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My book shape like this and on the arm I will write all the references from the text.

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Japanese artist Mari Katayama was born in 1987 and creates deeply personal and reflective paintings which question disability, identity, and body image. Katayama was born with congenital tibial hemimelia, when she was born without bones in her tibia, and bilateral amputation at a very young age. This experience made its mark on her work, offered up through the media of self-portrait, sewn-by-hand sculptures, and photographs that challenge the complexities of disability in a society that disregards those that do not conform to "normality."

Mari Katayama works usually with fabric, thread, and prosthetics to build her sculptures skeleton. and afyer she stitches them together by hand, often incorporating her own body into the work. Her sculptures are represented through photography, where she records the intimate relationship between the objects she builds and her own existence.

One of the most famous project of Katayama is the "High Heel Project" that she began in 2011. Through this project, she creates one-of-a-kind prosthetic legs that allow her to walk in high heels—a phenomenon commonly perceived as being representative of femininity and cuteness. It began as a remark she overheard in a college performance at a jazz club, where a customer told her that a woman who wore no high heels was not a woman by any means. The remark led Katayama to challenge the social assumptions made about women and disabled women especially, and to reclaim her power with the prosthetics. In wearing high heels, she not just appropriates feminity on her own terms, but also undoes disability representations and constructions about what it takes to be feminine.

Katayama's body of work is greater than "High Heel Project." She uses a wide range of materials—her own body, attire, and other common objects—to produce sculptures and photographs that critique the problem of personal identity and public image. She believes art must be founded on personal experience, and her work incites debate regarding the body and the way it is viewed in society.

on a interview for her exhibition at the Tate Modern is been ask what role beauty pley in our society and she say "I am interested in people’s common obsession with artificially created beauty, which is something that changes with the times. Yet, there is a type of beauty that

exists regardless of time and place. I want to make things which are universally

beautiful and accessible to everyone." and i think in art and esthetic the word beauty is really subjective not objective and is need to be for everyone to appreciated and exposed to variegated public.

Her artwork has been displayed in the "Performer and Participant" event of Tate Modern in 2023, and she left her mark in contemporary art. Through her life and body of work, Katayama's creation are breaking conventions and opening avenues for better understanding of disability, identity, and human condition.

References:

Katayama, M. (2022). High Heel Project. Retrieved from marikatayama.com

Tate Modern. Mari Katayama: Art Should Be For Everyone. Retrieved from tate.org.uk

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Otto Dix's is my fourth artist he's using different technique from etching to monoprint and painting to rappresent the real face and consequences of the WWI during the Weimar Republic where the soldiers was coming back after a defeat and a uge lost and found out that they have lost also a home and they where now broken they where starving and the Germany they left before the war is completely ruined and different. also, people are trying to forget, but for them, full of scar and traumatised is not possible.

Helmuth Stockmann, Freiwillige aller Waffen sichert Berlin; Volunteers with all weapons will secure Berlin. Enlist in the Reinhard Brigade. Lithograph, 94 x 71 cm. Berlin: Plakatkunstanstalt Dinse & Eckert 1919. Library of Congress, Prints & Photographs Division, WWI Posters, [reproduction number, e.g., [LC- USZC2-1234].

Dix say “I had the feeling that there was a dimension of reality that had not been dealt with in art: the dimension of ugliness.” Dix, cited in Eva Karcher, Otto Dix, New York: Crown Publishers, 1987, p. 16.

one of his famous works is "War Cripples" (1920) is one of the most cruelty and uncompromising paintings, giving us a look at the wreckage left behind by World War I. Having been through the war himself, Dix was deeply shaken by the suffering he saw, and this is immediately evident in his portrayal of maimed veterans. Dix does not portray soldiers as grand heroes in the painting, but as men whose bodies carry the wounds—missing limbs, facial scarring, and deformed. The veterans are not symbols of glory and masculinity; they're are the outcomes result of the war, created that bear the painful, visible marks of its brutality.

Ernst Friedrich, “…and the war wounded proletarian at his daily sport”, Krieg dem Kriege! [War against War], Frankfurt am Main, Zweitausendeins, 1980,197.

