Augmented Human Bodies

Augmented Human Bodies Studying the relationship of humans to their corporeal body - evolution of philosophical expressions, physicality and streams of perception.

Author: Abhishek Soman

Theory Seminar / TAK / Theory and Advanced Knowledge Manuel Gausa - Jordi Vivaldi Institute of Advanced Architecture of Catalonia

Theory and Knowledge Institute for Advanced Architecture of Catalonia 2018 - 2019

Augmented Human Bodies

Studying the relationship of humans to their corporeal body - evolution of philosophical expressions, physicality and streams of perception.

Theory and Advanced Knowledge Jordi Vivaldi Piera Institute of Advanced Architecture of Catalonia

Submitted on the 26th of March of 2019

Abstract The concept and study of the ‘human body’ have gradually grown more nuanced with/in its intelligibility through different facets which are perceived by historians, philosophers, artists, scientists, doctors, architects, engineers, and other professions. The human body has been dissected notionally as well as literally in comprehending it holistically for different reasons and purposes. These distinct ways and discourse as mentioned above were that of the metaphysical or abstracted imaginations while the other taking the corporeal and physical phenomenon into consideration. The human body has gone through a critical evolution over the years objectively through diversification in the traditions, geographical conditions, physical activity, response to the micro/macroclimatic conditions and technological advancements. Archaeologists have discovered earliest known forms of paintings and sculptures made in the Paleolithic, Mesolithic and Neolithic age. With these Artifacts, one can understand the way the human body is looked at or interpreted in visual or three-dimensional sculptures. Contemporary times have added layers of design, synthetic materials, functions, fashion, trends, and aesthetics in the world of body morphology. There is a wide range of possibilities for altering the physical body through virtual imagination or literal investigation getting us closer to an unimagined reality.

This research will look into and discuss the

transcendence of the physical aspects of the human body specifically in terms of modifications and alterations done by accentuating, expanding and adding different elements, thus redefining the clothing envelope as a second skin with overlapping layers of contemporary technology, functionality, aesthetics, and ideologies to a substantial extent.

Keywords: Human body, modifications, medical, technology, art, expression, identity, morphology.

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What we’re dealt with hopefully is two arms, two eyes, two legs, a head, and a heart.

The variations, the extensions, the possibilities of the human body and what they can do.

- John Guare

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Table of contents 1. INTRODUCTION ............................................................................................................. 9 1.1 Humanism...................................................................................................................... 9 1.2 Why (Human) Body? ................................................................................................... 9 2.HUMAN BODY: MODIFICATIONS, REPRESENTATION AND PERCEPTION...................10 2.1 Mythological and Historical representation of human body .....................................10 2.2 Cultural and Traditional modifications .......................................................................12 2.3 Comparative Study: Human body in different time periods .................................... 14 3.SECOND SKIN IN RELATION WITH NATURE AND TECHNOLOGY ...............................16 3.1 Concepts of Second Skin ..............................................................................................16 3.1.1 Behavioral augmentations through Second Skin .....................................................16 3.2 Mother nature and Techno Nature ..............................................................................18 4.POST HUMAN BODY ADVANCEMENTS .......................................................................20 4.1 Medical - Prosthetics and Bio Intervention ................................................................20 4.2 Technological - Advanced Prosthetics and Cyborgs ..................................................22 4.3 Artistic - Ideology, Aesthetics and Alien Expressionism ..........................................26 5. CONCLUSION ............................................................................................................... 30 6. BIBLIOGRAPHY ............................................................................................................ 32 7. LIST OF FIGURES ......................................................................................................... 34

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Augmented Human Bodies

Studying the relationship of humans to their corporeal body - evolution of philosophical expressions, physicality and streams of perception.

1.

Introduction

1.1

Humanism

Humanism entails a rationalist outlook or system of thought attaching prime importance to human rather than divine or supernatural matters as stated in the Oxford Living Dictionary. Generally, however, humanism refers to a perspective that affirms some notion of human freedom and progress. It views humans as solely responsible for the promotion and development of individuals and emphasizes a concern for man in regard to the world1. Renaissance humanism was grounded in the idea that we can become whatever we wish, and achieve whatever we desire, so long as we have a stable foundation2. This behavior corroborates the importance given to humans, by humans and the things concerning them that are present in the natural surroundings, evolving their relationship with the Anthropocene. Our bodies are the closest we can get to ourselves and nature. It is the primary authentic physical representation of us. The corporeal body gets affected directly /indirectly by the various actions performed by us that could be pre-thought or spontaneous. Thus A strong point of discussion here becomes the focus on the body and its potential exploitation that goes beyond the prevalent natural functions and attributes responsible for its intrinsic behavior, performance and appearance. In a way, we are trying to dive deeper with scientific knowledge and information collected from the sets and subsets of natural phenomena to find solutions or a rationale that merges with the original body to be at par with contemporary lifestyles, capitalistic needs technological advancements and conduct.

1.2

Why (human) Body?

The human body is looked at from a Metaphysical perspective by philosophers like Martin Heidegger, who conceptualized ‘Dasein’ which translates to ‘being there’ or ‘present.’

Heidegger is concerned with the real living body – in other words, the body that eats, that works, that dies, that is afraid, which lives out there in the world – and not with the body (corpse) lying on the table of the doctors3. Our body cannot be considered a mere tool to fulfill or perform specific required actions; it also encompasses visual distinctions that speak a language of personality and self-expression which has the power to imply one’s position in the society. Interpretations of our beliefs create a self-identity by incorporating it physically for individuals or a group/community.

