Ross Farnell
- Published in print:
- 2001
- Published Online:
- May 2014
- ISBN:
- 9780853238348
- eISBN:
- 9781781380741
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853238348.003.0011
- Subject:
- Literature, Criticism/Theory
This chapter discusses a phenomenon to which commentators often apply the rhetoric or imagery of science fiction, but which is in many ways far from it: the ‘posthumanism’ of performance artists such ...
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This chapter discusses a phenomenon to which commentators often apply the rhetoric or imagery of science fiction, but which is in many ways far from it: the ‘posthumanism’ of performance artists such as Stelarc. By placing the performance events of Stelarc into the context of posthuman ‘texts’, the chapter illustrates aspects of posthumanism hitherto elided by the more conventional extrapolations of Otherness, such as the dominant cyborg imagery of contemporary science fiction film.Less
This chapter discusses a phenomenon to which commentators often apply the rhetoric or imagery of science fiction, but which is in many ways far from it: the ‘posthumanism’ of performance artists such as Stelarc. By placing the performance events of Stelarc into the context of posthuman ‘texts’, the chapter illustrates aspects of posthumanism hitherto elided by the more conventional extrapolations of Otherness, such as the dominant cyborg imagery of contemporary science fiction film.
Joanna Zylinska
- Published in print:
- 2009
- Published Online:
- August 2013
- ISBN:
- 9780262240567
- eISBN:
- 9780262255141
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262240567.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter talks about bioart, which means art that uses biological material such as human tissue, blood, or genes. This form of art has evoked lot of criticism from the artist fraternity. Such ...
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This chapter talks about bioart, which means art that uses biological material such as human tissue, blood, or genes. This form of art has evoked lot of criticism from the artist fraternity. Such practices have led to a widespread panic of the creation of a “Frankenstein world.” The chapter discusses Eduardo Kac’s (an American contemporary artist) Green Fluorescent Bunny project, included the creation of a transgenic albino rabbit created in a French science lab. A gene that is similar to the fluorescent green gene in jellyfish was introduced into the rabbit so that the rabbit was supposed to glow with a greenish ultra-violet light. Stelarc, a Cypriot-Australian performance artist, created an Extra Ear that is worn on the arm and acts as a wireless transmitter of sounds.Less
This chapter talks about bioart, which means art that uses biological material such as human tissue, blood, or genes. This form of art has evoked lot of criticism from the artist fraternity. Such practices have led to a widespread panic of the creation of a “Frankenstein world.” The chapter discusses Eduardo Kac’s (an American contemporary artist) Green Fluorescent Bunny project, included the creation of a transgenic albino rabbit created in a French science lab. A gene that is similar to the fluorescent green gene in jellyfish was introduced into the rabbit so that the rabbit was supposed to glow with a greenish ultra-violet light. Stelarc, a Cypriot-Australian performance artist, created an Extra Ear that is worn on the arm and acts as a wireless transmitter of sounds.
Jasper Bernes
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780804796415
- eISBN:
- 9781503602601
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804796415.003.0004
- Subject:
- Literature, American, 20th Century Literature
Emerging from the military-industrial research programs of World War II, cybernetics presents an image of social self-regulation based on reciprocal, horizontal, and participatory relations rather ...
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Emerging from the military-industrial research programs of World War II, cybernetics presents an image of social self-regulation based on reciprocal, horizontal, and participatory relations rather than explicit hierarchies. This is appealing both to firms looking for a way to cut administrative bloat and trim costs and to artists and writers interested in developing a “participatory” practice, one that undoes the division of labor between reader and writer, spectator and art maker. Cybernetics promises a mode of collaboration and collectivity that liberates art from the narrow confines of artists. This chapter examines Hannah Weiner’s Code Poems alongside Dan Graham’s Works for Magazine Pages, both of which sit at the interstices of experimental poetry and conceptual art and both of which put cybernetic discourse to work to model alternative social relations. In each case, the laboratory of social relations takes postwar labor as its subject.Less
Emerging from the military-industrial research programs of World War II, cybernetics presents an image of social self-regulation based on reciprocal, horizontal, and participatory relations rather than explicit hierarchies. This is appealing both to firms looking for a way to cut administrative bloat and trim costs and to artists and writers interested in developing a “participatory” practice, one that undoes the division of labor between reader and writer, spectator and art maker. Cybernetics promises a mode of collaboration and collectivity that liberates art from the narrow confines of artists. This chapter examines Hannah Weiner’s Code Poems alongside Dan Graham’s Works for Magazine Pages, both of which sit at the interstices of experimental poetry and conceptual art and both of which put cybernetic discourse to work to model alternative social relations. In each case, the laboratory of social relations takes postwar labor as its subject.
John Minton
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781934110195
- eISBN:
- 9781604733273
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781934110195.001.0001
- Subject:
- Music, History, American
When record men first traveled from Chicago or invited musicians to studios in New York, these entrepreneurs had no conception how their technology would change the dynamics of what constituted a ...
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When record men first traveled from Chicago or invited musicians to studios in New York, these entrepreneurs had no conception how their technology would change the dynamics of what constituted a musical performance. This book covers a revolution in artist performance and audience perception through close examination of hundreds of key “hillbilly” and “race” records released between the 1920s and World War II. In the postwar period, regional strains recorded on pioneering 78 r.p.m. discs exploded into urban blues and R&B, honky-tonk and western swing, gospel, soul, and rock ‘n’ roll. These old-time records preserve the work of some of America’s greatest musical geniuses, such as Jimmie Rodgers, Robert Johnson, Charlie Poole, and Blind Lemon Jefferson. They are also crucial mile markers in the course of American popular music and the growth of the modern recording industry. When these records first circulated, the very notion of recorded music was still a novelty. All music had been created live and tied to particular, intimate occasions. How were listeners to understand an impersonal technology such as the phonograph record as a musical event? How could they reconcile firsthand interactions and traditional customs with technological innovations and mass media? The records themselves, several hundred of which are explored fully in this book, offer answers in scores of spoken commentaries and skits, in song lyrics and monologues, or other more subtle means.Less
When record men first traveled from Chicago or invited musicians to studios in New York, these entrepreneurs had no conception how their technology would change the dynamics of what constituted a musical performance. This book covers a revolution in artist performance and audience perception through close examination of hundreds of key “hillbilly” and “race” records released between the 1920s and World War II. In the postwar period, regional strains recorded on pioneering 78 r.p.m. discs exploded into urban blues and R&B, honky-tonk and western swing, gospel, soul, and rock ‘n’ roll. These old-time records preserve the work of some of America’s greatest musical geniuses, such as Jimmie Rodgers, Robert Johnson, Charlie Poole, and Blind Lemon Jefferson. They are also crucial mile markers in the course of American popular music and the growth of the modern recording industry. When these records first circulated, the very notion of recorded music was still a novelty. All music had been created live and tied to particular, intimate occasions. How were listeners to understand an impersonal technology such as the phonograph record as a musical event? How could they reconcile firsthand interactions and traditional customs with technological innovations and mass media? The records themselves, several hundred of which are explored fully in this book, offer answers in scores of spoken commentaries and skits, in song lyrics and monologues, or other more subtle means.
