Over a longer period of time I’ve dealt with technoanimalism, giving rise to another type of animality, another type of nature but above all very delicately playing the affects of the involved audience.
In general her works circles around the human body. She uses traditional media as well as the latest technology, investigating new materials and aesthetics. When she started to dissemble mechanic and robotic toys she discovered that the toys became very vulnerable as their fur was taken off. The skinny machines had a very special attraction and Tove Kjellmark got interested in how they, as cheap machines, still could trigger our emotions. Elaborating with rebuilding these machines, using them in videos, making copies in other material and scale she went into the valley of the uncanny but also avoided it by rather creating something moving that brings care out of us, than something eerie. Often in collaboration with scientists (brain scientists and researchers within visual communication, philosophy, mechatronics, gender) she has started to create what she refers to Another Nature where the machine is a part of nature and equal to organic life.
The technical side of robotics doesn’t interest her significantly, on the other hand, the existential do. It reveals something essential about our anthropocentric outlook on the world. In her newest works where she uses, or rather misuse, scanners and 3D-printers, she is able to reach a result with a combined human and mechanic touch.
Futurum 08 Konsten.net
Text by Anders Olofsson
Can we one day design a machine that is indistinguishable from the animal? This is the question that drove René Descartes, four hundred years ago, to his widely influential Animal-Machine hypothesis.1 This ethological hypothesis (ethology is the study of animal behavior – see Animal) claimed that animals, like other machines, were assemblages of parts and as such he rejected the idea that animals are able to attain a degree of rationality; animals do not ‘think’ and their behavior is not in any way similar to human action. Nicolas Malebranche, seconding Descartes, took this idea a step further, claim ing that the cries and groans of this animal- machine point to its mechanical failures (its ‘cogwheels’) rather than to its joy or sorrow.