture:: [metallic ar[m].cs N arches binding flesh packz// mirror shades [r]evoke perception, ba.lance[N barbed]// pacing strides 2 the podium, glands ac.tiff.vated] recreate lift:: accent[required]uate adrenalin:: en.do[ped 2 the gills]rpine rush [abbreviation:rush increase toxic]:: [a lung[e] fired awkwardian// gender bubbles break on sandee s[portz]ur[intra]face// age + ageless beauty melts in rainesque paint] remove lift:: d.emote coaching technique vers 1.1 + 1.2:: n-ject N r.e.m.ove para.med[schizophren]ic:: [jolts of w[ife N husband]ork juice// media stiltz meetz c[ourt].artesian stunts// co-ordina[ry]tes awry] abbreviate lust:: re:move[all] personalitee:: n-dicate social functions as nor[grande]mal::
Art is a cyborg. Somewhere between imagination made into reality. Half human and half artificial.
a human catching up with himself. our innate senses are already cyborgian, there's nothing which is 'you' except your notion of yourself.
The cyborg is a specter, an interference, a fetish. It is body and mage, screen and flesh, desire and algorithm, presence and absence, fractured yet whole.
In our interactive artwork, we create hybrids between plants and digital technology. In our work our cybernetic organism is a plant. In our work we use plants like natural sensors sensitive to various energy flows. We mixing reality with imagination, we propose a sensory experience that encourages us to think about our relationships with other living things and the environment. Our approach of the interactivity aims to question our inter-relationships with our social and natural environment through sensory stagings. Through Domestic plant, we propose an ambiguous point of view on our relationships with animal and vegetal nature and on the domestication that leads to kinds of pets or decorative and «living-objects». And then, hybridation between living plant and technology invites us to think about the statut of this «living-object» that is the artwork: in this case, the plant plays an attractive role in a dramatic staging.
Cyborgs (or Cybrogz as I like to affectionately call them, or Cyborks when it comes to Cyborg dogs) to me is a great metaphor to use for the subjects I identify in my work. Not quite human and not quite machine, yet they are both at the same time. We think cyborgs exist only in science fiction, yet we see them everyday. The extension of organic matter with artificial machines have been in the crux of not only neoliberal innovation but also crucial to our patterns of consumption. Cyborgs are almost alien-like, in the way that aliens are often thought of are bipedal and biologically different.
I worship the "monstrous sisterhood" of the cyborg and goddess (Nina Lykke), whose figural ontology absorbs and composites the excesses of its techno-ecologies. A goddess-like-cyborg activates the accumulation of desire to merge with the world, touchscreen et. al.
Donna Haraway’s cyborg manifesto is an ironic and mythical view about socialist-feminism, politics and a body beyond gender. The text uses the concept of the cybernetic body, a hybrid of machine and organism, as a stand-in for the separation of reproduction from sexual intercourse. ‘...imagining a world without gender, which is perhaps a world without Genesis, but maybe also a world without end.’ p.7 1 Donna Haraway's text offers a possibility to reflect in-depth and map an artistic practice in relation to its´ themes.
As a designer working with technology, cyborgs have this gooey, sensual, queer, feminist potential to disrupt silicon valley/mainstream sci-fi ideas of what "bodies" and "device" mean.
we are manifesting our dreams and our fears. In this age of technology we are, as a worldwide collective, arguably all engaged in cybernetic activity. The world we live thru is a cyborg. In order to engage with our worlds holistically, this idea is best to be embraced.
"we are all cyborgs" -richard dawkins
The evolving relationships between humans and machines continue not only to increase the opacity of technology, but also that of the human artifice. During a time when personal computers and cybernetic systems are bleeding into reality, Haraway uses cyborg technology as a metaphor for approaching the postmodern human self, as one that cannot be this or that, us or them. The cyborg is a condensed image of both imagination and material reality, the two joined centres structuring any possibility of historical transformation. - Donna Haraway (A Cyborg Manifesto, 1984)
We're already there. Maybe not admitting it, but we went as far as letting our online persona become as important as our bodily state, and maybe even more important. Cyborgs are among us, we are the cyborgs. The thing that we have to take in our own hand, now, is that we prove that us cyborgs are not stupid, by using the tools that bigger companies (....Suckerberg) granted us, as our own tools. We will use their own datasucking machines against them.
