The human body has long been the subject of aesthetic obsession. Looking back at works by Renaissance masters or prehistoric artists, we can see the shared fascination of the human body, with the way it operates, moves, and engages in everyday activities. The aesthetic qualities of human form has evolved its influence into theater, dance, sports and various visual arts.
In "Le proporzioni del corpo umano secondo Vitruvio", Leonardo da Vinci studied the proportions of the human body according to the geometry of the roman architect Vitruvius. Vitruvius had referred to the human figure as having the divine proportion that is to be shared by God's design of humans as well as human's design of architecture - thus was born the classical orders of architecture.
Da Vinci's famous drawing of the Vitruvian man has long been referenced as a symbol of symmetry and proportions of the perfect human. This raises the question about the role of images in influencing bias and discrimination of the 'other' that does not conform to that image.
"Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. Body aesthetics can be a source of delight for both the subject and the object of the gaze. But aesthetic consideration of bodies also raises acute ethical questions: the body is intertwined with identity and sense of self, and aesthetic assessment of bodies can perpetuate oppression based on race, gender identity, sexual orientation, age, size, and disability". Sherri Irvin
When we talk about the human body, it's impossible to dissociate it with our sense of identity. This obsession with aesthetics as it relates to the body can fuel many creative expressions of the self, while echoing the tenets of Chindogu, make them with the best intentions.
The intersection of design, technology and the body has brought us better ergonomics, modern architectural spaces, improved human computer interfaces, wearable electronics and medical implants. A perfect example of this combination is the field of prosthetics.
Prosthesis’ meaning depends on the root of the Greek word “prósthesis” [which means addition/ application/ attachment] and it is defined as a supplement or attachment to the human body. It does more than simply extend the body, because it’s introduced in bodies that in Freud terms are somehow “deficient” or “defective”, or in Le Corbusier’s terms “insufficient”. Wigley, 1991
Historically, the early prosthetics and artificial limbs were not designed to be functional attachments, but rather visual replacements.
“Artificial limbs do not disrupt amputees’ bodies, but rather reinforce our publicity perceived normalcy and humanity. Artificial limbs and prostheses only disrupt what is commonly considered to be the naturally whole and abled body.” Steven L.Kurzman
Present day technology allows for more advanced incorporation of operational artificial appendages.
The greatest example of the integration of human and technology is the idea of a cyborg, or cybernetic organism. It's an organic being that has restored or enhanced functions through the incorporation of artificial technologies into the body. The idea of a cyborg has been around in fiction since WWII, with bodies/prostheses that are either overtly mechanical or completely blended with the natural human form.
In Donna Haraway's Cyborg Manifesto (1984), she argues for a 'post-gendered' world where humans can move beyond the boundaries of traditional forms of human, animal or machine. This hybrid existence of body and technology has the potential to inspire novel ideas around identity and a chance to reimagine how our bodies exist in future and absurd scenarios.