In completely contrast with the propaganda during that period where soldiers are idealized and see as a hero and ready to go back and fight for the Germany. Dix's *War Cripples* presents viewers with the true price of war—the emotional and physical destruction that continues many years after conflict ceases. As art historian Eva Karcher explains, Dix's painting "compels us to confront the ghastly reality of war and its effects, stripping it of the idealism and showing us the real cost" (Karcher, 1991); in most of his paiting related to the WWI the soldiers are carry psychological and fisical wounds, that the society have try to foget about but they are a clear reminder that the effects of war don't just go away once the fighting stops.

Prague Street,1920 Otto Dix. Kunst Museum Stuttgart

Dix's focus on these soldiers is also a critique of how society treated its veterans after the war. The men in *War Cripples* or *Prague street* and also *the skat players* are only a few of the men left to struggle on their own, forgotten and discarded by the same society they fought to protect. the composition of dix painting make almost the viewer as a pedestrian on the street force to walk next to this crippled but thanks to his art now the pedestrian need to stop and look at them see through their suffering, Dix asks us to rethink the way we idealize war and the price of violence paid in human terms—not just lives lost, but the way trauma distorts those who survived. Dix, with his art, wants to give voice to those who are too often overlooked and foget, reminding us of the long-term consequences of war. He reminds us that after a war not everyone will heal over time and for the idealism of a coutry million of life are at risks and the one that fight for it on the first line are the one that we should never neglect.

Reference:

Karcher, E. (1991). Otto Dix - 1891-1969. Leben und Werk. book

Dix, O. (1969). Otto Dix 1891-1969. Hatje Cantz. Book

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Mechanical Body-Fan, 1974, displayed in six different positions. Photos Rick Molek and Tom Van Eynde.

i choose this artist because is make me question what we consider human and what an ibrid human is. Rebecca Horn is a German, born in 1944, a crucial period in europe and in the world. she is an artist and choreographer. she embend damce and body extension to create a new way to see our body. her installations are make you questioning the limitation and position of your body in space and how can be extended or trasform, lengthening the human body in unnaturally position.

horn itself say "The body is a kind of instrument… I use it to express things that are not visible, but that I feel deeply" (Horn, 2014).

The most impressive sculptures are the Peacock Ma-chines (1981 and 1982). is an imitation the male peacock dance, lifting their mechanical tails and spreading feathers or bare quills. The featherless peacock represents either a female or an out-of-season male that has lost its feathers; it's ambiguous. Either way, role reversals are implied.

With these extensions, horn redimention the body not as a fixed, static thing, but as something changeable and transformable. Like prosthetics made from any possible material and different mechanisms and purpose, without any identity or human limitations is like a metamorphosis of the human body in something new and fluid (Baumann, 2014). The mechanical aspects of her work encourage contemplation of how such changes impact our sense of self and our relations to the world around us and how that make you feel.

she is an ispiration for artist. working with a different perspective and inspiration using a classic pencil, wood or metal in a completely different way. use the body not as somethink shaped and with limited boundaries but as a vassel to shape a new "creature" completely inorganic.

References:

Baumann, J. (Ed.). (2014). *Rebecca Horn*. book by Jack Halberstam, Hendrik Folkerts, Jana Baumann. Interviews by Timothy Baum, Nancy Spector. Hatje Cantz.

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Portrait of Victoria (1819-1901), Queen of Great Britain (1837-1901) by Sarah Biffin, 1848, courtesy of Bonhams, watercolour on paper.

Self-Portrait, 1842

Watercolour and gouache on paper

As a second artist i choose one that instead of give up she manage to express and evolving her talent. Sarah Biffin was an artist who had beaten the stereotype of people being born armless due to phocomelia.

Using only her feet and mouth to hold brushes and pencils, she created small and detailed artworks from small paiting to somethings that could be worn on a chain.

I didn't choose Biffin’s just for her talent in miniature drawing but also because she overcome the adversity of her disability and pursued her dream, succeeding in a period when women were marginalised, and people living with disabilities were subject to superstition, misunderstanding and prejudice. her work and endurance earned widespread recognition. She painted important figures, including Queen Victoria, and exhibited in galleries, showcasing her skill and perseverance.

Biffin use a variety of media, including watercolor, chalk, and pastels. I think she can be taken as an example to break barriers and think beyond what is possible or common. Through her work we can see for those who face challenges, but not only, that real ability is about overcoming obstacles and expressing your creativity.

