User:Michel W/Thesis

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Introduction

I want to examine the connection between cyberfeminism, the aesthetics of cyborg, and Taiwan/Asian queer communities. Within the cyborg concept, there’s a focus on non-binary opposition and the ambiguity of identity and boundaries. Similar to queer and non-binary people, liberate gender, break free from binary-centered opposition, and actively embrace a future of diversity, heterogeneity, and hybrid identities. In addition, I am interested in exploring cyberfeminism within an Asian context. Modern queer and gender spectrums have already broken down the traditional binary concept of gender; could there be even more possibilities? Do we still need this or similar myths and metaphors?

❣ Chapter I. Cyborg Aesthetics and Queer Identity

In this chapter I want to examine how cyborg,cyberfeminsim aesthetic enhance the understanding of queer and non-binary identites, particularly in Asia contexts.

I.I Artistic representations of the Queer-Cyborg

How do artistic representations (e.g., fashion, wearable tech, performance art) visualize and express queer experiences through the cyborg?

There are many different mediums for artists to use for embody the cyberfeminsim and cyborg aesthetic. Firstly, in the fashion world, Manfred Thierry Mugler perfectly transformed this aesthetic into his FW95 haute couture collection, the robot-style metallic suit with metal framework, which combined with silver armour, and transparent cut-out design with plastic in bust, belly and legs. This iconic robot suit has gained attention recently because the actress Zendaya wearing it at the Dune 2 premiere in London in February, 2024. It shows that the concept of the chimera, consist of human body and machine/metal is a timeless classic.

It also reminds me of the artist Hajime Sorayama and his “sexy robots”,