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The introduction sets as a postcolonial feminist agenda a new approach to embodied memory arising from assemblages of humans, animals, and technologies across contemporary South Korea and the United States. Featuring Kang Seung Lee’s art project of creating transpacific queer collective memories through living succulents, it conceptualizes an emergent mode of prosthetic memory: it blurs the body-technology boundary in what Rachel Lee calls chimeracological milieus, entails inhuman otherness beyond the usual human perception and subjectivity, and has potential to regenerate networks of care and intimacy. The introduction situates this book in conversation with three lines of inquiry: a conceptual genealogy of prosthetic memory that revisits Western metaphysical and modern social critiques on artificial memory; reflections on uses of the term prosthetics that intersect disability, trans/queer embodiment, and geopolitical and gendered division of labor; and a revision of postcolonial feminist mnemonics attuned to the changed transnational biopolitical and technocultural landscape.

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References

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