1. Domenic Marbaniang, “Developing the Spirit of Patriotism and Humanism in Children for Peace and Harmony”, Children at Risk: Issues and Challenges, Jesudason Jeyaraj (Ed.), Bangalore: CFCD/ISPCK, 2009, p.474.

2. Carroll, 1. (1993) Humanism: The Wreck o/Western Culture. London: Fontana.

3. ‘Heidegger on the Notion of Dasein as the Inhabited body’, Akoijam Thoibisana, Indo-Pacific journal of phenomenology, volume 8, Edition 2, September 2008.

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AUGMENTED HUMAN BODIES

These individualistic or communal beliefs have given the opportunity to operate, modify, add or replace the physical aspects of the human body by altering methodically it in different ways. Rational thinking, tailored appearance, physical necessities, being at par with the developed technology and its superior performance The effect of our non-physical attributes (ideologies or feelings) on the corporeal body (or vice versa) and their relationship is pertinent to understand for anticipating the possible outcomes of body augmentations.

In a postmodern reflection, Hugo Letiche states ‘why the body can be the last stable category still available for analysis4. The constant need for development starting with primary reason - health improvements has transgressed towards body modifications for individual artistic expression as a socio-political, religious, cultural stand by altering one’s physical impression. The idea of individuality and unique identity has become critical today, and the idea of 'self' is stressed upon through various communicative mediums. It is feasible to take decision relevant to one’s own body that is bound within the current limits of legalities.

2.

Human body: Representations, Perceptions and Augmentations

2.1

Mythological and Historical representation of Human body

The physical representation of human-hybrid imaginary characters with alternative body parts - in most instances a human body is replaced with an animal head (vice versa) or large wings are attached to the back of a human-hybrid body. This collaborative juxtaposition of a re-constructed manifestation for religious and societal beliefs goes beyond the natural demeanor of the corporeal body. A heterogeneous set of mythological characters comprise of human bodies with single or multiple non-human or beastly features simultaneously. This contrasting amalgamation or even a transition plays an integral part throughout different religions and historical references in the world, prominently seen in Egyptian, Greek, Chinese and Hindu mythologies.

Archaeologically retrieved specimens show us diverse representations of humans primarily through paintings and sculptures. One of the examples of the Ice Age, the ‘Lion Man’ found in the Stadel cave, Germany depicts a human body with the head of an ancient African lion without a mane. The vocabulary of these portrayals suggests a symbolic accentuation of characteristics believed, promoted or narrated through stories.

These extreme depictions were still part of the imagined world, illustrated and described for a cultural purpose far from being replicated in reality.

4. Body and Organization, Chapter 5, Situating Complexity, the Body (Nude), Hugo Letiche, 2000, p.87.

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Fig. 2.1 From left to right, TOP ROW: 4-winged figure (n), from Ragozin; Anubis (j), from Casson drawing by Lowell Hess. courtesy Time-Life Books: Bird-lenaed siren (u), from M&;y (S), ;o&tesy Tudor Publishing Company; CENTER R6W: Typhon (z), from Hawkridge, drawing by Theresa Garrett Eliot, courtesy Houghton Mifflin Company; ,?-toiled siren (aa), from Cirlot, courtesy Philosophical Library, Inc.; BOTTOM ROW: Harpy (s), from Webster’s New World Dictionary, courtesy World Publishing Company; Centaur (t), from Murray (S), and Irk (z), modified from Murray both figures Tudor Publishing Company.

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2.2

Cultural and Traditional modifications

Body modifications are practices leading to transient or permanent ‘decoration’ of various parts of the body5. In addition, the term ‘body modification’ refers to a long list of practices which include piercing, tattooing, branding, cutting, binding and inserting implants to alter the appearance and form of the body6. Cultural values shape up the physical appearances based on traditions, geographical locations, gender, and social philosophies that are passed on.

As opposed to the urban cultures of body augmentations with (single or multiple) tattoos or piercings, some cultures expect certain traditional and cultural alterations to the body to be considered a part of that conglomerate. Mary Douglas argues that the body serves as a metaphor for the society, and the boundaries of the body reflect the boundaries of the society7. The Maori tribe in New Zealand use tiny chisels for facial tattoos ‘ta moko’ that represent wearer’s family and their societal status. The men and women have separate styles and positioning of the tattoos as per the set norms decided by the community. The Padaung tribe women from Northern Thailand wear Brass Neck Coils (BNC) around their necks adding one per year resulting in accentuated, deformed and fragile necks. Multiple origins of the custom are mentioned, ranging from symbols of wealth and status to Padaung beliefs8. In Africa, a young Mursi woman’s upper lips are pierced and post healing a wooden or clay plate is placed in the puncture, causing the lip to stretch permanently to showcase it as a sign of wealth. On the other hand, the practice of scarification involves cutting or making an incision into the skin and then allowing the wound to heal, leaving a permanent scar on the body9. Scarification is another way of altering the body; it dates back to 60,000BC, where it was practiced by Australian Aborigines10. Scarification is practiced for different reasons among different tribes in Africa; recognition within a community, loyalty towards the queen, beautification or for bearing the pain to prepare for child birth. Another variant of alteration is footbinding practiced earlier in China. It was neither a uniform practice across regions, nor did it sustain a timeless and essential core of meanings. The documented practices range from pressing a girl’s four toes toward the heel with cloth binders, hence bulging the foot into an arched shape, to wearing tight socks for a slender look.

