Sexotechnologies. Technofeminist performativities, erotic forms of disturbance in the case of noise from the matrix performance

Abstract

Proposing the notion of sexotechnologies applied as an aesthetic strategy in technofeminist performance, makes possible a way to approach to understand this term as a mechanism of subversion within the regimes of scenic visibility, through the game with pleasure and its performativity on stage and artistic circuits with public presentations that brush the limits of the intimate. This through the use of technological interfaces, with which not only gender and sexuality are transgressed, but also other spaces are opened up, such as that of disturbance thanks to the exposure of the sexual taboo, and also of perversion, thanks to the deviation from the normative sexual pattern. This consequently opens up other focuses of analysis charged with the subjectivity and intimacy of the observer, in dialogue or conflict with that of the performer, and the proposal in question “Noise from the Matrix”, the possible transfeminist imaginaries that are generated from the mutation of the performer’s gender on stage, and the reflections that will appear from the academic analysis of the artist on her own work. We identify two forms and/or uses in these sexo-technological practices: one conventional and the other non-conventional. The former includes all those practices in which conventional sex toys are used, such as dildos, harnesses, vibrators, among others. In the second, which is the one we are interested in analysing, we find non-normative objects for post-porn performance. In non-conventional sexotechnologies we find erotic and sexual forms with devices that were created with another technical/technological purpose, but that when used for sex in technofeminist performance cross the border of sexuality, proposing another vision of sex, which takes the object out of its state of everyday transparency and leads the artist to inhabit an open-code, abject and transfeminist body.