Anne Cranny-Francis has a first class Honours degree in English Literature from the University of Queensland and a Ph.D. in English Literature from the University of East Anglia, Norwich, UK. Her PhD on the work of political activist and multimodal designer, William Morris created a life-long interest in the politics of cultural production in all media.First known for her feminist writing on textual politics – how gender is articulated in texts in all media – she has written on literature, film, television, and popular music. She has also worked on the politics and practice of literacy, most recently on the multimodal (written, visual, sound, spatial, inter-relational) literacies required by contemporary multimedia texts, performances and practices. Her work on the body has combined with this study of multimedia in extensive work on the relationship between individual subjects, sensory regimes, cultures and contemporary technologies, particularly touch-based (haptic) technologies.Anne has worked as an academic at the University of Wollongong, Macquarie University and the University of Technology, Sydney and has occupied the roles of Head of Department and Associate Dean (Research). She is currently Professor of Cultural Studies and is Director of the Transforming Cultures Research Centre.Anne has also worked as a creative consultant for Children’s television (TEN Network, Ian Fairweather Productions), a social researcher (Social Impacts), and literacy consultant (Disadvantaged Schools Program). Most recently she has worked as a media, communication and web site consultant, with clients including the State Library of Victoria, the National Library of Australia, the National Archives of Australia, the Department of Transport & Regional Services, the Queensland State Government, the Port Arthur Historic Site Management Authority, and Murdoch Magazines.
Web site communicationOrganizational communication (email, video, newsletters)LiteracyQualitative social researchQualitative media researchCreative consultancyCuratorship
Can supervise: YES
Ethics and politics of new technologies, particularly touch-based (haptic & smart textile) technologiesSensory studies, particularly touchSound studiesFeminist and Gender StudiesMultimodal LiteraciesMedia and Cultural StudiesThe work of Jack Lindsay
Cultural StudiesCommunication StudiesWriting
Technology and Touch addresses the development of a range of new touch technologies, both technologies that we reach out to touch (such as keyboards and consoles) and technologies that touch us (such as new prosthetics, smart clothing and robots). The author explores these through a detailed examination of the politics and practice of touch. The everyday practice of touch is exemplified in a range of artworks that deploy touch in their exploration of the nature of being and of meaning. This study demonstrates the ways in which touch is used as an individuated mode of biopolitics, to articulate ideas, attitudes and beliefs and to engage audiences bodily with them. This understanding of touch is then referred to the study of new touch technologies, exploring their capacity to transform our lives in creative and productive ways, including the interrogation of conventional discourses (such as traditional responses to disability), as well as challenging our incorporation into technologies and networks that may be unethical or deeply compromised (such as drones and robot warfare).
This book provides an accessible and much needed introduction to the diversity of multimedia appearing and proliferating in our society. The phenomenal growth of multimedia has given rise to debates on the role of technology, the skills required for their production and use, and the ethics and politics involved in these new embodied interactions.
Cranny-Francis, A, Waring, W, Stavropoulos, P & Kirby, J 2003, Gender Studies: Terms And Debates, 1, Palgrave Macmillan, Australia.
Note: As original contractor, I designed the book and wrote a major part of it; contribution - 40% This book provides an accessible and interdisciplinary introduction to current debates on gender, exploring the major theorists whose work has produced and inspired feminist analysis in women's/gender studies, cultural studies, and sociology. By clarifying and explaining the concepts of gender analysis and by demonstrating ways of working with these concepts, the authors involve the readers directly in the reading process and leave them feeling empowered. Accessible introductions to the work of major theorists help to give difficult concepts a context and the theory is related back to practice and to related fields such as class and race analysis throughout.
It occurred to me only in hindsight that The Body in the Text seems like nothing so much as the title of a detective novel, or at least a critical exploration of detective novels as a genre. In working through th~any different theoretical and critical writings on the body I often felt like a detective, looking for the issues and concerns which would provide the clue to what seems a relatively recent fascination with 'the body'. 'Seems' may be a crucial term here, since one of the interesting things I learned from this study is that the cultures of all times and places have always been vitally concerned with 'the body', whether that means the artful delineation of bodies and embodied practices in indigenous Australian paintings, the narratives of everyday life in the tombs of Egyptian pharaohs, the battles of Renaissance painters to produce a new understanding of human embodiment against the theological certainties of the Catholic church, or the embodied rebellions of Luddites in the late eighteenth and early nineteenth centuries as they smashed the machinery which was to change forever their way of life and perceptions of the body.
