An experiment of expression to lend a taste into the imaginative abstract internal existence of gender fluidity. Holding no set home base on the gender spectrum, it is a constant natural flow and dance of dissolving, recreating, choosing, suppressing, embracing, and exploring.
Prism, two sides equal, that produces a spectrum of colors from a single light. Human, to produce a spectrum of emotions, experiences, ways of being, from a single life.
The spectrum of emotions we each experience individually is as broad as the spectrum of gender experiences we each can experience individually. Sexuality, gender, emotions, they all have a spectrum from a single human individual experience but yet are all possible from each human experience. The prisms of the human experience that include gender are just as diverse as the spectrums of emotions individuals are capable of experiencing. Prism is a visual dialogue of one frequency of potentials in an internal experience of gender. The vision is a world where this internal spectrum of potential experiences of gender is understood, accepted and normalized to the extent that human emotions are shared and understood and normalized.
In the wake of the speculative, material, post-humanist turns in critical theory and philosophy it is increasingly difficult to know how to “do” theory in the 21st century. When thought, agency, and perception are no longer understood as solely the privilege of anthropos, and are instead distributed across the Earth according to varying degrees of complexity, what are the most appropriate means for thinking and experiencing these planetary forces? Are the scholarly practices in contemporary theory up to the task of thinking and experimenting with the wide range of more-than-human phenomena that now confront scholars? Existing institutional structures, however, make it difficult to experiment with new forms of scholarly exchange. Strict academic protocols tend to dictate how ideas are shared and they leave little to no room for experimentation. In light of these questions and challenges, this conference seeks to rethink scholarly practice under the guise of “Experiencing the Post-Human.” The many interdisciplinary resonances of post-humanism make it an ideal site to interrogate and integrate new practices and forums of idea exchange.
(hosted by the School of Arts, Media + Engineering)
This is a remarkable time in the history of biological thought. Experiments during the past few decades have changed scientist’s views of how genes contribute to evolution and development. The “Losing My Wings” project provides a dynamic way to explore the literary, cultural, political, and biological implications of these changes. The project is anchored by an interactive, multimodal online site that uses key (or supernatural) moments in narratives of the human, or humanoid loss of wings in science, film, and science fiction. Recent studies in evolution and development tell us that humans possess all the molecular machinery needed to develop wings. The fact that they do not has haunted stories of personal and social transformation for millennia.
Phillip Thurtle is acting director of CHID through Winter Quarter 2017 and is associate professor in CHID and History. He received his PhD in history and the philosophy of science from Stanford University. He is the author of The Emergence of Genetic Rationality: Space, Time, and Information in American Biology 1870-1920 (University of Washington Press, 2008), the co-author with Robert Mitchell (English, Duke University) and Helen Burgess (English, University of Maryland) of the interactive DVD-ROM BioFutures: Owning Information an Body Parts (University of Pennsylvania Press, 2008), and the co-editor with Robert Mitchell of the volumes Data Made Flesh: Embodying Information (Routledge, 2003) and Semiotic Flesh: Information and the Human Body (University of Washington Press, 2002). His research focuses on the material culture of information processing, the affective-phenomenological domains of media, the role of information processing technologies in biomedical research, and theories of novelty in the life sciences. His most recent work is on the cellular spaces of transformation in evolutionary and developmental biology research and the cultural spaces of transformation in superhero comics.
Presented in conjunction with the exhibition Time/Shores at ASU Art Museum Project Space, “Slow Time in the Anthropocene” is a symposium hosted by the Laboratory for Critical Technics that explores pre- and post-human geological time in the desert. Workshops on slow time will be run by Angela Ellsworth (ASU School of Art, Museum of Walking) and Paul Harris (Loyola Marymount University), followed by presentations by Carry Wolfe (Rice University), Richard Turner (Chapman University), Paul Harris and Adam Nocek (ASU School of Arts, Media and Engineering, Laboratory for Critical Technics).
