The artist micha cárdenas highlights the importance of rethinking the image projected by the concept of «the human» in order to dismantle the exclusion and control it exercises over marginalized subjectivities. Placing virtual image as a space of power that, from fiction, she gives room to alternate realities that imagine other possibilities of existence.
“Not only are there as many statements as there are effectuations, but all of the statements are present in the effectuation of one among them, so that the line of variation is virtual, in other words, real without being actual, and consequently continuous regardless of the leaps the statement makes… It is possible to take any linguistic variable and place it in variation following a necessarily virtual continuous line between two of its states.” Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, Minneapolis: University of Minnesota Press, 1987, p. 94–99.
Katherine McKittrick, Sylvia Wynter: On Being Human as Praxis (Durham: Duke University Press, 2015), 23.
For my detailed description of this operation, see micha cárdenas, “Shifting Futures: Digital Trans of Color Praxis” in Ada: A Journal of Gender, New Media, and Technology, no. 6, 2015, doi:10.7264/N3WH2N8D
As scholars like C. Riley Snorton, Silvia Federici, and Qwo-Li Driskill have written, the colonial apparatus, and the capitalist system that resulted from it, have used the distance between words, images, and reality to describe native people, Black people, and women as animals, sodomites, chattel, and property. See more in: C. Riley Snorton, Black on Both Sides: A Racial History of Trans Identity (Minneapolis, MN: University of Minnesota Press, 2017); Silvia Federici, Caliban and the Witch (New York: Autonomedia, 2004); Qwo-Li Driskill, Asegi Stories: Cherokee Queer and Two-Spirit Memory (Tucson: The University of Arizona Press, 2016).
micha cárdenas, Zach Blas, and Wolfgang Schirmacher, The Transreal: Political Aesthetics of Crossing Realities (New York: Atropos Press, 2011), p. 30.
Sin Sol was created in collaboration with myself, Marcelo Viana Neto, Morgan Thomas, Adrian Phillips, Abraham Avnisan, Dorothy Santos, and Wynne Greenwood.
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I wish to extend special thanks to Lober for the conversations which informed this article and for her thoughtful editing suggestions.
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