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Voicing the Clone: Laurie Anderson and Technologies of Reproduction
Feminist Review ( IF 2.816 ) Pub Date : 2021-03-18 , DOI: 10.1177/0141778920973023
Maria Murphy

In the 1980s, new reproductive technologies such as in vitro fertilisation and embryo transfer became commercially available in the United States, and somatic cell nuclear transfer—the cloning process by which Dolly the Sheep would be conceived in 1996—was in its experimental phase. While anxieties concerning these new technologies escalated in the popular sensorium, Laurie Anderson explored the phenomenon of cloning in a short musical film called What You Mean We? (1986) in which Anderson consults a design team to clone herself in order to manage her demanding workload. The videographic image of the clone is Anderson herself, performing in drag, and her clone’s body is partially created through the use of a pitch shifter which changes Anderson’s voice to that of the cloned—but ostensibly male—version of herself. In this article, I investigate Anderson’s technological consideration of the body, which extends beyond her own corporeality, to interrogate the biological and affective capacities of clones. I consider how Anderson addresses the convergence of reproductive technologies, the market and the creation of subjects within this market as participating in a shift in how voices are heard, governed and reproduced in the latter half of the twentieth century.



中文翻译:

为克隆发声:劳里·安德森(Laurie Anderson)和生殖技术

在1980年代,诸如体外受精和胚胎移植等新的生殖技术在美国开始商业化,而体细胞核移植(即多莉羊的克隆过程在1996年被构想的克隆过程)处于试验阶段。尽管对这些新技术的担忧在流行的感官感中升级,但劳里·安德森(Laurie Anderson)还是在一部短片音乐电影《你的意思是我们?》中探索了克隆现象(1986年),安德森(Anderson)向设计团队咨询以克隆自己,以管理她的苛刻工作量。克隆人的录像图像是安德森本人,在拖拽中表演,而克隆人的身体部分是通过使用音调转换器来创建的,该音调转换器将安德森的声音更改为克隆人(但表面上是男性)自己的声音。在本文中,我研究了安德森(Anderson)对人体的技术考量,该技术考量超出了她自己的身体能力,从而证实了克隆的生物学和情感能力。我认为,安德森如何参与生殖技术的融合,市场以及该市场中主题的创造,因为它参与了二十世纪后半叶人们对声音的聆听,支配和复制方式的转变。

更新日期:2021-03-18
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