This book is the product of many years close involvement with 'popular culture' as consumer-critic and teacher. I first became theoretically interested in popular culture while writing a Ph.D. on the work of William Morris, who used popular fiction to analyse the society of his own time. Morris then took his own fictional deconstructions into his political essays, to create his visions of a new and beautiful society. Meanwhile, in the late twentieth-century, the work of another visionary, Gene Roddenberry had created the Star 7)9ft universe in which social visions like, and unlike, those of Morris were, and are, tried out against the developments within western society, and particularly within the United States. Though I am not from the U.S., I hitched a ride aboard the earliest Enterprise and have been looking for new worlds and new civilisations ever since. I was particularly pleased when Captain Picard changed Captain Kirk's invitation to the voyage so that I was finally a legitimate participant in the journey to 'where no one has gone before'.
One of the most innovative and interesting areas of contemporary literary production is feminist genre fiction - the feminist appropriation of the generic 'popular' literary forms, including science fiction, fantasy, utopian fiction, detective fiction and romance. This is genre fiction written frJPl a self-consciously feminist perspective, consciously encoding an ideology which is in direct opposition to the dominant gender ideology of Western society, patriarchal ideology. Not all women writers are feminist writers. Many writers work conscientiously within the dominant ideologies of gender, race and class; after all, that is the best way to make a living (Lovell, 1987 (A) f - and it does not preclude the expression of oppositional views within their texts, even if one suspects that these views are effectively subsumed by the conservatism which colours the text as a whole. The fiction in which I am interested here, however, does not admit this compromise.
This article considers the development of robotics through the lens of Gender Studies, with a particular interest in exploring relationships of intimacy involving robots. The production of sex robots has prompted some ethicists to set up the Campaign Against Sex Robots, their position articulated in Kathleen Richardson's, 2015 paper, 'The Asymmetrical 'Relationship': Parallels Between Prostitution and the Development of Sex Robots'. It is notable that these sex robots are commonly referred to as sexbots or fembots, but there is seldom reference to a malebot, though makers suggest that they can or will be made. Others (notably the makers) see this technology as no different from a vibrator or dildo and suggest that it could be a way of dealing with aberrant and criminal sexual behaviours including paedophilia. Intimacy is more than sexual practice, of course, and the ability of humans to form emotional attachments to technology is well-documented. Consider, for example, Maja Mataric's description of the relationships formed by families with their Roomba vacuum cleaner in the Robotics Primer (2007). This led to problems for the makers for whom it was less expensive to replace a broken machine than to fix it, but who were faced with demands from families that their Roomba be repaired and returned to them. This article addresses this debate, exploring a range of contributions from ethicists, roboticists, gender theorists and others, and making specific reference to the television programs, the Scandinavian series, Real Humans (2012) and its English version, Humans (2015), as well as to Jordan Wolfson's recent artwork, Female Figure (2014). This article is published as part of a collection on gender studies.
The article evaluates a typescript by Australian writer Jack Lindsay titled 'The Fullness of Life: The Autobiography of an Idea', In this work Lindsay presents an inspection of his personal development as a philosopher and artist. The chapter of his typescript includes Down to the Earth of History, Cultural Upsurge and Cold War, Contradiction and Unbalance, and Politics as a Means to Culture
Cranny-Francis, A 2015, 'Perversely Pleasurable and Pleasurably Perverse: What Makes Science Fiction Great', deletion: the Open Access Forum in Science Fiction Studies, vol. 9, pp. 1-11.
This paper locates many of the features of science fiction that make it such a pleasure
to read, watch, and be part of, and at the same time maps the way that science fiction
entered the critical and theoretical landscape. I'm going to do this also as a personal
journey as it seems to me that almost everyone who writes about science fiction has
some kind of story like this. It's about coming to the study of science fiction from a love
of science fiction, not viceversa. About wanting to unpick what it is about the genre that
has held us entranced. And sometimes that is because we want to share the love, but
at other times it is because we are annoyed by our allegiance in the face of criticism of
the genre. We can see its faults but we still love it and want to know why.
