#cyborgs: transgressed boundaries, potent fusions, and dangerous possibilities

#cyborgs: transgressed boundaries, potent fusions, and dangerous possibilities

Showtimes

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#cyborgs Screening at the Clinton Street 
Tuesday July 17th, 7:30-9PM, Clinton Street Theater [2522 SE Clinton St (Portland, OR)] 

#cyborgs brings together work from across disciplinary divides for a multiplatformed art experience focused on Donna Haraway's concept of the cyborg as a queer political body. #cyborgs connects photography, digital images, video, score based performance, digital avatars, social media residencies, and potent fusions of them all.

The website for #cyborgs serves as a nodal grouping that brings the works and the artists closer together on the indexes of the algorithims. From this base of operations, the work oozes out into the world through a publication, business cards, two pop-up installations, and a screening.

Artists: Alex Hovet, Crystal Jiko Sasaki, Daniel Pinheiro, Desta Matla, Emma Dickson, Fratolish Hiang-Perpeshki, Garrett Lynch, HOUSE OF KILLING ft Esben Holk, Izabela Koczanowska, karl munstedt, Kello + Anneli Goeller, Kevin A. Perrin, Dr. Lila Moore, Maggie Hazen, Manion Kuhn, Mores McWreath, Nicci Yin, Noah Travis Phillips, Peter Whittenberger, s-ara, Sam Lavigne, SEICA, Tara Youngborg, Tim Tsang, William Wolfgang Wunderbar.

 

peripheral forms cyborg screening
#cyborgs

Reverse Pinocchio Effect (4:49)

by Chloe ONeill

Reverse Pinocchio Effect is an ongoing sculpture/video project that imagines the human desire to become inanimate (machine, earth, immaterial). The video loosely follows the story of Pinocchio and is composed of a series of scenes where the body is transformed and eventually extinguished.

Seeker_of_True-files Online Profile Manifesto (1:53)

by Dr. Lila Moore

Seeker_ of_ True- files, do you have a beginning?  What is your point of origin in space-time?

Watch his her-story, one story out of many myths of origins, manifestos of strange becoming, cyborg awakening, multiple selves and disposable identity cards.

Unmute the Cyborg: The Mindset Field of the Telemadic Wanderer Manifesto (4:22)

by Dr. Lila Moore

The Mindset Field Manifesto is the outcome of an auto-communication with Seeker_of_True-files, an emergent entity of an evolving noetic field that seeks interactions with like-minded seekers, artists' manifestos and cyborg revolutions. It quests, imagines and is steadily weaving cyborg futures.

Seeker_of_True-files is a wanderer of the mind fields, a thought form, a tech-enveloped nous and a dedicated scribe of manifestos.

Seeker_of_True-files is seeking to escape the confines of the regulated Internet and reflects on the Telemadic, Telematic-nomadic, utopic next nature of cyberspace.

I want to be a cyborg (1:15)

by fabiola larios

full of cables, connected to the internet, to my phone, and trying to still be part human, but with the desire of being a robot,different of the concepts of robots in movies that they want just to be normal humans, some humans just don't want that.

my body is a (virtual)-/wonderland (3:54)

by HOUSE OF KILLING feat Esben Holk

my body is a (virtual)-/wonderland copies the format of netflix favorite "the world most astonishing houses" in an attempt to establish a fantastical virtual site created with selfies, representations and other data, as a regular tactile experience.

It seeks to constitute HOUSE OF KILLING, the artist, and any other posthuman, as site and landscape: letting it become an infinite virtual space, progressively built into the infinite internet. The video is originally made for a show at DADA POST Berlin under the umbrella investigation "insolence: a prerogative of youth" and researches the allegory and theme with a certain ironic, distanced and surreal approach to meaning and content - yet another layer in the cyborg's semantic future.

Replicant and Replication (1:52)

by Iza Koczanowska

A being brought to life when someone shares their image online. It starts to replicate, evolve and finally achieves immortality through infinite links of internet. Video art referring to the detachment of our image from ourselves in social media. We don't control objects that we put online. We can't foresee their future. One day they can turn on us.