5. Body and Organization, Chapter 5, Situating Complexity, the Body (Nude), Hugo Letiche, 2000, p.88.

6. Featherstone, M. (1999). Body Modification: An Introduction. Body & Society, 5(2-3), 1–13.

7. Purity and Danger: An Analysis of the Concepts of pollution and taboo, Mary Douglas, London and New York, 2002 8. Chawanaputorn, D., Patanaporn, V., Malikaew, P., Khongkhunthian, P., & Reichart, P. A. (2007). Facial and dental characteristics of Padaung women (long-neck Karen) wearing brass neck coils in Mae Hong Son Province, Thailand. American Journal of Orthodontics and Dentofacial Orthopedics, 131(5), 639–645.

9. Ayeni, O. A., Ayeni, O. O., & Jackson, R. (2007). Observations on the Procedural Aspects and Health Effects of Scarification in Sub-Saharan Africa. Journal of Cutaneous Medicine and Surgery, 11(6), 217–221.

10. Camphausen R. Return of the tribal: a celebration of body adornment: Rochester (NY): Inner Traditions; 1998.

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Fig. 2.2 Lion Man angles by Vergleich drei Ganzkörper Ansichten

Fig. 2.3 Young ‘Maori’ man prepared for an ethnic

Fig. 2.4 Myanmar (Burman) a Padaung woman

dance with facial and thigh tattoos

wearing neck-rings to lengthen the neck

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look11. Rational or ethnic traditions become the basis here for a group of people to alter their original body structure. The concept for each type of distinct alteration provides an insight into the interplay between physical appearance and societal norms. Certain traditions are outdated with the changing psychology as per lifestyle evolution and questioning the philosophies, yet some are deep-rooted to be abolished or stopped. These cultural and societal behaviors of choosing to follow a certain type of modification by choice or compulsion make a strong remark influencing the following Anthropocene that arises in the future.

2.3

Comparative study: Human Bodies in different time periods

The fifteenth and sixteenth-century anatomists dissected the human bodies for casual analysis to understand how the body and each part functions12. Mathematical logic of the overlapping artery networks, organ behavior and functional systems of the contained mass were studied in depth to attain clarity. This pragmatic approach of anatomical study encapsulated the holistic performance of the corporeal body. A new layer of science was understood apart from the philosophical and spiritual understanding of the human body. This radicalism changed the perception of how human body was viewed during the Renaissance with aspects of this underlying scientific approach rather than the mythological abstraction. This anatomical study weaved rationality in the realistic body. But before this study of science opened up newly found understanding philosophers had different views on the Human body, primarily that of the body, mind, and the soul. The following chart presents the different perceptions of the body as per different philosophers in different time periods that closely relates to the subject of discussion (in short).

11. The Body as attire: The shifting meanings of foot biding in seventeenth-century China, Dorothy Ko, 1997, Journal of Women’s history, Vol. 8, No. 4 (winter).

12. Student’s Scientific Association at the Chair and Department of Hygiene, Medical University of Lublin, Poland.

Note : Due to page limitations the philosophical interpretation of the Human Body has been kept brief.

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Fig. 2.5 20-year-old Ataye Eligidagne has the

Fig. 2.6 Chinese woman’s feet deformed after

largest lip plate in the world. It weighs 19.5cm

practicing foot binding

Fig. 2.7 Comparative Study of perceptions of the Human Body as per (4) philosophers

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3.

Second Skin in relation with Nature and Technology

3.1

Concept of Second Skin

The definition of ‘second skin’ varies in different contexts and fields that work with the human body, specifically for modifications or augmentations pertaining to the skin. The definitions create a background in comprehending the idea of ‘second skin.’ It can be defined holistically as a layer or an envelope of any form referring to a synthetic behavior or a protective layer between the external environment and our immediate natural skin. It need not necessarily be a performative layer; clothes are also vastly considered as second skin. The layer of clothing primarily is used to cover the body for protection against the harsh environment and weather conditions since its origin in the pre-historic era. In due course, they got added with pockets to hold/keep smaller things. However, apart from this function, a majority of commercial clothing available in the market is not intended to be responsive, reactive or perform any functions that could further assist us. A constant need for upgrading in the changing Anthropocene of technology establishes an inter-link to the merging boundaries adding layers of meaning to our ‘second skin.’

3.1.1

Behavioral augmentations through Second Skin

Second skin can be considered as an invisible layer of skin on/under the skin for medical treatment or tattoo performing some function that the skin cannot. John Rogers and his research team at the University of Illinois have developed a way of building circuits that act as skin, collect power wirelessly, and can be worn just about anywhere on the body13.

These bio-stamps resemble a temporary tattoo having a size comparable to an American quarter. Its design is mechanically similar to the natural skin and the wearer does not feel it differently when touched. This multi-layered stretchable tattoo is used as a temporary second skin and can be removed before or during the natural skin shedding. It gives the data and information about body temperature, UV exposure, and blood pressure.

Aditionally it detects water, lactate, chlorine, glucose, and pH. It is a potential replacement for the conventional tools used in the medical and health industry to regulate and check these life stabilizing components of our body. Though it does not have a physical 3 dimensional shape or form discussed earlier, it stages an alternative way of augmented behavior that can be performed merging with the skin. The bio-stamp technically becomes an extension to the skin which is a natural sensor. Advanced material research and mechanism are paving the way to modify the performance of the body physically, aesthetically and behaviorally.

13. Perry, T. S. (2015). Giving your body a “check engine” light. IEEE Spectrum, 52(6), 34–84.

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Fig. 3.1 The butterfly sensor on the left is designed to monitor exposure to the sun’s ultraviolet (UV) rays, the center sensor uses sensitive dyes to detect chemicals in sweat, and the sensor at the right uses electronic circuitry to measure blood pressure.