References: book Without Hands: The Art of Sarah Biffin author Alison Lapper first publishing 2022

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Sophie de Oliveira Barata works closely with engineers, designers, artists, and amputees to come up with unique prosthetic designs that combine functionality, technology, and personal expression. during her fine art stusy at university she came up with this idea, create an iper realistc limbs where is almost impossible distinguish which arms is cybernetic, but also is not the best solution for people with limbs to have an arm or legs resemble a real one because it will make you think that you can keep doing exactly the same things as before. Sadly, even with the best prosthetics, it is not like this there limit of what you can do with it. so Oliveira is came out with the idea of not just a common prosthetics but somethings more revolutionary, visible and bold. She makes sure that the prosthetics reflect the individuality of the wearer by considering the specific needs and desires of the person, which makes each piece unique. Her work features advanced technologies such as embedded speakers, LED lights, and other elements that enhance both functionality and durability (de Oliveira Barata, 2023). This work is beyond what prosthetics could be used to represent. This has made prosthetics, rather than just tools, expressions of art, saying something about the personality of the wearer. help who wearing them to not be ashamed of their disability.

Oliveira had a fruitful collaboration Viktoria Modesta a British singer, creative director and musician. Viktoria had a voluntary below-the-knee leg amputation to health issues she’d had since birth and was someone who fully embraced the idea of the body as a canvas for personal expression. in the interview for the collaboration with Oliveira she say "I had to transcend my physical body when I had my elected amputation a while back, it really forced me face to face with the invisible obsession that we have with every bit of our skin and the idea that our natural biology is superior, and that process sort broke me free from being imprisoned in the skin-suit so to speak and view the body as an opportunity to express yourself, to redesign, and have fun with it.” they create an amazing combination of functional and esthetic prosthetics.

For Barata, prosthetics are not just a common application by is a way to reinventing them as unique art pieces. As she explained in an interview, "Prosthetics should be an extension of who you are, something that speaks to your personality, rather than just something that helps you function" (de Oliveira Barata, 2023). Working with materials like metal, wood, and glass, using a steampunk style with intricate gears and details or more elegant and sophisticated look to provoking a new mindset in the industry. Some of her work includes a prosthetic leg that has lights inside and a speaker built into it, giving it a futuristic look while allowing the wearer to carry their own music, another one have a tentacle as an harm able to curve and pick up object as well as elegant prosthetic hands designed to resemble bird's claws.

reference from her official websites: https://thealternativelimbproject.com/about/

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This will be part of the book the analysis of the cyborg manifesto.

Haraway's was part of a decostruction movement and during that period she wrote *A Cyborg Manifesto* published for the first time in the 1985 and for that period it was revolutionary statement, even more now duting this period where we are constantly surrounded from cyborg and technology. Haraway guides us to think about cyborg, half-machine, and half-human, not as a specific identity but as something to defies traditional boundaries and pushes us to understanding what we are or can be.

As an example, Haraway states, "The cyborg does not dream of community on the model of the organic family" (Haraway, 1991, p. 151). In saying this, she refutes the thought that the classic family is the basis of society. The cyborg doesn't lie within these norms. It's not defined by biology or traditional roles of male and female. Instead, the cyborg represents a more flexible, interconnected entity —where identities are not fixed but are always undefined and constantly evolving. The cyborg is also a metaphor for our current reality, where the lines between humans and technology are already blurry. indeed, a solid example of this is the industry of prosthetics. nowadays is evolving rapidly thanks to the cyborg industry they give to each other information for improving day by day the production. but can we consider someone that can receive the prosthetics an half robot? in fact this manifesto guide me, to more question, about what can be done with the help of cyborg to our society and for the people that need them. also what is the difference between robot and cyborg? to be literally cyborg is a part of living beings combine with the mechanism of a robot but robot is a nonliving automated machine.

Also Haraway doesn’t just talk about a future world where machines and humans merge. She points out that we’re already living in this world. Our reliance on technology-from prosthetics to smart phones-is so woven into our bodies that it is who we are. She continues to say that: "Cyborgs are not reverent; they do not remember the cosmos. They do not believe that the world of nature is an innocent world" (Haraway, 1991, p. 149). What this is saying is that the cyborg does not have a any important understanding of nature. Rather, it embraces the tangled, dirty reality in which humans and machines are one. In Haraway's universe, the cyborg also plays a role in feminist politics.