Cranny-Francis, A 2014, 'We are the Borg (in a good way): Mapping The Development Of New Kinds Of Being And Knowing Through Inter- and Trans-Mediality', Refractory: a Journal of Entertainment Media, vol. 24, no. 2014.View/Download from: UTS OPUS
Cultural analysis of the relationship between hospitality, identity and subjectivity, conducted by reference to an episode of the television series Glee and its depictions of heteronormativity and resistance
This article analyses recent (2009) work of Australian-born, British-based hyperrealist sculptor, Ron Mueck, in order to show how it not only engages with a range of specific contemporary concerns and debates, but also operates as a visual deconstruction of Cartesian subjectivity. In order to identify Muecks deconstructive practice, the article uses a combination of multimodal, sensory and discourse analyses to situate Muecks work discursively and institutionally, and to explore the ways in which it provokes reader engagement. As the author identifies, each of the works Youth, Still life and Drift addresses specific issues and they all provoke a self-reflexive engagement that brings together all aspects of viewer engagement (sensory, emotional, intellectual, spiritual), challenging the mind/body dichotomy that characterizes the Cartesian subject
This paper explores the multiple significances (semefulness) of touch, as experienced by us as embodied subjects.
This photo-essay explores artworks and technology that deploy touch, either literally or virtually, in order to interrogate the nature of contemporary being and meaning.
The relationship between human beings and technology has been a regular concern of the television series, Doctor Who. Though its titular hero moves through space-time by means of advanced technology and he is by his own admission a technological genius and Doctor `of everything really, the program nevertheless consistently maps the unease that attends the interaction of humans and the technology whether through the human characters horror at the abuse of technology and its power or through characters who incorporate this interaction
Cranny-Francis, A 2009, 'Touching Film: The Embodied Practice and Politics of Film Viewing and Filmmaking', Senses & Society, vol. 4, no. 2, pp. 163-178.View/Download from: UTS OPUS or Publisher's site
This article analyses the somatic experiences of film-viewing and film-making by reference to the sense of touch. For viewers the tactility of film is located in the film's deployment of sound and in the ways it challenges the viewer's proprioceptive sense; that is, sense of location in space. Both, it is argued, are deployed to incorporate the viewer into the film's narrative and its politics, as classical realist film is often said to suture the viewer into both the narrative and politics of the text. In contrast, the article also explores the work of a filmmaker, Stefan Popescu, who specifically works against this suturing effect, in order to enhance the viewer's own agency in generating meaning in a film. Popescu follows avantgarde filmmaker Stan Brakhage in physically manipulating his films - touching them in a variety of ways (scratching, cutting, burning the film stock) - in order to disrupt realist viewing practice and its coercive politics.
Cranny-Francis, A 2009, 'Why the Cybermen Stomp: Sound in the New Doctor Who', Mosaic - A Journal for the Interdisciplinary Study of Literature, vol. 42, no. 2, pp. 119-134.View/Download from: UTS OPUS
This essay analyzes the meanings of sound in the Cyberman double episode of the BBC Television science-fiction series Doctor Who, "Rise of the Cybermen" and "Age of Steel." Arguing that all sound in a text contributes to its meanings, the essay focuses on relationships between humans and technology.
Cranny-Francis, A 2009, 'Why the cybermen stomp: Sound in the new Doctor Who', Mosaic, vol. 42, no. 2, pp. 118-134.
This essay analyzes the meaning of sound in he Cyberman double episode of the BBC Television science-fiction series Doctor Who, "Rise of the Cybermen" and "Age of Steel." Arguing that all sound in a text contributes to its meanings, the essay focuses on relationship between humans and technology. ©Mosaic.
Our collaborative sound art project is focused on the Falkland Estate in Fife, Scotland (to the north of Edinburgh) and has been slowly evolving following a series of visits over the last year, primarily funded by a research and development grant from the Calouste Gulbenkian Foundation. We are looking to complete the physical production and temporary installation of works on the Estate by the end of next year and will follow that with a publication exploring the processes and ideas behind these pieces, hopefully with contributions from a range of writers. Some brief background, the Estate (comprising about 4,600 acres of mixed woodland, moorland and agricultural land) was originally established as a Royal Hunting Park in the mid-fifteenth century and was a preserve of the Stuart kings up until the seventeenth century. The Royal Palace of Falkland was the country residence and hunting lodge of eight Stuart monarchs, including Mary, Queen of Scots.