Fig. 3.2 Thin and Stretchy: This Biostamp is a test bed for a variety of stretchable devices; it includes arrays of transistors, diodes, capacitors, inductors, LC oscillators, temperature sensors, strain gauges, an LED, an inductive coil, and a simple antenna.

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Contemporary tools enable us in achieving results based on the needs and requirements of the user and customize accordingly.

Although our skin technically behaves as a constant boundary of the corporeal body that encapsulates all the internal organ and functions, Mireille.M.Lee argues the boundaries of the body are not so clearly defined as we might imagine. Where does the body begin?

Where does it end?14 The boundaries between the animate and the inanimate are blurring as the body is being viewed and used as a machine with a various set of tools (hands, legs, head, and our senses) to initiate a process to perform certain actions.

However, all tasks cannot solely be performed by our body. Inanimate tools, machinery and mechanism are modeled in a way to perform beyond physical human capacity. Our skin is not the limit of our body. When we interact with tools and mechanical devices, our body extends its boundaries, changes shape. The stick, the hammer, the pen, the racket, the sword extend our hand and become, after some training, integral parts of our body envelope15.

3.2

Mother Nature and Techno Nature

The raw original body is the one that is naked possessing the inherent capabilities and abilities to perform specific tasks primitive as well as complex. Any external addition of materials within or outside the body (attached or removable) change the core physicality of the authentic naturalism. Behavioral nuances and reasoning create a need to exploit branches of science to elevate the purpose and functions of the body. The tendency of humans adjusting to a technological dependent lifestyle is the key to the rapid growth of various futuristic concepts revolving around applied science and mechanics. Each of developed machines (at any scale) have a base performative behavior that of basic sedentary actions - but our body has limits. It is debatable where, when and how exactly this transition started.

What is a natural evolution and what is artificial evolution? Where can one draw the line to define nature and synthetic technology? It is this transition from mother nature to techno nature that blurs the boundary between the two. There is no end to this transition. The number of outcomes and the plethora of processes that initiate these transitions may have different results that would corroborate the eventuality of our bodies. Collaborative expertise and a multi-factorial approach establish the basis and path of modification(s). These can be broadly divided into three categories; Medical interventions, Robotic modifications and Ideologiocal or artistic interpretations in a social context.

14. ‘Bodies’ conference, Cednter for Hellinic Studies, Bodies and boundaries in Graeco-Roman Antiquity, edited by Thorsten Fogen and Mireille.M.Lee 15. Fredric Kaplan and Pierre-Yves Oudeyer, Stable kernels and fluid body enevelopes, EPFL-CRAFT - CE 1 628 Station, CH - 1015 Lausanne Switzerland and INRIA-Futur Bordeaux 351, cours de la Liberation, Batiment A29 33405 Talence, France.

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Fig. 3.3 Incorporation is a recursive process. At a given state of incorporation, certain objects are abstracted from the environment and become aordants. When one of these objects start to be controlled and therefore incorporated, new objects get abstracted

Fig.3.4 In the space of possible modes of being, the ones accessible to human beings form a tiny subset

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4.

Post Human Body Advancements

Post Human is the idea that humanity can be transformed, transcended, or eliminated either by technological advances or the evolutionary process; artistic, scientific, or philosophical practice which reflects this belief.16 Nick Bostrum (Future of Humanity Insitute, Oxford University) defines ‘ post human’ by dissecting it into three categories: health span, cognition, and emotion. Whereas Rosi Braidotti in his book ‘The Posthuman’ debates how digital ‘second life,’ genetically modified food, advanced prosthetics, robotics and reproductive technologies have blurred the traditional distinction between the human and its others, exposing the non-naturalistic structure of the human.17 Thus it's necessary to segregate this multi-factorial concept into categories for a broader understanding. This paper will dwell more into the corporeal aspects with a focus on physical augmentations and accentuation(s) of perceived self-identity(ies).

(Refer to Fig4.1) 4.1

Medical Interventions: Prosthetics and Bio-intervention

The body is considered as an object or as a corporeal entity to perform a specific type of medically assisted surgery in case of health emergencies. For the well-being and/or proper functioning of the holistic body, the damaged body part (focus) is treated separately. This view of treating each body part separately as per its function still affects the overall functioning of the body. Prosthetic Augmentation is one such practice where limbs are replaced by artificial element(s). The Renaissance (14th - 17th Century) proved to be a rebirth in the history of prosthetics. Prostheses during this period were generally made of iron, steel, copper, and wood.18 Prosthetics and artificial limbs provided that key, minimizing the stigma, isolation, and lifestyle limitations that often came with amputation.19 With developed studies, surgeries are now performed in a more sophisticated manner with robotic arms having impeccable precision and pacemakers - a man-made heart that keeps the body going. Though the prosthesis is done for giving aid to the lost physical performance, the prospect of ‘design’ is never too far. Functional or artistic liberty to push the boundaries (within medical and health security limitations) gives the designer as well as the user an advantage for customization for the betterment. Though articulated limbs were being developed around the same time, like the famous iron arm designed for Gottfried “Götz” von Berlichingen with various locking hand positions, these were exclusively made for the affluent 16. Definition from Oxford Dictionary, 1970s. From post-human + -ism.

17. The Posthuman, Rosi Braidotti, April 2013, ISBN: 978-0-745-64158-4.

18. Hunter, Oatman, War and Prosthetics: How Veterans Fought for the Perfect Artificial Limb, Standford, October 2012 19. J.Duffy Hancock, The evolution of Artificial Limbs, Professor of Surgery, University of Louisville School of Medicine, ‘29

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Fig.4.1 Flow chart explaining the focus of the research paper

Fig.4.2 This prosthetic hand was designed by Thomas Openshaw around 1916 while working as a surgeon for Queen Mary’s Hospital. Two fingers of the wooden hand are reinforced with metal hooks to help with daily tasks.

