does not want to mutate; rather he prefers autonomy and isolation in the car to the hybrid horde-like behavior of the children.

«Come to Daddy» works with fantasies of both the monstrous-female as well as the utopian-female that have been handed down through history. [27] The children are more boys than girls, yet there is no congruence with the female body. Rather body and gender are mixed up, undefined, variable and mutating. With this the clip stages both the overpowering and all pervading of media- and biotechnologies as well as it also envisages promising, future means of escape. As an arena for the symptoms and effects of late-capitalism they hold elements of criticism and hope, which have a lot in common with Haraway's cyborg conception. Her cyborg mythology conceives of the cyborg body as an effect or symptom body of the media- and biotechnologies that produce it. For Haraway, body is—in line with Michel Foucault's tenor—the impression and effect of the technologies of power that produce it. As she repeatedly says, the cyborg originated unnaturally «in the belly of the monster»; [28] it is an effect of the power that turns against its own

conceptions. This is precisely what is latently suggested here: Media technology produces its own deviants, i.e. unpredictable monsters who can turn against themselves. These flitting creatures personify an organic remnant that can neither be recorded nor shared by the broken television set. And in that their pack-like behavior allows contexts to shine out that lie beyond obdurate heterosexual norms, they appear to be extremely lively creations of the monstrous present, which gives birth to their monsters.

Proliferations and Excesses

The artists Lee Bul and Patricia Piccinini were the first, however, to provide us with the actual deconstruction of the naturalized relationship between woman, technology and monster. Despite the difference between the two, both of them topically deal with the woman as a controllable techno-cyborg and as an uncontrollable, proliferating animalistic monster. One could say that Lee Bul develops the aesthetic subtext of the gendered unconscious of old and new media and technologies. In doing so she stages the conflict between both fantasies of a closed and proliferating,