This article maps the metaphors that have been used to facilitate human engagement with wearable technologies - extension, enhancement, augmentation - and locates the values and assumptions about the body and technology that they articulate. At the same time it considers the figure of the cyborg, in which many of these metaphors are incorporated fictionally and theoretically, and locates in this figure not one (interrogative, critical) meaning, but many possible meanings. The article then goes on to explore a recent reconfiguring of the human - technology relationship (Schroeder and Rebelo's 2007 analogy with the relationship between musician and intstrument), which it describes in terms of engagement and to propose further that we need to embrace fully the embodied character of this relationship in order to realize the most creative possibilities of our relationship with the material world as expressed in this recent technology.
In Dorothy L. Sayers novel, The Nine Tailors (2003)the man whose death is being investigated by Lord Peter Wimsey is killed by sound. Accidentally locked in a church bell-chamber during a celebration New Years change-ring of fifteen thousand, eight hundred and forty Kent Treble Bob Majors (p. 12), the man dies in agony under the sonic assault of nine huge bells. Wimsey realizes what has caused the mans death when he finds himself in the bell-chamber during a short emergency peal and suffers a breakdown. Sayers description of the dead man makes it clear how traumatic his death has been, as Jim Thoday who discovered the body recounts:
This is a photo-essay of the design philosophy and practice of a three-sister fashion design team based in Newcastle, Australia. Their interest in fabrication, textiles and technology in fashion led them to participate in the Australian Network of Art and Technology (ANAT)'s reSkin wearable technology laboratory 2007. The lab explored the integration of electronics and new materials into traditional craft practices and design artefacts. This photo-essay addresses questions raised by Anne Cranny-Francis that came out of that ReSkin experience, as well as general questions relating to their design practice.
This special issue maps some of the coordinates in the emergent and interdisciplinary field of Wearable Technology, which brings together practitioners and theorists in fields as diverse as fashion design, engineering, music, performance studies, architecture, cultural studies and medicine. In fact, any field with consequences for human embodiment is potentially affected by the development of wearables and that means virtually every field of human creativity, innovation and thought. The articles in this issue address the theme of wearable technology, primarily through the relationship between embodied subjectivity and contemporary technology as it is articulated in a range of wearables.
A brief study of a canonical example of iconoclastic postmodernism in William Shakespeare's Romeo + Juliet is presented. It addresses the issue of authority that exemplifies changing attitudes to contemporary media and textual production.
This article examines what happens in the experience of embodiment when a person is immersed or clad in technologies designed to redefine the edges and to extend the communicative capabilities of each individual body. The article also analyses how multisensory communications technology is currently challenging contemporary definitions of gender, community and technology.
Anna Kassabian writes in Hearing Film that 'classical Hollywood film music is a semiotic code, and that it can and should be subjected to various semiotic and cultural studies methods, such as discourse analysis and ideology critique (p. 36). This paper examines the sound of a particular Hollywood filmthe B-Grade 1950 science fiction classic The Day the Earth Stood Still (1951)in order to perform the kind of analysis Kassabian demands; but also to argue that the analysis needs to encompass not only music, but all sonic elements of the film. Furthermore, the paper argues for development of a cultural auracy that will complement studies of verbal and visual literacies in multimodal and multimedia texts
After the publication of Donna Haraway's 'A Cyborg Manifesto' (Haraway 1991) the trope of the cyborg, already widely deployed in science fiction, became a major tool for critical analysis of the relationship between human embodiment and technology. The striking feature of this trope has always been its power to express not only ideas, but also feelings, about technology and being; it is not only an intellectual tool, but also affect-laden. For contemporary western users of information technology it enhances access by providing an imaginary relationship between the user and the interface, which enables users to manipulate the interface effectively. Also, because of its hybridity (the cyborg has always been a composite being - human/human (as in Mary Shelley's Frankenstein ), human/animal (as in Wells's Island of Dr Moreau ), human/machine (as in James Cameron's Terminator films [1984, 1991]), the cyborg also articulates contemporary perceptions of the nature of embodiment, implicated as it is with digital and bio-technologies. Which raises the question of why the cyborg trope has this power; from where does it derive?
Analysing the textual strategies on a web page is a very complex task, as there are so many different choices and combinations of choices available to designers. My study MultiMedia (2005) is entirely devoted to the exploration of these choices what they mean within a Western cultural context (with its specific history of meaning-making), and the kinds of theories we can use to explore their derivation and significance. For the purposes of this study, I am limiting the description of textual strategies to key features, which I shall then refer to the case study.
