Seite - 21 - in JRFM - Journal Religion Film Media, Band 02/01

The Pedigree of Dualistic and Non-Dualistic Media | 21www.jrfm.eu 2016, 2/1, 15–22 step would be to use contact lenses instead of glasses or even devices implanted into the eyes to engage 3-D computer applications. Human eyeborg Neil Harbisson is a colour-blind artist who, with the help of an engi- neer, developed a device that enables him to hear colours. Technology has thus given him synaesthesia, a capacity quite a few artists appear to have possessed, including Wassily Kandinsky, Vladimir Nabokov, Franz Liszt, Olivier Messiaen, and Alexander Scriabin. Harbisson creates his compositions from his new way of experiencing colour and sound. Last but not least is pangender cyborg Jaime del Val, whose most recent meta- body project seems one of the most promising ways of moving beyond dualist media. Here I wish to refer briefly to one of his metaformances, available on YouTube and therefore easily accessed. Del Val developed a device that consists of several cameras placed on different parts of his body. A projector in front of his chest and loudspeak- ers on his back allow transmission of the altered and amplified sounds he makes. Of the many philosophically challenging aspects related to this metaformance, I will re- fer here to three specifically. First, the non-duality of ontology is revealed as part of this metaformance. The Chris- tian and Kantian traditions categorically distinguished between objects and subjects. This distinction is dissolved through this metaformance. The cameras portray small aspects of his body. For example, an unusual perspective on his thumb, a post-ana- tomical perspective, is projected onto the walls around him. However, one is affected by whatever surrounds one, and therefore the first small perspectives become ampli- fied, with any slow movement becoming faster, and this projection feeds back onto del Val. He interacts with himself, for he moves and via the projections of his move- ments, he alters his future movements. Permanent interaction results in a process of amorphous becoming. This metaformance is a strong criticism of the rigid subject and object distinction of dualistic ontologies. Secondly, the cameras’ perspectives are, as noted, unusual, for they do not divide up the body into traditional anatomical parts. Thereby the contingency of anatomical classification is revealed, for it is possible to classify the body in many different modes. Hence, the post-anatomical perspectives that are part of this metaformance break down encrusted linguistic structures, revealing the contingency of categories and, thereby, opening new fields of becoming. Thirdly, the post-anatomical perspectives, supported by sounds presented by del Val’s metabody, challenge the traditional dualistic conception of sexual relationships. Dualistic concepts of sexuality reduce sexual relationships to the genitals, classified in binary fashion. The post-anatomical perspectives and corresponding sounds make evident that sexuality can be present in an unusual way of perceiving an ear, shoulder, or leg, or in the way we approach a foot, or in being confronted with a new sound,