1:30–2:30 p.m.: Angela Ellsworth and the Museum of Walking lead a workshop on slow time and walking (Please RSVP)
3–4 p.m.: Paul Harris leads us through Ignatian spiritual exercises with rocks (Please RSVP)
5–7 p.m.: Presentations and talks by:
Cary Wolfe, “Time for the Posthuman”
Paul Harris and Richard Turner
Adam Nocek and Laboratory for Critical Technics
7–8 p.m.: Cocktail Reception
Please send RSVP for workshops to email@example.com.
PRESENTING: jeepneys (LA) + White Boy Scream (LA) in the Unexpected lounge!
FOLLOWING the FRIDAY evening performance of Me, My Quantified Self, and I (7pm sharp) produced by Jessica Rajko.
ABOUT JEEPNEYS: Jeepneys (Anna Luisa Petrisko) is an artist working in music, video, dance, and performance. Named after the iconic converted WWII army jeeps of the Philippines, her work investigates the complexities of postcolonial identity and encompasses a multitude of experience of time, space, and self. Whether it is experimental opera or multimedia installation, Jeepneys’ work is an otherworldly spectacle that explores science fiction motifs where future and ancient ideas collide. She is invested as much in sacred concepts as she is interested in technological speculation. Her trademark hand-painted bodysuits are re-indigenized alien skin, referencing the pre-colonial tattooing practices of Pacific Ocean Peoples. With synthesized sounds, intuitive movement, and inter-dimensional imagery, Jeepneys creates new mythological landscapes.
She is a member of Black Salt Collective, whose members are Black, brown, and indigenous women creating work about contemporary non-linear identity in which experience results in atmosphere. Jeepneys has exhibited at the Roy and Edna Disney/CalArts Theater (REDCAT), The Getty's Pacific Standard Time Presents, the NY Art Book Fair at MOMA PS1, Los Angeles Contemporary Exhibitions (LACE), ALOUD for the Los Angeles Public Library, the Yerba Buena Center for the Arts (YBCA), Machine Project and Human Resources. She has received artist-in-residence fellowships with the Los Angeles Department of Cultural Affairs (DCA), Yaddo, SOMArts Cultural Center, and Echo Park Film Center. She lives and works in Los Angeles.
ABOUT WHITE BOY SCREAM: Soprano and sound artist Micaela Tobin specializes in contemporary voice, recently performing with the acclaimed Los Angeles-based experimental opera company The Industry in their groundbreaking production of Hopscotch—a mobile opera for 24 cars (dir. Yuval Sharon). The recent premiere of her original experimental opera, Unseal Unseam, received a five-star review at the Edinburgh Festival Fringe in the Summer of 2016.
As a sound artist, Micaela writes and performs her own experimental music under the moniker, “White Boy Scream,” in which she dissects her operatic style of singing through the use of electronic effects pedals. She was recently invited to perform her music at the New Music Encounters Plus International Music Festival in Brno, Czech Republic and is currently preparing to release her next album through Crystalline Morphologies in the summer of 2017.
Micaela has toured internationally as a collaborative performer withe the experimental opera, Dada Divas (comp. Jacqueline Bobak), and with the Canadian new music ensemble, Exo-Endo (comp. Andrea Young). She is also one of the founding members of Ilk, the Los Angeles-based experimental voice group.
Micaela recently completed her MFA in VoiceArts at the California Institute of the Arts. She received her BA in Music with a concentration in Voice Performance from the UCLA Herb Albert School of Music in 2010.
The Laboratory for Critical Technics in collaboration with Paul Harris and Richard Turner present "Time/Shores," a multi-media installation that invites participants to contemplate the interactions of the geological and human histories of the desert southwest. Incorporating sculpture, video and interactive audio elements, "Time/Shores" invokes the underwater past and future of the desert.
"Time/Shores" is part of ASU Art Museum’s Spotlight series, bringing attention to innovative projects in the arts and design by ASU Herberger Institute for Design and the Arts faculty and students.
ASU Art Museum Project Space Hours:
Open 2–9 p.m. on the first and third Friday of the month.
Additional hours available by appointment.