My research mainly involves trying to think us out of the conundrum of state-based violence using re-figurations of the body politic.  Actual, structural (since all violence stems from actual violence on actual bodies—the threat of hurt and harm), gendered, normalized, terroristic.

If not out of violence per se, as I suspect it is constitutive of the human experience, into a form of knowledge/power that strives to care for the most vulnerable and nurture the multiple forms of being and becoming that emerge and will emerge…a form of political subjectivity that “judges not as the judge judges,” but, as Whitman wrote in the preface to Leaves of Grass “as the sun falling around a helpless thing.”

A tall order, perhaps but one that is crucial to any political project. How do we, as humans, citizens, neighbors, mammals, etc, tend to our world? How is dialogical space made to open creative re-thinking, -figuring, -imagining about how local, state, and global politics function?

More broadly, what I am wrestling with is life.  How is life included in politics? In our institutions, discourses, or urban planning projects? How do state politics understand life, or to ask the more traditional philosophical question: What is a life worth living? How do we create the conditions needed for realizing the good life? Turns out that life is really complex and messy.  It eludes definition and control.

In earlier posts, I have shown how I chose microbiotic communities and co-evolved parasites in the human gut. Walt Whitman was a sometime poetic counsel for these Uexküllian forays in the worlds of animals and humans.  Technology can also be a part of making choices that privilege certain social configurations over others. In this post, I want to talk about art, biotechnology, and critique. Art is another way to imagine different political configurations and futures.  (Detournement can work, too.)

On Monday night at Hobart William Smith, I attended a lecture by Dr. Steve Kurtz, a professor at SUNY-Buffalo and founding member of the Critical Art Ensemble. Since the late 1990’s CAE’s founding concern shifted from the digital revolution to the biotech revolution. As Kurtz explained, the digital revolution was a difference in degree rather than kind–it increased the level of intensity of communication, but was more a revolution of scale that intensified the bombardment of the sign rather than internalizing that sign.  The biotech revolution, Kurtz argued, was more than a revolution.  Previous to this, the body was sacred and humans could always find some relative freedom inside their body, if no where else.  Biotechnology, on the other hand, is coding the body from the inside out. Life and potentiality is understood through the genetic code.

The posthuman, the cyborg, became a reality in a different way than it had been previous to this biotech revolution.  This could be a utopian future or a nightmare.  What, argued Kurtz, was needed to nudge it toward the utopian?

People must participate and know the political stakes of biotechnology or it will not be democratic, but controlled by policy makers or corporate interests.  The role of the CAE, and of artists more broadly, is to deliver messages, show the stakes, and the possibilities of these revolutions.

This, as I see it, is the same project as critical social and cultural theory in academia.  Academics also show the stakes of the policies and norms that are, more than likely, controlled by the elite, the corporate, and the tyranny of the minority in the US Congress.

To return to Kurtz’s talk and its resonances with the research I have presented on this blog, what does it mean that the body can be understood, manipulated, enhanced, improved, with technology as an extension of the actual body?

Aimee Mullins

These shifted understandings of the body must deliver emancipatory messages, show the political stakes involved, and bare the possibilities the biotech body for reinvigorating democracy and other forms of participatory governance. Importantly for academic disciplines, as Nicholas and Jan highlight in the “When in doubt, de-Center humans” post, how does this shift affect our disciplines?