This is the second in a series of articles that investigates hybridity as it relates to our positions as teachers and scholars, but also as learners, composers, and community members. We also consider the impetus for the naming of this journal and propose various directions the conversations might take us.
In a broad sense, my own scholarly work is about the (sometimes wondrous, sometimes horrifying) relationship between bodies and technology. As our flesh is made intangible in the digital age, we find ourselves increasingly interested in bodies, dead and otherwise–in cadavers, crime scenes, bodily mutilation, and torture–in shows like Six Feet Under and The Walking Dead, films like Saw, video games like Gears of War, and novels like Cormac McCarthy’s The Road. This is, by no means, a newfound fascination, but reflects a far more universal fear: a fear Shakespeare explores in Hamlet, beginning with the ominous words “Who’s there?”; a fear Mary Shelley explores in Frankenstein, wondering about identity and physicality from the first phrase, “I am by birth”; and a fear Herman Melville explores in “The Tartarus of Maids,” where he describes “blank-looking girls” working in a paper factory, slaves to a new-fangled machine. Each author wonders what constitutes a self, of what sort of matter are we made, what it is to be a body, to be human. Each wonders where our (technological and political) machines end and we begin.