Prosthesis

Catalogue for an exhibition of art works by Gavin Younge – the decade 1997–2007 at Le Cloître des Billettes, 24, rue des Archives, Paris, 75004.

Kvinder, Køn & Forskning, 2021

While the prosthesis is often thought of as a technology or an artefact used to ‘fix’ or make ‘whole’ a disabled body, it has also become an important figuration and metaphor for thinking about disabled embodiment as an emblematic manifestation of bodily difference and mobility. Furthermore, the ambiguity and broadness of prosthesis as an object and a concept, as well as its potential as a theoretical and analytical thinking tool, show up in widely different areas of popular culture, art and academic scholarship. In this article, we explore the opportunities of the ways in which prosthesis might be a helpful and productive fi gure in relation to framing, analyzing and understanding certain healthcare-related practices that are not traditionally associated with disability. Our aim is to suggest new ways of building onto the idea of the performative value of the prosthetic fi gure and its logics as a continuum through which very different forms of embodied practices could be meaningfu...

Prosthetic devices have been used in museums to tell clinical, technical and personal stories. Here we reflect on the ways artificial limbs and their users were represented in recent museum projects at the Royal College of Surgeons of England and at National Museums Scotland. We consider how these meaningful artefacts illuminate three overlapping themes in museum scholarship and practice: the representation of disabled people and disability in museums; reflections on conflict-acquired limb loss; and the presence or otherwise of user or patient voice in interpretation. In working with and representing people who design and wear prosthetics we advocate a balance between narratives of technique and of use.

2016

Aesthetics of prosthesis design is a field of research investigating the visual aspect of the devices as a factor connected to the emotional impact in prosthetic users. In this chapter we present a revised concept of perception and use of prosthetic devices by offering a view of 'creative product' rather than 'medical device' only. Robotic-looking devices are proposed as a way of promoting a new and fresh perception of amputation and prosthetics, where 'traditional' uncovered or realistic devices are claimed not to respond with efficacy to the aesthetic requirements of a creative product. We aim to promote a vision for a change in the understanding of amputation-and disability in general-by transforming the concept of Disability to Super-ability, and to propose the use of attractive-looking prosthetic forms for promoting this process.

British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Ranciere, Jacques. [Aisthesis. English] Aisthesis : scenes from the aesthetic regime of art / Jacques Ranciere ; Translated by Zakir Paul.-[First English edition]' pages cm Includes index.

Tecnoscienza, 2023

Prostheses are complex, ambivalent, and non-uniform objects. Even be-fore it “exists” as a material entity, the prosthesis, and more specifically the future body-prosthesis relation, is already present in one’s amputation and rehabilitation trajectory. It is indeed integrated by healthcare professionals in amputation surgical protocols as well as during care in the pre-fitting rehabilitation phase. Not there yet, it still shapes, materially, amputees’ bodies. Likewise, while amputees wait for its arrival, the prosthesis is an ob-ject they imagine and possibly fantasise about. Then, once manufactured and materially present, prostheses become part of a long, uncertain, and ever-changing process of creating a body-prosthesis alliance. Spanning from rehabilitation to daily-life at home, this process oscillates between adaptation and dis-adaptation, embodiment and rejection, capacities and limitations, hopes and disappointments.Based on ethnographic fieldwork conducted with amputees and health-care professionals in France, the purpose of this article is to delve into amputees’ daily experiences, in order to grasp the complexity of the alli-ance that is woven between amputees’ bodies and prostheses over time. More precisely, we will use the dialectic of absence and presence as a guide for our analysis, since these two notions are enlightening to understand the complex embodiment and collaboration between the amputee, his/her body, and his/her prosthesis. They shed light on the temporalities, the spaces, and the issues of the body-prosthesis relationship in the process of embodiment and appropriation throughout the life course.

Prosthetics and orthotics international, 1977

Hybrid Practices: Art in Collaboration with Science and Technology, 2018

Festival novomedijske kulture Speculum Artium, 2022

Prosthetic pavilion Vol.3 is initially established as an online curatorial platform for the 5th edition of The Wrong Biennial. The embassy/pavilion has brought together artists from around the world. As the platform title /zero agency/ insinuates, the rhizome-networked growth of the platform’s aesthetics and content has changed many shapes and forms, completely open to participant interventions. The summary of it will now be translated into a physical space. The aim is to create a physically immersive environment of labyrinth-like movement throughout the embassy space, from video, sound, and image to VR /360content – from hypertext and virtual x-y-z – to a curated spatial, and embodied experience. The pavilion spreads throughout two separate rooms (no tolerance hyper party, and 0 agency) connected via the portal for trespassing. _____ The first embassy iteration was presented at the Digital Big Screen segment of the Speculum Artium festival of new media culture in Trbovlje, Slovenia. _____ https://speculumartium.si/wp21/wp-content/uploads/2022/11/speculum_artium_2022_katalog.pdf