Meghan Trainor









The bifurcation of artificial life into AI and robotics is a false dichotomy. I seek to reconcile these competing tropes of synthetic life into one cohesive expression of digital selfhood. 

Referencing the seminal work of artists Komar & Melamid a physical avatar has be generated and imbued with this framework of philosophical inquiries.  Referencing the flexibility of identity within the corpus of Frida Kahlo, Orlan, Cindy Sherman and even the manifestations of Donna Haraway’s imagined female as cyborg, I have constructed a life-form that responds to the most basic teleology of the human biome.  

Here is the examination of the design & execution of a robotic self.

Please allow me to present my latest artwork… 

A Robot without Organs

Meghan Trainor, March 31, 2016

A Robot without Organs

What does it mean to construct an artificial life that conducts it’s morphology in both material and digital realms? What does a Robot without Organs do? How does it’s intelligence and creativity amplify against learning algorithms of internal programming and external stimuli? Is it’s selfhood informed by an initial prompt or does it metastasize into an external located locus of control? 

In German there is a critical distinction made between having a body and being a body, between Körper haben and Körper sein. In this age of racist AI sex bots and robots kicked and tripped as part of their early development, the plasticity of selfhood begins to intersect the construction of artificial agents and plastic avatars. A Robot without Organs is a kind of self manifested in both the doubling of names and the doubling of bodies. Contracting and expanding the membrane of self into the proto-awareness of neural networks and discarded cells.