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- W4387500404 abstract "In Posthuman Knowledge, Rosi Braidotti (2019) defines the posthuman as “envisage[ing] the subject as transversal, trans-individual, trans-species, trans-sexes. In short, it is a subject in movement” (72). According to Braidotti, “this kind of subjectivity obviously includes non-human others, of both the organic and the technological kind” (72). More than a century ago, in her “Manifesto of Futurist Woman” (1912), Valentine De Saint-Point proposed a similar posthuman subjectivity, a subjectivity that would erode gender and sex binaries and include other non-human intensities by calling for a “superhuman” who contains both “feminine and masculine elements,” who is “composed…of femininity and masculinity: that is a complete being” (Saint-Point 2005, 8; my translation). She furthered this notion in her futurist revisioning of dance called métachorie, a combination of dance, poetry, music, and geometry that echoed her fellow futurists’ war on sentimentality while simultaneously paving a way towards a very distinct vision of posthumanity. As this chapter argues, Saint-Point’s modernist theorization of the “new” (post)human, as outlined in her performance-manifesto called “Métachorie” (1913; 1914; 1917), contributes to a new ecosophist understanding of the futurist conceptualization of (post)humanity as interconnected and entwined with non-human, vegetal, and multispecies elements that emphasize relational rather than solely mechanical sensibility." @default.
- W4387500404 created "2023-10-11" @default.
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- W4387500404 date "2023-09-29" @default.
- W4387500404 modified "2023-10-12" @default.
- W4387500404 title "Becoming-Digit: Valentine de Saint-Point’s Posthumanist Futurism" @default.
- W4387500404 doi "https://doi.org/10.1163/9789004549685_004" @default.
- W4387500404 hasPublicationYear "2023" @default.
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