Explore the relationship between the body and technology in the work of Orlan and Stelarc
A performer is essentially composed of two entities: the self and the representation of the self. The human body is the physical manifestation of this represented self and is interpreted by the observer depending on its gender, age, colour, attractiveness, adornment and perceived disabilities (these perceptions often being culture-bound as well). In addition to this, the performer uses make-up and costume, and interactions with the performance space to affect the interpretation. For the focus of a performance space, what better place to start with than this powerful physical signifier?
In performance, there is a tendency to perceive the actor and the body as a very separate entity to the concrete, technological elements of the stage. Orlan and Stelarc, contemporary performance artists, challenge this perception - Mcclellan (1994, para.14) describes them as “the post-human Adam and Eve”, suggesting that they are heralding in a new ‘breed’ of performer, inextricably related to, and even created by, technology. This certainly reflects the role of the body and technology in current Western society - medical technology can create life in vitro and, defying nature, can alter its intrinsic genetic makeup, and internet technologies can allow a person to project a fabricated disembodied persona onto the ‘net’ to interact with others over vast distances. Orlan and Stelarc embrace technological integration as a prerequisite to their work – the questions lie in what it means to the self if the way in which it is represented (the body) is altered.
In combining aspects of endurance and durational performance art, Orlan presented the alteration of her own body in the surgical theatre. ‘The Reincarnation of Saint Orlan’ is her most well-known piece of work, begun in 1990. However, she did begin performing in the 1960s when, even then, she demonstrated a subversive attitude towards the body. In 1964 she used her own body as ”a unit of measurement (‘Orlan-corps’)” to measure public buildings (Flande [ed.], ‘Biography’, www.orlan.net). This project continued into the late 1970s. The reduction of her body to a tool of measurement was the less extreme forerunner to the reduction of it as a canvas in ‘The Reincarnation of Saint Orlan’. In both pieces, she objectifies her body, however in ‘The Reincarnation of Saint Orlan’, the implications on herself and her audiences are far more controversial.
A surgical textbook defines ideal beauty as “[that] of a white woman whose face is perfectly symmetrical in line and profile” (Balsamo cited in Auslander, 1997, p.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
One of the central themes of theatrical form is identity and the catalyst by which identity is formed is the body. In using the body as the site of formation of individual identity, women are “uniquely identified with their anatomy” and specifically the parts of their anatomy that differ from that of men (Callaghan 30). Because women are thus defined by their relation ...
Putman, D. (1990). THE AESTHETIC RELATION OF MUSICAL PERFORMER AND AUDIENCE. British Journal of Aesthetics. 30 (4), 1-2.
Sullivan, Deborah A. "Tightening the Bonds of Beauty." Cosmetic Surgery: The Cutting Edge of Commercial Medicine in America. N.p.: Rutgers UP, 2001. N. pag. Print.
Donna Haraway’s 1984 “A Cyborg Manifesto” is an enduring essay unceasingly analyzed, critiqued, and adored by scholars and students. The piece, in which Haraway uses the cyborg as a metaphor to scrutinize hegemonic problems and refuse the binary, claims that “the boundary between science fiction and social reality is an optical illusion.” In other words, like the cyborg who cannot distinguish whether it is a machine or an organism, in society there is no difference between male and female; rich and poor; black and white. There is only gray, and there are countless shades of it. “A Cyborg Manifesto” is an influential essay that has been relevant to the past and is still relevant to the present. Hence, it is no surprise that it has inspired
The perception of the "ideal beauty" is an arbitrary and abstract concept that is constantly being modified as a result of the times. People are influenced by the images they see in the media to determine what the ideal beauty is. The media is manipulative and deceptive in nature, and it continues to carry harmful suggestions about ideal beauty despite the concrete evidence of damaging effects to people of all ages. Fortunately, it seems there may be shifts in the media that are beginning to portray men and women more realistically.
