The Recombinant Museum
Museological theater and the practice of new media intersect the cinematic, televisual, literary, performative, and mobile platforms existing among our real, perceived, and imagined narratives. Transecting art, science, technology, feminism, and experimentation in narrative strategies, my current research on the Recombinant Museum evolves from the convergence of André Malraux’s “imaginary museum,” gender and identity studies, science and science fiction in film, philosophy and literature, institutional critique, database lifestyles, Anna Munster’s interfaciality and digital embodiment, and storytelling in hybrid para-fictional forms that reframe our personal identities and cultural narratives through feminist collaborative formation and new media aesthetics.
I am working in the speculative future to envision a dynamic museum that re-imagines personal and collective identity, social cultural institutions, and post-human design through nanotechnology and genomic advancements synthesized in a techno-evolutionary process. The recombinant museum is a way of seeing, a cyberfeminist analysis on the body, sexuality, space, time, and materiality and its negotiation with the culture industry, territory, and art.
The museum is an artistic representative dimension of contemporary life, a liminal environment in constant transformation that holds a mirror up to our present moment reflecting our times and communities. The synergistic possibilities between nanotechnological production and systems of biomimicry represent the new potential for the future of architecture, and the identity of the integrated circuit.
The real destiny of the machine [is] to merge itself with natural organisms. –Jack Burnham, Beyond Modern Sculpture, 1968
The Archive The Interface Performative Memory NanoArchitecture Digital Embodiment Cyberfeminism