The Complexities Of Our Technological Entanglement

Royal Mixtape
2017

 

Artist Brandy Trigueros is the Edge of Humanity Magazine contributor of this photo essay.  From the project ‘The Dadabyte Theater’To see Brandy’s body of work, click on any image.

 

Facial Unrecognition
2017

 

The Typist
2020

 

Wi-Fi
2017

 

Me, Myselfie and I
2017

 

An ode to the Dadaists and Bauhausian artists of the 20th century, “The Dadabyte Theater” explores the technologized body within the present Fourth Industrial Revolution. Utilizing in-camera autoportraiture, I reflect on the complexity of contemporary cyborg configurations and attempt to find balanced modes of being in a hyper-connected, mechanical society dominated by technology. Parts of my body recede into the imagined dark spaces of history and the Internet, as other parts are being shaped and forced to conform to expectations of femaleness within regimented societal structures. Autonomous machines of war, labor, pleasure, care, companionship and other computational systems of control and comfort are being produced within this dizzying systemic capitalist merry-go-round. By using products of industry, I aim to illustrate the constraints, contradictions, and complexities of our technological entanglement and chose to explore my own agency and autonomy through this work.

 

Feedback Loop
2020

 

Communication Tower
2019

 

Information Proliferation
2017

 

Charged
2018

 

Milking Machine
2018

 

All images and text © Brandy Trigueros

 

 

See also:

There’s No Other Like Your Mother

By Brandy Trigueros

 

 

 

 

Edge of Humanity Magazine is an independent nondiscriminatory platform that has no religious, political, financial, or social affiliations.

We are committed to publishing the human condition, the raw diverse global entanglement, with total impartiality.

 

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