Human vs. Non-human in Art: the Posthuman Sculptures of Patricia Piccinini
DOI:
https://doi.org/10.18662/jsmi/2.1/8Keywords:
Patricia Piccinini, posthumanism, sculptures, embodied cognition, bodyAbstract
Exploring briefly humanity and humanism, the present article meditates on the posthuman and what it means to be human. A survey of the posthuman tradition and meaning offers the perfect setting for the main discussion that is concerned with art. By analysing the relationship between technology, posthumanism and art through various theories and perspectives the text reflects on the future of art and humanity. Afterall, art has always been closely tied to us and our lives in various shapes throughout history. Is technology the future for art? Will all art become posthuman? Does technology pose a threat for artistic creation? While such questions cannot have definitive answers, one can only hypothesize based on the current state of things. A current example for what posthumanist art means is the work of Patricia Piccinini. Her sculptures emphasize precisely this borderline between human and non-human providing the viewer with a reason to meditate and analyze what sets us apart but also what brings us together. When comparing a regular human to any of her sculptures one can easily notice that the two differ, yet, as the artist herself notes, there is a familiarity that unites the viewer with the sculpture. And what about our differences? A sudden response is given by the embodied cognition theory.References
Arike, A. (2001). What are humans for?: Art in the age of post-human development. Leonardo, 34(5), pp. 447-451.
Benjamin, W. (1969). Illuminations. New York: Shocken.
Broadie, S. (2001). Soul and Body in Plato and Descartes. Proceedings of the Aristotelian Society. Retrieved from https://www.jstor.org/stable/4545350?seq=1.
Colebrook, C. (2014), Death of the Posthuman. Essays on Extinction. Michigan: Open Humanities Press with Michigan Publishing.
Descartes, R. (2008). Meditations on First Philosophy. Oxford: Oxford University Press.
Foucault, M. (2002). Order of Things. New York: Routledge Classics.
Haraway, D. (1991). A Cyborg Manifesto. In D. Harraway, Simians, Cyborgs and Women: The Reinvention of Nature (pp. 149-181). New York: Routledge.
Heidegger, M. (2011). Originea operei de artă. București: Humanitas.
Johnson, M. (2017). Embodied Mind, Meaning and Reason: How Our Bodies Give Rise to Understanding. Chicago and London: University of Chicago Press.
LaGrandeur, K. (2016). Posthumanism and Contemporary Art. Retreived from https://www.mocacleveland.org/sites/default/files/files/lagrandeurpaperfinal.pdf.
Merleau-Ponty, M. (2005). Phenomenology of Perception. London and New York: Routledge.
O'Donnell, R. P. (2011). Posthuman: Exploring the Obsolescence of the Corporeal Body in Contemporary Art. Inquiries Journal/Student Pulse, 3(08). Retrieved from http://www.inquiriesjournal.com/a?id=564.
Pepperell, R. (2003), The Posthuman Condition. Consciousness beyond the brain (1st ed.). Bristol, Portland: Intellect Books.
Piccinini, P. (2020). Some thoughts about my practice. Retrieved from https://www.patriciapiccinini.net/writing/0/477/16#.
Platon (1986). Republica. In Platon, Opere V. București: Științifică.
Roden, D. (2015). Posthuman Life. Philosophy at the Edge of the Human. London and New York: Routledge.
Wolfe, C. (2009). What is Posthumanism?. Minneapolis: University of Minnesota Press.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2020 Journal for Social Media Inquiry

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication, with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work, with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g. post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in the journal.
- Authors are permitted and encouraged to post their work online (e.g. in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as an earlier and greater citation of published work (See The Effect of Open Access).
The Journal has an Attribution-NonCommercial-NoDerivs
CC BY-NC-ND