In today society, beauty in a woman seems to be the measured of her size, or the structure of her nose and lips. Plastic surgery has become a popular procedure for people, mostly for women, to fit in social class, race, or beauty. Most women are insecure about their body or face, wondering if they are perfect enough for the society to call the beautiful; this is when cosmetic surgery comes in. To fix what “needed” to be fixed. To begin with, there is no point in cutting your face or your body to add or remove something most people call ugly. “The Pitfalls of Plastic Surgery” explored the desire of human to become beyond perfection by the undergoing plastic surgery. The author, Camille Pagalia, took a look how now days how Americans are so obsessed
Performance artist Patty Chang creates pieces that deal with scopophilia or voyeurism, best described as “the love of looking”, a topic that goes hand in hand with the issues of gender roles in society that Chang also represents in her work. Chang particularly addresses issues of gender roles through her confrontation of female representation in art, film and popular culture as a whole. In Chang’s video clip entitled, “Shaved (At a Loss)”, she sits herself on a chair in front of her audience, hikes up her dress to expose her vagina and then proceeds to, very roughly, shave off her pubic hair. The entire duration of “Shaved (At a Loss), Chang is blindfolded. In this piece Chang presents consumer culture’s fetishization of the ”flawless” female figure, which is outlined by the unattainable body ideals that are portrayed not only in most mainstream pornography, but also in almost all media connected to our society’s popular culture sphere.
The categorization of gender creates a space of normalacy that needs replication for sustainment. The gender binary i a cultural tool that implements that reproductive power. The communication of gender is what creates the normalcy and applies the use of performance assigned and learned gender roles. The assignment of the gender binary is examined in Judith Butler's Bodies that Matter, where performativity is connected to Derrida's theory of citationality and authenticity/inauthenticity. These concepts and the regard to materiality is what made the obscene nature of the book so subjective to the individual reading: “The classical configuration of matter as a site of generation or orginination becomes especially significant when the account of what an object is and means requires recourse to its originating principle” (Butler 31). The nature of matter is Western thought is to presc...
A conventional face represents an idealised self-portrait. In ‘Transfiguration’, Olivier de Sagazan builds an existential performance based on layers of clay that he paints onto his face and body to transform, disfigure and take apart his own figure from the physical world that constraints his emotions and passions. Jolting viewers out of ordinary patterns of thinking. Sagazan’s face test his viewers perceptions of the totemic face, the grotesque face, the face in performance, the violent face—all the while creating a dialogue between past, present, and what’s yet to come.
...Cosmetic surgery has opened the door to deeper insecurities. He dealt with them by abusing alcohol and drugs. Michael Jackson had a warped view on what beauty is. I had once read, “Sometimes people are beautiful. Not in looks. Not in what they say. Just in what they are.” (I Am the Messenger) (Zusak) Cosmetic Surgery has taken away the true sense of beauty. Adolescents believe that beauty is only skin-deep, though in reality beauty comes from within. Together, we must take a stand and decide what’s important, looks or the ability to see past a person’s appearance and to see the true definition of beauty, not a man-made perception of it.
Orlan is a French artist born in 1947, for her art works vary from sculptures, photographs, performances, videos, and videogames, augmented reality, using scientific and medical technics like operations and biogenetic. Orlan uses her body as the raw material for her artworks she considered it to ready made much like Marcels Duchamp’s Mona Lisa was. Her first facial surgical art work entailed self- transformation in mind, although it was not for the perspective of making her more attractive to the opposite gender by example having a face lift, no but by analyzing and deconstructing mythological images of women who portrayed feminine beauty. Orlan looked at the taking pieces from well-known Renaissance and post- Renaissance representations of
Terminator and Bladerunner, portrayed cyborgs or cybernetic organisms as creatures of destruction. Are they really as horrible as the movies make them out to be? They can be more useful than perceived; it is necessary to first perfect the technology involved in creating and operating them. In this paper, I will describe how these cyborgs work and how they are portrayed in the movies. Furthermore, I will explain the helpful ways that they are expected to perform in the future.
To conclude, the use of body for Feminist and Performance artists in the 1960s-1970s was significant in confronting the way women were viewed as artists in a male dominated art world. It was a vital element in raising consciousness and showing action towards the ideas of feminism. (Holt.J, 2009) Feminine nudity was a controversial problem, which female artists wanted to provoke in order to gain equality. The body became a form of expression to transform social stereotypes, and used as a primary medium, which reasserted aspects of a women’s figure that had been traditionally ignored or repressed by the male majority. (Holt.J, 2009) The body had just become one platform used by feminism and performance artists such as, Cindy Sherman, Carolee Schneemann and Hannah Wilke to rebel and promote their ideas, in order to gain equal rights.
Throughout history there have been many claims about what is beautiful and what is not on the face and body. America’s idea of beauty in the past changed many times from the fragileness of the Steel-engraving lady to the voluptuousness of the Greek slave. The ideal beauty in America is not so different from the ideal beauty of cultures around the world and follows many of the traditions practiced throughout history. The widespread of advertisement and technology is something that’s said to be the contributing problem to the ideal women phenomenon, but I believe history and trend plays the bigger role.