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Wearable tech and biodesign Wearable tech and biodesign
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Methods and messy taxonomies Methods and messy taxonomies
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I’m not in marketing! Gendered assumptions of expertise I’m not in marketing! Gendered assumptions of expertise
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The visual and the haptic The visual and the haptic
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A bizarre assault … it’s really sick, especially when we’re talking about body data A bizarre assault … it’s really sick, especially when we’re talking about body data
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The posthuman The posthuman
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Cogs, machines, and circuits versus bodies, guts, and insides Cogs, machines, and circuits versus bodies, guts, and insides
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Conclusion: Why semiotics? Conclusion: Why semiotics?
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References References
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8 Supremacy or Symbiosis? The Effect of Gendered Ideologies of the Transhuman versus Posthuman on Wearable Technology and Biodesign
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Published:May 2023
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Abstract
In March 2021, Dolce and Gabbana (D&G) showed its women’s fall/winter 21 collection in a windowless, audienceless, mirrored fantasia of flashing lights glancing off reflective surfaces. The video showed models sweeping down the runway in shiny metallic garb, glossy white robots rolling along beside them. One “MC” robot seemed to be running the show, strobing lights, and pulsing the music with dramatic sweeps of its humanoid hands. The COVID-19 pandemic may have nixed the customary live show, but not the futuristic exuberance of the presentation. Ostensibly informed by “robotics research and Artificial Intelligence,” D&G’s Instagram (@dolcegabbana, 3/1/21) claimed that this collection was “an attempt to reveal how technology and craftsmanship, two apparently different worlds” can come together. By eliding the notion that technology is craftmanship, the post invokes a rift in signification that has far-reaching consequences. The idea that high fashion and high tech are mutually exclusive has a long history. Fashion, traditionally associated with the feminine, is a luxury world of silk, fur, and leather. The “hand” of a fabric, its feel to the touch, is just as important as how it drapes or looks on the body. The notion of “handmade” is also highly valued, evoking images of patient seamstresses painstakingly beading a one-of-a-kind creation. As the organizers of the 2016 Manus x Machina show at the Metropolitan Museum of Art aptly pointed out, the “oppositional relationship” of the “hand/machine dichotomy” (Bolton and Cope, 2016, p. 9) has governed the culture of fashion since the birth of haute couture in the mid-19th century.
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