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individuals20. The material palette, functional aid, form and shape reconstruction open up possibilities for iterating the new body part. The replaced part gives the user a new subconstructed physical identity. The basics of prosthetics are to give the patient ones lacking physical completeness; The scale of surgery may differ drastically as in some cases, biointervention may seem unavoidable. It need not necessarily have a connotation of medical emergency or urgency but still may require medical assistance and can be done to suit one’s prerogative. It can be performed internally via coded nano tubes without disrupting the physical appearance. However, prosthetics has a sub-layered understanding. It involves a melange of surgery limitations, scope of design, customized functions, mechanics, user relationship, emotional-social-monetary value apart from the subjective understanding.

A few specimens become trends creating a niche for a 'newly accepted' - accentuated personality. “There’s an incredible bond that takes place between a person and their prosthesis,” says Kevin Carroll.21 It can be debated whether all prosthetics can be called accessories, perhaps only on paper. The replaced part can be again and replaced in due course considering damages occurred, age of the user or new updates in prosthetics. Users decision to remove or keep it permanently suggests his/her intrinsic relationship with the accessory rendering changes to their physical appearance. What triggers these individual to augment themselves is a dimension that might require an independent study.

4.2

Technological modifications : Advanced Prosthetics and Cyborgs

Today, the power of prosthetics is more visible than ever before.22 The sensory feeling of the replaced/added part, its resemblance to the original and its behavioral qualities try to fill in the gap of the deteriorated limb. Athletes who lose their limbs in unforeseen circumstances get a second chance to indulge in their sport. But that has been possible only in very recent times and only a tiny amount of athletes get the opportunity depending on their privilege. In these cases the prosthetic design is studied and evaluated with a large percentage catering towards the functionality of keeping in mind the athlete's sport. This artificial limb becomes a part of the primary body and performs similarly. A person who works as a chef or skates might look at their legs in a different light. Here designs takes the front seat. The decision of detaching and attaching the artificial limb makes it a wearable creating a niche section of prosthetic accessory. The introduction of information technology to prosthetics has allowed bionic limbs to emerge and, change the way we were thinking about prosthetic limbs.23 Replacing one part of the body with a non-thinkable, non-reactive might give a 20 Hunter, Oatman, War and Prosthetics: How Veterans Fought for the Perfect Artificial Limb, Standford, October 2012 21. Carroll, K., & Edelstein, J. (2006). Prosthetics and Patient Management: A Comprehensive Clinical Approach. Thorofare, NJ: SLACK Inc.. 284 pp. ISBN 1-55642-671-2 22. Hunter, Oatman, War and Prosthetics: How Veterans Fought for the Perfect Artificial Limb, Standford, October 2012 23. Kyriazi Nefeli Evdokia, AI and Prosthetics, 1Final Master Thesis Master of Artificial IntelligenceUniversitat Politecnica de Catalunya

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Fig.4.3 Left, a specially designed prosthetic limb for a female piano player around 1895, who played in London’s Royal Albert Hall in 1906. Right, a Victorian-era arm includes beautifully detailed metalwork.

Fig.4.4 The South African runner Oscar Pistorius, as photographed for a recent Nike campaign.

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sense of physical completeness, but incorporating AI and micro-sensors that respond and react similar to natural limbs are pushing the line of advanced bio-mimicry in prosthetics. This amalgamation of synthetic adornments with our natural body raises questions of where and how can one understand the thin line where the authentic human ends and the synthetics of cyborg start?

As per the definition stated in the Merriam Webster dictionary (1960), ‘Cyborg’ is a bionic human. It etymologically refers to an amalgamation of cybernetics and organism. Since both are in exponential evolution the definition of a cyborg is also in constant change.24 The abilities to function and behave like a human, yet reinforced with technological assistance to varying levels of intervention segregates them from the human species.

For 32M, a local firm based in River Falls, Wisconsin implanting Radio Frequency Identification chips (RFID) helps their employees in daily office jobs by functioning as a key, passwords to particular machines or documents or even as their credit card to pay at restaurants and stores.25 These implants are additional, not replacements of any body parts to get an advantage of performing selected tasks with ease. The concept of adding anything non-authentic to the existing body is a personal choice and liberty, resonating with subjective decision making to harness advanced mechanisms for personal use. It is an aspect of luxury giving the person a superior status than ‘regular humans.’ It is similar to possessing an asset in addition to its essential qualities, but the significant difference that sets this asset apart is its smooth fusion with the human body.

There is a difference between the technology that allows one to know things and the one that allows one to feel, sense or stimulate something. The Cyborg Foundation in Barcelona focuses on Artificial Senses (AS) the technology gathers the stimuli, but the intelligence is created by the human - as opposed to Artificial Intelligence (AI) where the intelligence is created by the machine itself.26 One has the liberty to choose best of both the worlds creating a win-win situation. The Founders, Neil Harbisson and Moon Ribas do not identify themselves as hundred percent human. Artificial sensing technology is incorporated within their bodies in a way, where the synthetic object becomes an integral organ. This novel addition is not detachable and is treated equally like any other organ.

Harbisson has got an antenna implant connected to his brain which allows him to perceive visible and invisible colors via audible vibrations, including infrareds and ultraviolets as well as receive colors from space, images, videos, music or phone calls directly into his head via internet connection.27 Moon Ribas, on the other hand, has implanted a seismic sensor in her feet which allows her to comprehend the vibrations created due to earthquakes around the globe in real time as well as moonquakes. She translates these senses artistically through percussions and dance moves, where she believes the earth is the choreographer and she is the interpreter.