The cyborg does not fit in with such traditional feminism conceptions. It's not the matter of codifying how being feminine would be biologically, but how knowledge the whole categories. As per Haraway, "Cyborgs are liberated from the tyranny of gender" (Haraway, 1991, p. 149). Such an emancipation does not simply indicate that women break free from patriarchal structures but all individuals. Haraway's cyborg offers a new vision of identity, one in which people can define themselves based on what they have experienced and not their biology. At the end of it all, Haraway's *Cyborg Manifesto* challenges us to imagine a world in which boundaries—of gender, of species, of technology— can be cross. The cyborg is a tool for creating solidarity among differences, for fighting the forces that divide us. It challenges us to move beyond the labels that have long divided us and to imagine a world in which we can come together, not by eliminating our differences, but by celebrating them.

In an interview by Nina Lykke, Randi Markussen, and Finn Olesen, Donna Haraway explains how the cyborg presents the means to move through the web of gender, technology, and power.

As she describes, the cyborg is a "site for contestation," a space where "categories of identity are fluid are constantly shifting" (Lykke, Markussen, & Olesen, 2001). She is of the opinion that this science-fiction-like reality is being experienced in the contemporary world. Haraway poses old-fashioned beliefs of gender by arguing that the cyborg is a new way to escape from the binary classification of ‘man’ and ‘woman.’ It is a concept in which the lines separating human beings and technology are blurred.

in the chapter "AN IRONIC DREAM OF A COMMON LANGUAGE FOR WOMEN IN THE INTEGRATED CIRCUIT" say that "modern medicine is also full of cyborgs, of couplings between organism and machine, each conceived as coded devices, in an intimacy and with a power that was not generated in the history of sexuality. Cyborg 'sex' restores some of the lovely replicative baroque of ferns and invertebrates (such nice organic prophylactics against heterosexism). Cyborg replication is uncoupled from organic reproduction. Modern production seems like a dream of cyborg colonization work, a dream that makes the nightmare of Taylorism seem idyllic. And modern war is a cyborg orgy, coded by C3I, command-control-communication-intelligence, an $84 billion item in 1984'sUS defence budget. I am making an argument for the cyborg as a fiction mapping our social and bodily reality and as an imaginative resource suggesting some very fruitful couplings. Michael Foucault's biopolitics is a flaccid premonition of cyborg politics, a very open field." avoiding the voluntary combination of sexual vocabularies with robotic meaning. this chapter is almost scarry me a lot beacuse she make a clear statment about the war that surrounding us nowadays and the importance of the cyborg in any industry. people take advantages of this tragedy for make cyborg colonialise us, like we did in the USA a long time ago.

Western science or other social scientific approaches and politics are also analyzed for them having a more powerful image of capitalist and colonialist coming from the patriarchal structure. Unlike these, the cyborg offers a more open and constructive approach for the future. It does not rest on preexisting notions of reproduction or advancement. Rather, the cyborg symbolizes a new being that upsets the old order. Through the use of the cyborg Haraway urges people to conceptualize life outside the borders of perpetual stability, which instead guarantees endless opportunities for social and political reformation. In the end, the freedom of the cyborg is shaped and redefined by the biological and social world through technology.

References:

• Haraway, D. (1986). Recombinant DNA Technology and Its

Social Transformation, 1972–82. Osiris (2nd series), 2, 303–

360.

• Haraway, D. (1991). A Cyborg Manifesto: Science, Technology,

and Socialist-Feminism in the Late Twentieth Century. In

Simians, Cyborgs, and Women: The Reinvention of Nature.

Routledge.

• Haraway, D. (2006). The Promise of Cyborgs: Conversations

with Donna Haraway.

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For this project, I choose to look around the prosthesis and technology and disability and how this has helped or opened a new way of producing art.

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Recently, i visited the istallation of pamela phatsimo sunstrum. In the Barbican named "It will end in tears," the artist collaborated with Remco Osório Lobato and had her.