What I Drink in a Day (12:10)

by Manion Kuhn

An ever-proliferating meme in a subset of fitness centric-lifestyle vlog culture is the “What I Eat in a Day” video, in which the optimized fitness/food/lifestyle vlogger produces content from the mundanity of their everyday life, this time their intake of food, which, as it turns out, can be framed to appear far from monotonous. The viewer is carefully steered through a compilation of the vlogger’s meals during a “typical day,” throughout which the subject in question assures the invisible audience that their greatest hits of superfood-based meals are “…just what I prefer to do, but you can take whatever you want from this video and incorporate it into your life!”

Here, these vloggers set in motion a choreography of wellness and fitness vis-a-vis highly specific patterns of consumption, iterating wellness as a citational practice in which nearly all of us (subconsciously or not) begin to mimic, to (re)perform a blonde, thin, feminine brand of lifestyle optimization, in which we yearn for bodies simultaneously empty of toxins and full of purity. The fitness/lifestyle guru assures us that she is, in fact, not perfect, but leaves us in the heat of a desire for a kind of bodily optimization that can only compare to the potentiality of liquidity.

The concept of the “What I Drink in a Day!” video flails and riffs off of the slick(, liquid) cinematography of the well-produced vlog, teasing the distant possibility of the kind of functioning promised by the liquid solutions readily available at your nearest Whole Foods, or even CVS. The facts and fictions of this optimized body proliferate through the online productions of lifestyle gurus, leaving behind a trail of mythologies that in effect govern not just how we relate to our bodies, but, in some part, their cellular compositions, as micro and Mac become entangled, and collude in their quest towards producing optimized beings.

Sharing Lazy Gains (5:12)

by Mores McWreath

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.

Surface Tension (3:03)

by Nicci Yin

The video is a series of experiments with scanning, faceID, flesh-to-device interactions, texture maps in 3d modeling, and gooey surfaces (thinking about the artificiality of the boundary between real/virtual, physical/digital, flesh and device).

CSPAN5 (9:00)

by Sam Lavigne

a compilation of videos from Sam’s CPSAN5, a twitter feed producing daily auto-generated supercuts of CSPAN footage.

Melted Maker (1:23), N.O.O.B. (New Order of Being) (2:15), Plastic Planet (1:00), T.Q.P. (Trash Queen Pulverator) (2:18)

by SEICA Human Interaction Labs

Synthetic Empathic Intelligent Companion Artefacts (SEICA) Human Interaction Labs is a speculative transmedia narrative and a 12 personae multimedia performance art project (seicalabs.org).

The work attempts to thematically bridge concepts and creative processes employed within the fields of art, science and technology through hypertext fiction and on/offline storytelling

Audio-visually twisting and re-purposing over-simplified neuroscience terminology disseminated through news outlets, New Order Of Being (N.O.O.B.) neurotically investigates highly controlled social media ecologies that continue to aggressively evolve and tactfully capitalize on primal human desires.

As portrayed in speculative fiction writer William Gibson’s cyberpunk future, perhaps the perceptual weight of our post-control collective nervous tissues will call for new sensibilities and awareness towards a new order of being (Idoru, 1996).

ourfuturechildren (4:22)

by Tara Youngborg

As a lesbian married to another cis woman, I am both forced into and eager to take on the role of a cyborg-woman. Whenever I talk about the possibility of having children, 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 straight couples use IVF, 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 want to envision the image of my future technology-conceived daughter.

ourfuturechildren is a series of interactive web pieces and videos around birthing.

Tara's mother had a dream while she was pregnant with her about birthing a squirrel and thus feels like a #cyborg from birth.

outfuturechildren uses pixelated versions of found images from the artists childhood as a way of imaging her future children.

(cyborg)(cyborg) (13:57)

by tim tsang

a presentation of a cyborgg

Special Admission

$5, no one turned away