24. Cyborgfoundation.com 25. Todd Wesby and Peter Dockrill interview for sciencealert.com July 2017.

26. Cyborgfoundation.com 27. Cyborgarts.com

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Fig.4.4 Neil Harbisson, Co-founder of CyborgFoundation and TranspeciesSociety

Fig.4.5 Moon Ribas, Co-founder of CyborgFoundation and TranspeciesSociety

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Subjective necessities to create a new version of self highly dependent on science is establishing peeking windows into the future of human body development. Losing ones original personality and identification as human for an imagined futuristic reality to be identified as a self-thought mutant is one direct repercussion to be faced individually. The process of trial and error is inevitable creating stages of evolution. It is a new way of looking at ourselves, our purpose of finding a way to transform with abilities that no other human posses. There needs to be a rationale behind this transhuman adaptation. These augmentations are not mere wearables; they encapsulate a critical perception of grasping the surroundings and a new reaction to it.

4.3

Artistic - Aesthetics, Fashion and Alien Expressionism

Creating a new organ need not always cater to its functionality; it can be augmented by giving it a meaning through the aesthetics of art and fashion. The concept of beauty is subjective yet has influences of cultural identity, geographical characteristics, traditional beliefs, peer opinions and social construct of the society. Global connectivity through social media makes one aware of the global standards of beauty and with freedom of expression and the tools available to modify the way we look for personal satisfaction.

Temporary or permanent surgeries can be carried out to fulfill ones need. These cosmetic surgeries focussing on body enhancements are on the rise. Eighteen million surgeries alone were performed in the United States in 2018 as per the new data released by the American Society of Plastic Surgeons (ASPS) in March 2019.

French-born Artist ORLAN morphs her art installations and performances surrounding these behaviors making a social statement about the physical appearance of the body.

Generally speaking her work questions the status of the body in the society via cultural, social, religious and political pressures. Her art is a set of rebellious works which she created after critically viewing the status of women shown through newspapers, televisions and advertisements. In one of her art performances “Omnipresence” which lasted for seven surgeries in operation theater, the live feed was showcased in New York, Tokyo, Toronto, Paris and ten other locations around the world. During these procedures, she recites a poem “the dress” which states : Skin is disappointing. All you have in life is skin. There a misdealing in human relationships because one is not what one has. Angle skin but I am a jackel. A crocodile skin but I am a litlle pooch. Black woman skin but I am white. Woman’s skin but I am a man. There is no exception to the rule as I am never what I have.28 Each surgical operation performance was constructed around a philosophical, psychoanalytical or literary text. Her work is based on reimaging oneself using life as a recoverable aesthetic created to put a figure on her face. A work combining figuration, disfiguration 28 The future of Body Performance with artist ORLAN (lecture) at Science Gallery Dublin 2014.

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Fig.4.6 ORLAN during one of her surgical operation performances of ‘Omnipresence’

Fig.4.7 Inside Simon Huck’s presentation of “A. Human.” Spring Summer 2019 , New York

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and re-figuration of both body of the subject and object. Having a body and being that body, acting between her presence and representation to a point trying to enroll from tradition, and at the same time trying to unenroll to enroll shallowly falsely in a society which appoints us with a model to be integrated whether they are from the history of art or those from magazines or ads.29 Her interests lay more towards soft art techniques of medicine and biology which challenge the states of body and ask ethical questions.

Clothes, fashion, and style are extensions of our personalities where one has the liberty to decide how they want to portray themselves in the society. Avant Garde Fashion designers Hussein Chalayan and Iris Van Herpen try to give deeper meaning to the clothes they design. They experiment with geometries, patterns, forms, materials, moving away from the ‘conventional’ to create an edgy design for the wearer. Moreover, designers like Simon Huck from A.Human try to interpret humans in different forms. These designs or accessories are mainly designed for artistic expression using silicone to give it a reallife flesh and skin feel. The temporary mutation is a way of artistic expression not just for clothes or fashion but for the choices one can make for their body. These artificial mutations and augmentations expand the vision of self-identity in the world where identities are overlapped layers. Indeed, the creative idea behind these designs will have philosophical implications pertaining to the way we perceive our bodies. Taking inspiration from nature is not a new concept; This collection of wearables is getting us one step closer to an imagined future of possible permanent and semi-permanent modifications we can do to augment ourselves. Though these accessories/ wearables push the boundaries of innovation, personal identities remain intact. The incipient urge to morph our physical silhouette can be observed here distinctly.

In his piece on ‘Modern Primitivism’, Christian Kleese cites the following remark, which is atypical of body modifiers: I make a statement, I’ve chosen myself. I’m part of a culture but I don’t believe in it. My body modifications are my way to say that. This conscience of self-control portrays a visible sign of self-identity and ideology.30 Very less is known about the Montreal-based couple Hannah Rose Dalton and Raj Bhaskaran who run their Instagram account ‘FecalMatter.’ Their disturbing designs and looks are created to question their own identity and current situation in the fashion industry. A no censor approach pushes the envelope of ideas to a level where a feeling of instant uneasiness generates a wave of an identity crisis. Their visuals and curated designs are no less than resembling ‘alien-like creatures’ They create what they believe they are. The design concepts range from extended feet culminating into pointed sharp heels to changing the color of eyes to a full black. The dualism of personality extensions and identifying oneself visually as completely different being is where they play with conceptual creativity. It is a process of dissecting layers of personality, indulging in philosophical concepts and manufacturing the entirety of a new creature. Though 29 The future of Body Performance with artist ORLAN (lecture) at Science Gallery Dublin 2014.