The exhibition is base on "film noir" a narrative base during the colonialism period. Indeed. the artist want to comunicate "the femme fatale archetype which is often reductive and misogynistic tropes to represent women across literature, art and cinema." (quote unknow is in the entrance of the gallery)

The story that the artist want comunicate can be revisited in modern prospective as a reminder of racism, patriarchal society and black woman in this case but also woman in general in our society, struggle. The trasformation of Bettina, the protagonist, thought the story is a clear statement. we can see her in the beginning dressing on high hills and expensive clothes she is intimate with man and showing off her fame fatal side for ending slowly slowly to adapt herself to the society of a small town and and she swich in a more housewife outfit and be under the supervision of man, she is also taking care of the house and doing what a woman is expected to do in a patriarchal society.

"Bettina is Sunstrum’s second alter ego. The artist herself was born in Mochudi but spent time living in other parts of Africa, southeast Asia and the United States. These locations have palimpsested not only in Sunstrum but also the women populating her work." (Articles of Vamika Sinha- A Narrative Unfolds: Pamela Phatsimo Sunstrum’s ‘It Will End in Tears’ at Barbican)

Sunstrum's uses wood as a canvas. she also embending the artwork with cinematography stand that it is engaging and helps the viewer to immerse himself in the storytelling. the tecnich on woods create an interesting payting the natural rings of the wood create a particular and concentric effect. Their wood mingles with that of the panels, to imply that visitors are entering a specific, intact, yet fictionalised world with its own rules and logics – but that our presence in this world is, precisely, to question them. (Articles of Vamika Sinha-A Narrative Unfolds: Pamela Phatsimo Sunstrum’s ‘It Will End in Tears’ at Barbican) the decision of the artist to use woods is clever she state in an interview that she "love working modularly on these beautiful panels because they break down into crate-sized containers that can safely and efficiently and sustainably be moved around the world, unlike big unwieldy paintings. There are a lot of variables working on wood. You can’t predict the grain. And you can’t predict what will happen once you start oiling the grain because it starts to get its own life, and you start to see things that you didn’t see before" (interview By Sabo Kpade

9. October 2024 - Pamela Phatsimo Sunstrum: A Dramatic Painted Mystery Investigates Ideas about Women’s Power).

I found the exhibition really amusing but it almost look unfish to me. the conclusion of the story where there is a tribune of white man ready to judge and give the final statement is revealing and really sad, uneasy reality to accept.

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I read the text of Andrew Brown, art and ecology now. the author take into analysis the contemporary artist that help to send a messagge about the climate change trought their art. some artists, including waste or natural material, to create an amazing art piece but also communicate the delicaty of our environment and how easy it is to destroy. Some other artists instead use photography or video as a document of deforestation or global warning and climate change.

for Andrew Brown, the artist has a diuty, as any other individuals, to questioning how to protect nature and the environment."This way of working is not free of controversy, however Environmental art raises a raft of questions, from the aesthetic to the ethical. Should art be a withdrawal or refuge from real life, or should it engage directly with the world? Should artists simply report on what they see or seek to change it for the better?"(page 8 of the text) the artist has the opportunity to redefine anything or everything and be open to all possibility. he is not a scientists and it doesn't need to find a solution, but he has the power to communicate and help hopefully to see things differently and can reach more people through his art.

at the same time "this structure is not meant to imply that an artist at one end of the spectrum is any less or more committed to ecological issues than an individual at the other end of the scale, only that their mode of working represents a particular level of engagement with the physical world itself." (page 15 of the text)

as an artist i can understand how important is comunicate this issue that we are facing and that each days is deteriorating. Ignoring this is harmful to our comunity, enviroment and to our next generation that maybe will not be able to live and see the same world that we have see.

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i choose to analyse the movie "the red shoes" and i find it really interesting this strong connections between theatre and movie, embending the fairy tale, the red shoes of Hans Christian Andersen. Michael Powell and Emeric Pressburger’s made an adaptation of the fairy tale in the story of a contemporary dance company, they call this kind of movie a composed movie, where artist writer and musician collaborate all toghether. the movie almost confuses the audience in trying to make a movie in an actual theatre stage. I found really amusing the blending of stage camera and outside word, Powell wrote "One of my key decisions in making The Red Shoes was that there would be no audience except the film audience … once the curtain had gone up for the performance, we would no longer be in a theatre" (Articles The shock of The Red Shoes Linda Ruth Williams).