In her essay, "Modest_Witness@Second_ Millenium" Donna Haraway writes about the ?modest witness?, the scientific observer whose disinterested observation of phenomena is central to the scientific method. Haraway deconstructs the meaning of 'modesty' in this context and then situates the practice of the 'modest witness' socially and culturally: This self-invisibility is the specifically modern, European, masculine, scientific form of the virtue of modesty. This is the form of modesty that pays off its practitioners in the coin of epistemological and social power. This kind of modesty is one of the founding virtues of what we call modernity. This is the virtue that guarantees that the modest witness is the legitimate and authorized ventriloquist for the object world, adding nothing from his mere opinions, from his biasing embodiment. (Haraway, 1997: 23-24)
The communications platform of the Internet and the World Wide Web has provided a new medium for disseminating the work of museums and cultural institutions. In this article, we argue that while we remain influenced by the technology and systems-thinking which built the platform, we have not re-thought its creative possibilities for education, communication and expression of cultural values.
CrannyFrancis, A 1997, 'Different identities, different voices: Possibilities and pleasures in some of Jean Lorrah's 'Star Trek' novels', SCIENCE-FICTION STUDIES, vol. 24, pp. 245-255.
CRANNYFRANCIS, A 1988, 'GENDER AND GENRE - FEMINIST REWRITINGS OF DETECTIVE-FICTION', WOMENS STUDIES INTERNATIONAL FORUM, vol. 11, no. 1, pp. 69-84.View/Download from: Publisher's site
Cranny-Francis, A 2017, 'Love, poetry and revolt: the embodied aesthetics of Jack Lindsay' in Challenges to Living Together : Transculturalism, Migration, Exploitation. For a Semioethics of Human Relations, Mimesis International, Italy, pp. 455-474.View/Download from: UTS OPUS
Cranny-Francis, A 2017, 'The Body in Crisis: Contemporary Articulations of Purgatory' in Vanhoutte, K & McCraw, B (eds), Purgatory: Philosophical Dimensions, Palgrave MacMillan, Switzerland, pp. 221-238.View/Download from: UTS OPUS or Publisher's site
In the secular West of the early twenty-first century many religious
images, ideas, and icons retain cultural, if not orthodox religious, meaning
and significance; Purgatory is one of these. A recent viewing of an
old CSI (2000) episode witnessed the following plea from CSI Officer,
Warrick Brown to his boss, Gil Grissom: 'Hey Grissom. You got a second?…
Umm, I'm in Purgatory. Need some guidance' (Season 1, Ep
4). In this case, Brown was under pressure from a corrupt judge to
contaminate evidence in return for the judge not disclosing a compromising
exchange the officer had with the judge in an earlier case. For
Brown Purgatory signifies extreme stress, ethical compromise, fear, and
emotional pain. Brown confesses his problem to Grissom and the two
of them devise a way of exposing the judge. Brown is metaphorically
released from Purgatory when he tells the judge: 'I told you…nobody
owns me.' No bodily pain is involved in the situation, though many of
us grew up with religious images of cleansing fire and the associated fears
of physical torment. Instead, Purgatory signifies a state of stress, anxiety, fear, or some other form of emotional pain, as well as the spiritual pain
caused by ethical compromise.
John Neumeier's ballet, Purgatorio is a story of betrayal in marriage
based on the relationship between composer Gustav Mahler and
his composer wife Alma set at the time of Mahler's composition of the
(unfinished) Tenth Symphony. This is when Mahler discovers that Alma
is having an affair with the aspiring young architect, Walter Gropius.
However, this is not a simple story of marriage infidelity, as is explained
in the audience notes to the ballet:
Cranny-Francis, A 2016, 'Robots, androids, aliens, and others: The erotics and politics of science fiction film' in Redmond, S & Marvell, L (eds), Endangering Science Fiction Film, Routledge, UK, pp. 220-242.View/Download from: UTS OPUS
Cranny-Francis, A 2014, 'Introduction: '... and the moon smelt of oranges': the poetics and politics of embodiment in Jack Lindsay's poetry' in Who Are the English? : Selected Poems 1935-81, Smokestack Books.View/Download from: UTS OPUS
Cranny-Francis, A & Tulloch, J 2009, ''Vaster than Empire(s), and more slow: the politics and economics of embodiment in Doctor Who' in Harrigan, P & Wardrip-Fruin, N (eds), Third Person: Authoring and Exploring Vast Narratives, MIT Press, Cambridge, pp. 343-356.View/Download from: UTS OPUS
The Woscape is vast, with the Doctor and his companions traversing time and space for over four decades. This makes Doctor Wlto, which first aired in 1963, the longest_running science ficLion series in television history. One referent for this chapter is thus the actual histor_ ical extent of Doctor Who, andin particular the way in which specific eras of production_always seeking new audiences-locate themselves in history and.orrirt. O* concern here is two recent series of Doctor tWho }OOS and 2006), and how they speak from within the social and political context of our time.