30 Christian Kleese, ‘Modern Primitivism’ Non-Mainstream body modificationand racialized represntation.

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Fig.4.8 Tan France wearing Tudor design of 4.9 spiky, Nicola Formichetti–designed shoulders “A. Human.” by Simon Huck

Spring Summer 2019 collection of A.Human

Fig.4.10 Craving to be the first couple to birth an alien -Fecal Matter by Hannah Rose Dalton and Raj Bhaskaran

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their brand functions as an online store where people can buy clothes, their portrayal, questions the primary beliefs of surroundings we are used to.

From fashion to the point of questioning self-identity, artistic freedom of expression will keep pushing the boundaries of our body making it a tool to morph our physical as well as our emotional realities.

5. Conclusion The notion of abstracted Human bodies is far old than we understand. Relationship between the corporeal body and individuality supported by Science – Technology – Materials – Biology – Fashion and Artistic concepts repeatedly lean towards deconstruction and re-construction of human bodies. Pertinentvisual imaginations surrounding the body as per human needs are spreading its branches through multidisciplinary collaborations. In the present situation, we can be transformed or treat the body with the help of contemporary mechanisms and advanced material systems for an enhanced version of itself; Directly questioning our primary purpose and existence. The historical developments suggest overlapping disciplines and their dependency on achieving a viable and realistic result. Matching up with futuristic concepts and their embodiment physically gives a sense of achievement, fulfillment, and satisfaction. Economic status, profession, ideologies, availability of technology, health safety, medical intervention, artistic liberty, and freedom of expression trigger the rationale behind one’s choice of body morphology.

The dualism of necessity and luxury is difficult to bridge as these perspectives view a situation from different lenses. Visual and functional augmentations performed successfully with state of the art knowledge and equipment set up a pedestal for humans having superior abilities. The embryonic stages of temporary forms and theire ventuality of becoming permanent is not so far. It can be said that these experiments are the stepping stones towards the near future, where the meaning of humans might change radically. These patterns of morphing the corporeal body will have critical impacts on what we consider parameters of morals and social limitations. What is the extent that one can go to augment oneself?

Can one get back to being the initial physicality or identity? Unique self morphology would affect the socio-political, cultural, and religious conditions of the society. We might slowly start moving further away from nature by accepting our fate and dependency on technology, and the curiosity to artificially evolve into ‘advanced’ versions of ourselves.

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6. Bibliography: Domenic Marbaniang, “Developing the Spirit of Patriotism and Humanism in Children for Peace and Harmony”, Children at Risk: Issues and Challenges, Jesudason Jeyaraj (Ed.), Bangalore: CFCD/ISPCK, 2009, p.474.

Carroll, 1. (1993) Humanism: The Wreck o/Western Culture. London: Fontana.

‘Heidegger on the Notion of Dasein as the Inhabited body’, Akoijam Thoibisana, Indo-Pacific journal of phenomenology, volume 8, Edition 2, September 2008.

Hugo Letiche, Body and Organization, Chapter 5, Situating Complexity, the Body (Nude), 2000, p.87.

Featherstone, M. (1999). Body Modification: An Introduction. Body & Society, 5(2-3), 1–13.

Mary Douglas, Purity and Danger: An Analysis of the Concepts of pollution and taboo, London and New York, 2002 Chawanaputorn, D., Patanaporn, V., Malikaew, P., Khongkhunthian, P., & Reichart, P. A. (2007). Facial and dental characteristics of Padaung women (long-neck Karen) wearing brass neck coils in Mae Hong Son Province, Thailand. American Journal of Orthodontics and Dentofacial Orthopedics, 131(5), 639–645.

Ayeni, O. A., Ayeni, O. O., & Jackson, R. (2007). Observations on the Procedural Aspects and Health Effects of Scarification in Sub-Saharan Africa. Journal of Cutaneous Medicine and Surgery, 11(6), 217–221.

Camphausen R. Return of the tribal: a celebration of body adornment: Rochester (NY): Inner Traditions; 1998.

Dorothy Ko , The Body as attire: The shifting meanings of foot biding in seventeenth-century China, 1997, Journal of Women’s history, Vol. 8, No. 4 (winter).

Student’s Scientific Association at the Chair and Department of Hygiene, Medical University of Lublin, Poland.

Perry, T. S. (2015). Giving your body a “check engine” light. IEEE Spectrum, 52(6), 34–84.

Thorsten Fogen and Mireille.M.Lee, editors of Bodies’ conference, Cednter for Hellinic Studies, Bodies and boundaries in Graeco-Roman Antiquity Fredric Kaplan and Pierre-Yves Oudeyer, Stable kernels and fluid body enevelopes, EPFL-CRAFT - CE 1 628 Station, CH - 1015 Lausanne Switzerland and INRIA-Futur Bordeaux 351, cours de la Liberation, Batiment A29 33405 Talence, France.

Definition from Oxford Dictionary, 1970s. From post-human + -ism.

Rosi Braidotti, The Posthuman, April 2013, ISBN: 978-0-745-64158-4.

Hunter, Oatman, War and Prosthetics: How Veterans Fought for the Perfect Artificial Limb, Standford, October 2012

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J.Duffy Hancock, The evolution of Artificial Limbs, Professor of Surgery, University of Louisville School of Medicine, ‘29 Carroll, K., & Edelstein, J. (2006). Prosthetics and Patient Management: A Comprehensive Clinical Approach. Thorofare, NJ: SLACK Inc.. 284 pp. ISBN 1-55642-671-2 Kyriazi Nefeli Evdokia, AI and Prosthetics, 1Final Master Thesis Master of Artificial IntelligenceUniversitat Politecnica de Catalunya Cyborgfoundation.com Todd Wesby and Peter Dockrill interview for sciencealert.com July 2017.

