Marilène Oliver
ABSTRACT
In My Data Body, the magnetic resonance (MR) scanned body of the artist Marilène Oliver floats prone within a `cloud' of her textual Facebook data. Into the semi-transparent, virtual body are multiple other data corpuses downloaded from social media platforms plotted into cross sections of the body. In the horizontal plane, Mac terminal data is plotted into bone, Google data into muscle and Facebook data into fat. In the vertical plane are plotted data usage agreements. Passwords and logins flow back and forth through veins and arteries, whilst retinal images, dental scans and 3D meshes of organs and bones are suspended within the quantified and datafied body [Lupton 2016; Van Dijck 2014]. There is a continuous stream of text particles that flow through and around the data body that one can swat away or nestle into.
Supplemental Material
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- Roberto Diodato. 2012. Aesthetics of the Virtual. State University of New York Press, New York, USA.Google Scholar
- Richard Fleischer. 1966. Fantastic Voyage.Google Scholar
- Mark Hansen. 2006. Bodies in Code: Interfaces with Digital Media. Routledge, New York, USA.Google Scholar
- Deborah Lupton. 2016. The Quantified Self. Polity, Malden, MA, USA.Google ScholarDigital Library
- Thomas Mullaney, Benjamin Peters, Mar Hicks, and Kavita Philip. 2021. Your Computer is on Fire. MIT Press, Cambridge, USA.Google Scholar
- Katharine Park. 1994. The Criminal and the Saintly Body: Autopsy and Dissection in Renaissance Italy. Renaissance Quarterly 47, 1 (1994), 1--33.Google ScholarCross Ref
- José Van Dijck. 2014. Datafication, Dataism and Dataveillance: Big Data Between Scientific Paradigm and Ideology. Surveillance & society 12, 2 (2014), 197--208.Google Scholar
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