The Baroness collapses the rationalizing conception of the body as a machine
As Marcel Mauss puts it in his important 1934 essay “Techniques of the Body,” the body is “man’s ?rst and most natural instrument
conscious or fully formed statements against these violent changes. Like all of the cultural effusions of this period of New York’s avant-gardes, they become complex-and to some extent not fully legible-maps of an ongoing process of negotiating, rather than making ?nal sense of, the radically new social and cultural terrain of machineage New York. Continue Reading
