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vOluptuary an algorithic hermaphornology


"vOluptuary : an algorithic hermaphornology" was an art exhibition by Joseph Nechvatal held at Universal Concepts Unlimited Gallery in NYC from May 22nd to July 3rd in 2002.

The audio is a mash-up of Igor Stravinsky's "Le Sacre du Printemps: The Sacrifice" with Nechvatal's "~~~~~~~~~~~~~~~~~venus©-~Ñ~vibrator, even part 14." - with text from Joseph Nechvatal's cyber-sex farce novella ~~~~~~~~~~~~~~~~~venus©-~Ñ~vibrator, even (1995) (see:

"vOluptuary: an algorithic hermaphornology" (1) makes use of what Gilles Deleuze has called 'pornology' (2) for here representations of the intimate body associated with sexuality (of both sexes) undergo an intricate re-combination and subsequent intermixture with flowers. Of crucial interest to "vOluptuary: an algorithic hermaphornology" is the origin of the hermaphroditic androgyny image. This hybrid image first appears in Ovid's classic text 'Metamorphoses' - and perhaps this emergence is well worth recounting here. The hermaphrodite initially occurs in Western culture as a son of Hermes and Aphrodite named Hermaphroditus. Hermaphroditus was a typical, if exceptionally handsome, young male with whom the water nympth Salmacis fell madly in love. When Hermaphroditus rejected her sexual advances, Salmacis voyeuristicly observed him from afar while desiring him fiercely. Finally, one spring day Hermaphroditus stripped nude and dove into the pool of water which was Salmacis's habitat. Salmacis immediately dove in after him - embracing him and wrapping her body around his, just as, Ovid says, ivy does around a tree. She then prayed to the gods that she would never be separated from him -- a prayer that they answered favorably. Consequently, Hermaphroditus emerged from the pool both man and woman.
As the tale of Hermaphroditus suggests, "vOluptuary: an algorithic hermaphornology" is a show of androgyny eroticism married to flowery virtuality (3), incomprehensible transformation and immersive excess. It aims to depict an imagined realm of political-spiritual chaosmos where new forms of sexual order arise such that any form of order is only temporary and provisional. Obviously this sphere is attained through an emergent operation, and, indeed, Nechvatal takes abundant pleasure in the forms of pan-order that arise within his continuously swelling processes. The point is that within the "vOluptuary" all sexual signs are subject to boundless semiosis - which is to say that they are translatable into other signs. Here, of course, it is possible to find resonances and affinities between sexual opposites. Here a chameleon-like sexual attitude is being built from the virtual abyss.
Within the realm of the "vOluptuary" no one fathoms whether they are female or male. All rest between male and female, between straight and gay, between dominant and submissive - nothing but curves and clefts. All is in a matrix of possibilities, self-assembled out of a flowery excess of erogenous organs.

notes: (1) The word 'voluptuary' generally means 'devoted to pleasure'. It comes from a Late-Latin variant of the Latin voluptarius / voluptas.
(2) Pornology is aimed at confronting an idea with its own limits. The idea is rendered precise in Deleuze's essay 'Klossowski or Bodies-Language' which is found in his book 'The Logic of Sense'. Here Deleuze develops the term "pornology" so as to describe the dynamic of a transcendental empiricism in the circuit Klossowski establishes between theology, as a divine belief structure, and pornography, as a perverse expression of the body.
(3) One here thinks of Alan Turing (the grandfather of computing) and his horrid endurance of a quack treatment for his homosexuality where he was overdosed with female hormones to the point where he developed breasts.