It is a movie that goes around the importance of creativity and epitomizes universal anxieties, desires, conflicts, and fantasies. its take into analysis the woman in a society during the 1950 and what was mean compromise your life between family and carrer "As such the film is thought to prefigure the social contradictions that led to the feminine mystique of the 1950s and contemporary queer theory." (article The Red Shoes: A Fairy Tale within a Ballet within a Film Diana Diamond).

In fact, it is also one of the first movies in colour, and the main one used is a vibrant red that in fairy tales simbolise sexual desire. the choice of colour was really cleverer from the register. during the stage performance, where the ballerina starts dancing endlessly, there is vibrant blue, and a mix of purple gives the impression that the protagoniat is dreaming and we almost get inside her unconscious. also i like how, when they doing a close up on the ballerina during the red shoes show, the make up is almost grotesque make her look almost crazy but from far away is look perfect.

The film also portrays the hardest of an artist who wants to live for his own own art. how much difficulty the artist faces in pursuing his dream, and the dedication requires almost all his attention. In the beginning where the ballerina met for the first time Lermontovat the theatre they have a conversation that i considering the beginning of the fairy tales where the antagonist meet for the first time the protagonist of the story and start questioning her choice.

Lermontov: Why do you want to dance?

Victoria: Why do you want to live?

Lermontov: Why—I do not know exactly why, but—I must.

Victoria: That's my answer too.

I thing, it is a movie that can be taken in to consideration nowadays too. Indeed, is a struggling that all of us can going trough in life. Making a choice and choosing the right is always difficult and always requires sacrifice and effort. actually, through fairy tales, we can learn and grow more consciousness. For this reason, this film is still contemporary even after all this year. the fact that we always desire what we dont have, and once we obtained we always want something else. she wanted to dance and she became a famous bellerina but she was missing love, once she found love she couldn't have both. the only solution at the end was not choosing but to let the ballerina shoes choose for her and end her life. but the show must go on, and Lermontov shows his respect to keep the shows on whit the simple of a light where it is supposed to be the spot of Vicky.

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i read the text of Marina Warner_On the couch. the text takes into analysis the psychological meaning of fairy tales, also the importance in our society in the past and nowaday. she also take in consideration the analysis of some author like Sigmoid froid, bettelheim, and Marie louise Von Franz.

The fairy tall was and still used as a toll for teaching and entrusted children about the world outside our home. they should help the children to identify danger or help them during puberty, with the rising of sexuality. even now that our society has changed a lot, respect before, we can still identify some important lessons and meanings. Sigmund froid take in to analysing the effect of fairy tale in our subconscious and he "saw them as rubble from a primitive stage of humanity, which remains chaotic-ally strewn about during infantile development: phylogen-esis (development of the species) was recapitulated in the growth of each individual from infant to adult" (page 117 On The Couch).

he also takes into analysis the atmosphere that fairy tales have. For example, " ‘the Uncanny’ or ‘Unhomely’ that catches better the way reality is transfigured into weirdness in the stories, how they act as a peculiar looking-glass into family relations or bare survival." (page 119. On The Couch).

also, Bettelheim agrees with froid and also stait that fairy tales offer to both adults and children an understanding of feelings and problems that can grow up diring our lives. also, they contain a lot of sexual symbolism. also, even if the grim fairy tail are brutal, they still really usfull for children because "They can project

themselves into the plots, which then provide an outlet for the feelings of hostility and rage they have towards their parents and their siblings—enchantments can be used to overcome the ravages of the Oedipus complex." (page 123, On The Couch).

most of the analysing of Marie louise Von Franz is based on fairy tales where women are the protagonists. this fairy tale are the most favourite nowadays and also shw analysing what imprinting give to girls during their growing.

from my point of view, fairy tail are really important because they are also part of our heritage and culture. i grown up with all kind of fairy tales and story during my childhood and hear them with my innocence at the time was really nice and they definitely help children's to growing immagination and consciousness of the word.

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i chose this life drawing because im able to connect at the contextual study project. during the life drawing session, we had two models dress up on opposite or trasgender. i struggle to create a feminine figure with the male model. but the combination between bag, hat, and colour with the clear man face features is making the final outcome suitable for our first project. I recreate the hair in the legs to emphasize the concept of trasgender and omorphic figure.

i didn't follow any of the artists we talked about i just tried to emphasise the face features like chin and nose and hear. i discover that usually when im drawing man i always try to have less soft and circle line, and more strong straight line to give a more clear idea of what i want to comunicate. i struggle a bit tring to change and male more sorft figure when drawing men also to give some colour for make clear the dress. i didnt recreate any problematic image respect of the artist we have looked at during this project.

