Cybernated aesthetics: Lee Bul and the body transfigured

PAJ - Journal of Performance and Art

Volumn 30, Issue 2, 2008, Pages 38-50

  Murray, Soraya ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950732854     PISSN: 1520281X     EISSN: 15379477     Source Type: Journal    
DOI: 10.1162/pajj.2008.30.2.38     Document Type: Article

References (18)

1. Donna Haraway, "A Manifesto for Cyborgs: Science, Technology and Socialist Feminism in the 1980s," in Socialist Review, Number 80 (1985): 65-107.
2. Nam June Paik, "Cybernated Art," in Multimedia: From Wagner to Virtual Reality, edited by Randall Packer and Ken Jordan, New York and London: W.W. Norton & Company, 2001, 40-41.
3. Originally published in Manifestoes, in Great Bear Pamphlets, New York: Something Else Press, 1966.
4. Steven Shaviro, "Ghost in the Shell 2: Innocence," 〈http://www.shaviro.com/Blog/〉 posted October 3, 2004 (accessed October 8, 2004).
5. I have limited my discussion to the impact of electronics and the digital on art history, but there has also been significant new research on the application of aesthetic philosophy and practice to the field of computing. See Paul A. Fishwick, ed., Aesthetic Computing, Cambridge, MA: MIT Press, 2006.
6. I borrow this phrase from Homi Bhabha, who used it in reference to hybrid cultures and transnationalisms that appear at the interstices or liminal spaces between pre-existing demographic groupings. Though he used it in relation to emerging cultures, not art and technology, I see the term as also appropriate to the flowering of artistic forms that integrate the technological, engendering new and sometimes fleeting articulations. See Homi Bhabha, The Location of Culture, New York and London: Routledge, 1994, 7.
7. Lev Manovich, The Language of New Media, Cambridge, MA: MIT Press, 2001, 27-48.
8. Christiane Paul, "The Myth of Immateriality - Presenting and Preserving New Media," presentation at REFRESH! Conference, Friday, September 30, 2005, Banff New Media Institute, Banff Canada.
9. National Gallery of Victoria, "world rush_4 artists: Lee Bul," exhibition statement, downloaded from 〈http://www.ngv.vic.gov.au/worldrush/ bul.html〉 (accessed May 9, 2005).
10. Adrienne Gagnon, "Lee Bul," in 010101: Art in Technological Times, San Francisco: San Francisco Museum of Modern Art, 2001, 96.
11. Jean-Louis Poitevin, "Convulsions: An Essay on the World of Lee Bul," in Lee Bul: Monsters, Edips: Dijon-Quetigny, 2003, 64-65.
12. Yvonne Volkart, "This Monstrosity, This Proliferation, Once Upon a Time Called Woman, Butterfly, Asian Girl," in Make Magazine (August 2000), 〈http://www.obn.org〉 (accessed March 25, 2006).
13. Helaine Posner, "Lilla LoCurto and William Outcault: Self-Portraits for a New Millennium," Art Journal 65,1 (Spring 2006): 40-53.
14. Manuel Castells, The Rise of the Network Society, Malden, MA: Blackwell Publishers, 2000, 21.
15. Castells, Rise, 442-445.
16. Lee Bul and Clara Kim, "Interview with Lee Bul," in Lee Bul: Live Forever, Act One, San Francisco and Philadelphia: San Francisco Art Institute and The Fabric Workshop and Museum, 2001.
17. Many scholars have researched the ideological melding of female sexuality and modern technology. In particular, I would like to draw the reader's attention to Andreas Huyssen, "The Vamp and the Machine: Technology and Sexuality in Fritz Lang's Metropolis" in New German Critique 24/25, Special Double Issue on New German Cinema (Autumn 1981-Winter 1982): 221-237.
18. See also Klaus Theweleit, Male Fantasies, Volume 1: Women, Floods, Bodies, History, Minneapolis: University of Minnesota Press, 1987.