Cranny-Francis, A 2008, 'Touching Skin: embodiment and the senses in the work of Ron Mueck' in Anderson, N & Schlunke, K (eds), Cultural Theory in Everyday Practice, Oxford University Press, South Melbourne, Victoria, pp. 36-46.View/Download from: UTS OPUS
Cranny-Francis, A 2006, 'Connexions' in Gibbs, D & Krause, KL (eds), Cyberlines 2.0: Languages and Cultures of the Internet, James Nicholas Publishers, Albert Park, Victoria, pp. 135-161.View/Download from: UTS OPUS
Cranny-Francis, A 2005, 'Moving the Matrix: kinesics, space and embodiment in the Matrix trilogy' in Gillis, S (ed), The Matrix Trilogy: Cyberpunk Reloaded, Wallflower Press, London, UK, pp. 103-113.View/Download from: UTS OPUS
The Matrix (1999) is movement, establishing the kinesics that characterise the trilogy generally and make their viewing a breathtaking experience. From the opening scenes of the first film to the final battle between Neo and Smith, and then Neo's Superman flight over the Matrix simulation, the movement in the movie - of text and of people - creates the narrative that is the movie's structuring device.
Cranny-Francis, A 2004, 'Spinning the Web: analysing a web site' in Snyder, I & Beavis, C (eds), Doing Literacy On-Line: teaching, learning and playing in an electronic world, Hampton Press, Cresskill, NJ, pp. 145-162.
The essays in this volume provide an international perspective on persistent and emerging questions related to the use of online technologies for teaching and learning. They demonstrate that online literacy practices can be understood only when they are examined within their social, political, economic, cultural, and historical contexts.
Cranny-Francis, A 2003, 'Translation and everyday life' in Susan Petrilli (ed), Translation Translation, Rodopi Press, Amsterdam and New York, pp. 603-614.
Translation Translation contributes to current debate on the question of translation dealt with in an interdisciplinary perspective, with implications not only of a theoretical order but also of the didactic and the practical orders. In the context of globalization the question of translation is fundamental for education and responds to new community needs with reference to Europe and more extensively to the international world.
Cranny-Francis, A 2011, 'Semefulness: Touch, Design and Meaning', Smart Design: First International Conference Proceedings, International Conference on Smart Design, Springer, Nottingham Trent University, pp. 57-86.View/Download from: UTS OPUS or Publisher's site
This paper explores the multiple significances (semefulness) of touch, as experienced by us as embodied subjects. Prompted by the development of a range of touch-based technologies and by new writings on the senses, I explore meanings of touchconnection, engagement, contiguity, differentiation, positioningfor their contribution to our understanding of the world and of our own embodied subjectivity.
Cranny-Francis, A 2008, 'Fabric(ated) Ontologies: the biopolitics of smart design in clothing and jewellery', The Body: Connections with Fashion - IFFTI 2008, Annual Conference for the International Foundation of Fashion, RMIT University, Melbourne, Australia, pp. 78-87.View/Download from: UTS OPUS
This paper exploresthe biopotiticsof smaf design as it is realised in contemporary smart clothing and jewellery. The discussion hinges on our understanding of the meanings of technology and of the relationship between technology and human ontology, i.e. human being. \f begins by exploring the assumed relationship between clothing and skin - that clothing is a form of skin, a second skin - which leads us fo explore the ways in which skin operates as a technology. My argument is that skin is not a form of technology, and that making fhis assumption leads to a re-invocation of the mind-body split, which makes human subjects susceptible to ordering by their own technology. lnstead the paper argues for recognition of clothing (and jewellery) as technology, and the examination of wearables as a more technical form of an existing technology. This enables us fo explore the ways in which human being is modified and transformed by this new technology and to choose applications that enhance the potential of individual subjects.