Cyborgarts.com Artist ORLAN The future of Body Performance with (lecture) at Science Gallery Dublin 2014.

Christian Kleese, ‘Modern Primitivism’ Non-Mainstream body modificationand racialized represntation.

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7. List of figures: Fig. 2.1 From left to right, TOP ROW: 4-winged figure (n), from Ragozin; Anubis (j), from Casson drawing by Lowell Hess. courtesy Time-Life Books: Bird-lenaed siren (u), from M&;y (S), ;o&tesy Tudor Publishing Company; CENTER R6W: Typhon (z), from Hawkridge, drawing

by Theresa Garrett Eliot, courtesy Houghton Mifflin Company;-toiled siren (aa), from Cirlot, courtesy Philosophical Library, Inc.; BOTTOM ROW: Harpy (s), from Webster’s New World Dictionary, courtesy World Publishing Company; Centaur (t), from Murray (S), and Irk (z), modified from Murray both figures Tudor Publishing Company.

Judgment of the Humanness/Animality of MythologicalHybrid (Part-Human, Part-Animal) FiguresHarvey Nash California State College, Dominguez Hills , USA, July 2010.

Fig. 2.2 Lion Man angles by Vergleich drei Ganzkörper Ansichten Fig. 2.3 Young ‘Maori’ man prepared for an ethnic dance with facial and thigh tattoos.Clicked

by Andrew Turner, NZ, 30 Dec 2006.

Fig. 2.4 Myanmar (Burman) a Padaung woman wearing neck-rings to lengthen the neck.

Process print after a bronze sculpture produced by Malvina Hoffman for her exhibition “The races of mankind” commissioned by the Field Museum, Chicago, in 1930 and on exhibition from 1933 to 1968.

Fig. 2.5 20-year-old Ataye Eligidagne has the largest lip plate in the world. It weighs 19.5cm.

The Ethiopian tribe where a lip plate makes you more attractive, Photo journalist, Daily Mail.

Fig. 2.6 Chinese woman’s feet deformed after practicing foot binding. For beauty’s sake : Foot binding in China, created by Ann Wagner.

Fig 2.7 Comparative Study of perceptions of the Human Body : by Author Fig. 3.1 The butterfly sensor on the left is designed to monitor exposure to the sun’s ultraviolet (UV) rays, the center sensor uses sensitive dyes to detect chemicals in sweat, and the sensor at the right uses electronic circuitry to measure blood pressure. IEEE Spectrum, Hacking the huamn OS, Reading the code, Sensors by Tekl. S. Perry 29th May 2015, Illustration by James Provost.

Fig. 3.2 Thin and Stretchy: This Bio stamp is a test bed for a variety of stretchable devices; it includes arrays of transistors, diodes, capacitors, inductors, LC oscillators, temperature sensors, strain gauges, an LED, an inductive coil, and a simple antenna. IEEE Spectrum, Hacking the huamn OS, Reading the code, Sensors by Tekl. S. Perry 29th May 2015. Photo by Randi Klett

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Fig. 3.3 Incorporation is a recursive process. At a given state of incorporation, certain objects are abstracted from the environment and become aeordants. Stable kernels and Fluid body envelopes, Frederic Kaplan and Pierre-Yves Oudeyer, EPFL-CRAFT - CE 1 628 Station 1, CH - 1015 Lausanne SWITZERLAND and INRIA-Futur Bordeaux 351, cours de la Liberation, Batiment A29, 33405 Talence FRANCE Fig.3.4 In the space of possible modes of being, the ones accessible to human beings form a tiny subset. www.posthumansim.com Fig. 4.1 Flow chart explaining the focus of the research by Author Fig 4.2 This prosthetic hand was designed by Thomas Openshaw around 1916 while working as a surgeon for Queen Mary’s Hospital. Two fingers of the wooden hand are reinforced with metal hooks to help with daily tasks. Image courtesy of the Science Museum / SSPL. Fig 4.3 The South African runner Oscar Pistorius, as photographed for a recent Nike campaign. https://www.bbc.com/news/business-21530625 Fig.4.4 Neil Harbisson, Co-founder of CyborgFoundation and TranspeciesSociety. https:// www.cyborgarts.com/ Fig.4.5 Moon Ribas, Co-founder of CyborgFoundation and TranspeciesSociety. https://www. cyborgarts.com/ Fig.4.6 ORLAN during one of her surgical operation performances of ‘Omnipresence’. The future of Body Performance with artist ORLAN (lecture) at Science Gallery Dublin 2014 Fig.4.7 Inside Simon Huck’s presentation of “A. Human.” Spring Summer 2019 , New York https://www.wmagazine.com/story/a-human-simon-huck-launch-soho-exhibition Fig.4.8 Tan France wearing Tudor design of “A. Human.” by Simon Huck https://www.wmagazine.com/story/a-human-simon-huck-launch-soho-exhibition 4.9 Nicola Formichetti–designed shoulders Spring Summer 2019 collection of A.Human https://www.wmagazine.com/story/a-human-simon-huck-launch-soho-exhibition Fig.4.10 Craving to be the first couple to birth an alien -Fecal Matter by Hannah Rose Dalton and Raj Bhaskaran. https://www.instagram.com/matieresfecales/?hl=en

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Theory and Advanced Knowledge Institute for Advanced Architecture of Catalonia 2018 - 2019