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shinya tsukamoto

He is a filmaker and director who is considered a cyberpunk and body horror movie maker and receives a lot of consideration outside Japan. and in his film you can clearly see, that, the figure of the body is appear most of the time crude, visceral and always in a violent realistic context even in cyberpunk movie the body is hybrid and have a relationship with machine as an extension of the human itself. The director often questioning about the nature of consciousness, "the ontological status of memories, and the relationship between mind and body with sexuality are all part of his quest" (article reference: In the Grip of Grief: Epistemic Impotence and the Materiality of Mourning in Shinya Tsukamoto’s Vital by Havi Carel; page 5).

A clear example of this is the movie Vital, where the protagonist in the movie have a real self-conscious introspective moment. indeed, the concept of metamorphosis is also an occurent thing in his movie. The series of Tetsuo talks about how a body evolves in something new and strong, embending the machine. (article reference: »Your Body Is A Battleground«: Lust-Machines, Cyberflesh and Man-Meat in the Film TETSUO by Heinrich Deisl).

Often, there is a lot of violence, and the pain that a body feel during the transformation is depicted clearly, raw and carnal. "»Tetsuo« is an obsessive film about holes and openings: The orifices of the organic bodies become one with the non-organic ones. They do not substitute each other, but one system is exchanged with the other. We find different forms of deviant sexuality too." (article reference: »Your Body Is A Battleground«: Lust-Machines, Cyberflesh and Man-Meat in the Film TETSUO by Heinrich Deisl).

His work has a lot of introspection about the desire and the sexuality of an individual, and for Shin'ya Tsukamoto, once we dont have any more desire in that moment we become robots, machines. Also, it helps to view how society can evolve and create new rules where the individuals are constrict to adapt themeself in the new reality. A lot of scenes are really disturbing and violence.

I really like how he uses the light tone and gives the emotion true the colour for more pathos. The movie "A snake of june" is directect all in blue tone and this gives the viewer a more introspective and poetic reality. also, this movie analys the sexuality in a couple force to open their boudary and explore new way of doing sex and each other body.

[giu2024]

I read the text about the queer concept and history. is an intruduction to the word queer and how evolve the concept, through history. It is a word that welcome any sexual and not sexual category. In 19th century was use for somethings strange or illegitimate in a negative context, until now that is use for something inclusive and for the freedom of yourself and for what you feelings to be. the text is constructed for simplifying the understanding of the queer concept and introducing you in this vast world. i found interesting how the authors explain the concept with drawing and mind map. One sentence in page 5 at the bottom say "the idea is to invite you into queer theory and to encouraged you to think queerly" so its make me think that is a welcoming comunity but only if you think queerly so is in contrast with the concept. It looks like we always need to classify to understand but, the queer concept, indeed, help people who don't have emotional or sexual clear orientiring, to be part of a community. our human nature push you to find a clear classification for yourself. the text shows a clear war between the queers community and also what is mean be a woman. another negative aspect to me is the fact that it pushes you, yes to think but also to be or feeling like that even when maybe you are not. we are passing from an extreme concept of privatisation of sexual desire to a welcoming and force to be and have a sexual desire for classify yourself.

I think fear is what makes us use specific words... fear of not being part of any community or fear to be left alone. but just because you are not classified doesn't mean you are alone. Any individuals are surrounded by people different in all way possible less you try to classify people and yourself better is, we don't need your sexual orientiring to be close to somone. The problem is when people close the doors to each other or want to be heard but not hearing... people want to be walcome and understand, but they are not welcoming and understanding other. In the text, there is arguing against the biopower and the capitalism from Michel Foucault page 68_69. but sometime is how strong is your mind, if you can think outside of the box and how much curiosity you have, those comunity are create from other not biopower and not from goverment, the society create new concept and now is become more a trend than a real way to understand ourself. If you stop yourself on the surface of concept, then you can't give the fault to society. We have all the ways to find information and relevant knowledge if we want. what we fear is the judgment of other than i think is more your foult than the biopower or society. We should teach before how to love yourself and not how you recognise yourself or which sexual orientiring/emotional you have.