Cyborg & Live Art
The confrence started off with a performance by FoxGlove and Pure Venom. One represented science and the other witchcraft. They argued and disrupted eachother and essentially conveyed their long history and their similar point of orgin. The performance was engaging and humours and a great start.
The duo run the occult club night Coven.
The underground nature of nightlife, particularly LGBT and alternative clubs, also fits with the secret lifestyle that witches have been forced into over the years: “Witches were persecuted throughout history,” explains Lucius. “A lot of the occult scene merges with the queer scene. There’s a parallel between witchcraft and people who feel either persecuted or ostracized. If you belong to a minority, then being more interested in witchcraft goes hand in hand.”
Dr. Jennifer Parker-Starbuck spoke about the ideas in her book Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance. I wish she had more time to speak. The whole confrence was a lot of information. Jennifer said that technology was the form and content of performance art in the 90’s. In writting her book she mapped out the development & uses of technology in performance from ancient times to present specifying the subject and object relationship. We have reached a point were we have internalized (not literally) technology. Cyborg can be a metephorical stance aswell a physical one. Extensions of ourselves include internet presence/identies. On a physical level like artist Moon Ribas. Jennifer’s writting is currently leading her towards cyborg animality.
A duo (seen performing in the video below) represented Quimera Rosa, a research and performance collective that runs workshops internationaly around technology, the body and sound. The body is explored through powerdynamics, submission, domination, sexuality, senuality, gender, animal, breaking down, amplifying, adding.. The body becomes a sensorial interface.
“Our work is based on the deconstruction of sex and gender identities as well as in the interaction body/machine/environment. Our performances present hybrid beings, chimeras, where the production of the subjectivity is the result of a prosthetic incorporation.
Aware by transfeminist and postidentitary discourses, we make bodies a platform for public intervention, breaking up limits between public and private. We understand sexuality as a technological and artistic creation and seek to experiment hybrid, flexible and changing identities able to blur frontiers between natural/artificial, normal/abnormal, man/woman, hetero/homo, human/machine, human/ animal, politic/art, science/art, reality/fiction…”
a topic that was discussed with Quirmira Rosa was the postporn movement in Spain and the difference between porn and post porn. The only clear difference I could pin down was that the point of post porn is not to create something the viewer can wank to.
“Post-porn reflects on pleasure and pain, quivering bodies, the concept of injury and the scatological as possible tools for catharsis and regeneration. The allusions to death and bodily fluids as obscene subjects. Indeed, the movement is a creative and revolutionary one that calls on us to reflect on what a pornographic image is, what sex work is, what gender is, and what the whole point of feminism is.
The implications of this strategy may be understood through reading feminist theory. In Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990) Judith Butler suggests that gender norms function as a mechanism that produces subjectivity, which has served as the basis for a series of groups classified as sexual minorities that are gaining acceptance, such as the transsexual community. She poses the idea of sex as something natural that has been configured within the logic of the gender binary. This book cast doubt on the status of ‘woman’ or ‘women’ and forced the feminist movement to rethink its assumptions and to understand that ‘women’, are more than simply a given collective subject—they are of political significance. This created a revolution in identity politics, marking the evolution of feminism toward queer theory and pro-sex feminism, the bases of post-porn.”
The last speaker was Victoria Sin reading a really well written essay on speculative fiction, intersentional discourse, and her reasent project Dream Babes.
Victoria on the Left at Dream Babes.
“The project’s iterations include a regular QTIPOC focused sci-fi reading group; Speculative Sex: an event featuring the work of Shu Lea Cheang and Eric Pussyboy investigating the potential for science fiction narratives to disrupt scientific narratives naturalizing normative states of sex and gender; and a three-day programme of events bringing together eleven artists working across varied mediums to enact queer collectivity and to create space to image queer futurity.”