divide my work into two categories: B.C. and A.D. Before Computers
and After Digital. The first coincidently began in Berkeley,
California. In the 1960's, I could hear amplified speeches of
hero/radicals, such as Malcolm X and Huey Newton through my
open windows. Ideals of community, alternatives, reprocessed
media, free speech and civil rights were constantly in the air.
In those next volatile years, art and life fused as I watched
political performances take place in the streets, on marches
and in buses and witnessed lifestyles emancipate formerly voiceless
individuals into communal empowerment. I hoped for an eventual
media through which small voices could be reborn into alternative
identities that could reflect into the culture.
works also used ideas of reflection, often incorporating surveillance
and voyeurism. A requirement of cyberspace, like that of many
primitive tribes, is to create a personal mask. Masks camouflage
the body and in doing so liberate and give voice to virtual
selves. While disguised, personal truth can be released yet
the fragile and tenuous face of vulnerability remains protected.
Masks are part of the grammer of cyberspace. It is the syntax
of the culture of computer mediated identity, a culture that
can also include simultaneous multiple identities that abridge
or dislocate real time gender and age.
Texts by Lynn Hershman
Edited by Randall Packer
Culled from the following sources:
of Lynn Hershman
Work of Art in the Age of Digital Reproduction; lecture by Lynn
Hershman at the University of California, Davis