hello dear friends. i wan tto share my story e with you . i' am 23 years old Estonian boy from small village on Saaremaa island [ Yyou don't know it,,,right?? :) :) ] . in my childhood i was abdopted by an alien father. Nordic Type alien. he took me into his world and i could know technologies and geometric downloads directly in my brain. well,he visitedd me at night and activatd my core consciousnesses until i moved into the star realm . my body wa ssoft and receptive. thanks for listeningg m please share your expereinces to me too thanks my dear friends :) pls check my web home page Face Book on https://www.facebook.com/photo.php?fbid=146206372815064 to find me more informations
Creating stories is part of our common identity. Most of our believes are based on a narrative transmission from the past; and sometimes, this narration is partly (for not saying entirely) fictional. We are counting the years from the fictional date of birth of a semi-God… Anyway, all those stories, or myths continue to exists and re-exist through modern mythology. For example the concept of the Cyborg (represented in sci-fi) is recycled from the Frankenstein’s creature of Mary Shelley (subtitled “the modern Prometheus”, another myth indeed), which is itself a re-appropriation of the Jewish myth of the Golem, animated anthropomorphic being made of clay. In this very example, we can see that the technological innovation give another dimension to the myth. For instance, the knowledge of Dr. Frankenstein and the electricity give life to the creature. For the cyborgs, that’s the technological innovation in therms of cybernetic and human enhancement that allow their creation. And of course, those stories are always a self reflection on humanity history. Even thought it could talk about a cyborg or a golem, that may appear kind of far for us, it situated us in a questioning about our place in the universe (sometimes reminding us that we are very alone…) and our relationship with the technology.
Cyborgs are dangerous because they pose the question, "who's really in charge, humanity or machine?" and then refuse to answer.
In A Cyborg Manifesto, Donna Haraway writes about a 'cyborg who would not recognize the Garden of Eden; it is not made of mud and cannot dream of returning to dust '. She asserts that 'a cyborg world might be about lived social and bodily realities in which people are not afraid of their joint kinship with animals and machines, not afraid of permanently partial identities and contradictory standpoints.' She relates the cyborgs to shamans who navigate the liminal thresholds of consciousness. Currently, neoteric cyborg potentials herald the ensuing frontier, a trend of cyborg artists and cyborg consciousness 'ignites the imagination and lures us back to mud and dust of planets, moons and meteorites, making us feel as one through a glimpse of planetary and cosmic communitas' (Moore 2017). The wandering anarchic spirit of novelty and its emergence is metaphorically imagined in Fields of Origin (Moore 2015). Wandering has taken a different route. It has been reformed by the wandering quality of the Internet. FB, including all networks of control, is being mutated by its own wanderings and wanderers, friends of wanderers' friends. Through virtual, vegetal and noetic technologies, wandering is growing and spreading, taking root in the unregulated fields of consciousness where the cyborg-shaman and the visionary transmute with nature. References: Moore, Lila (2017) 'Techno-Spiritual Horizons: Compassionate Networked Art Forms and Noetic Fields of Cyborg Body and Consciousness', Technoetic Arts: A Journal of Speculative Research, 15:3, pp. 325–39. Moore, Lila (2015) 'Field of Origins', Next Nature, Planetary Collegium Poster Exhibition, Ionion Center for the Arts and Culture, Greece
"Cyborg replication is uncoupled from organic reproduction"- Haraway As a lesbian married to another cis woman, I am both forced into and eagerly taking on the role of a cyborg-woman. Whenever I talk about the possibility of having children with my wife, straight people immediately ask us about our conception, or if we will adopt. Our reproduction and families are immediately placed under scrutiny, despite the high number of straight couples that use IUI or IVF or adoption alongside their queer brethren. When straights use IVF, etc, it is because they can't conceive "naturally"-what a loaded, and telling, word. There is a tension inside of me where I do not want my hypothetical future family to be seen as the ‘other’, but I also do not want to be a part of the heterosexual hegemony or social norms, I am grateful to and welcome the use these technologies to create our future children-and I wish they could go further, I would take the DNA only from our two bodies to create a daughter if I could.
what is a cyborg? what will come after the posthuman? (how) do cyborgs experience time?
I believe when advancements like facial recognition technology and apps like Apple’s Siri mimic the human body, we are expanding definitions of our embodiment and the way humans are situated in larger systems. I am interested in the material limits of this cyborg embodiment - human bodies/systems and technology in conjunction. The work I make follows this by using myth and spiritual symbols to map out the boundaries of biology, technology, and desire, all of which are made legible through cyborg social relations.