Abstract and Keywords
This essay chronicles the relationship between electronica and the human voice in Björk’s oeuvre from Debut (1993) to Biophilia (2011). It argues that Björk’s electronica constructs and manipulates bodies, which in some cases can be understood as cyborgs. Disability Studies literature and prosthestic theory help to interrogate the nature of these technological supplements. Even when Björk’s voice is not supplemented by technology, it is always already porous, a position further illuminated by the deconstructive writings of Derrida and Barthes. Björk’s music undermines the fiction that bodies can be whole or natural, in the ableist sense. Instead, Björk’s music asks listeners to accept that all bodies are in need of supplements. This prepares listeners to move out of the binary opposition between abled and disabled.
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