"When the border between the "foreign" and the "native"-the cultural and the natural, the political and the cultural, the social and the political -can no longer be readily justified or perhaps even maintained, we have entered "prosthetic territory".  Gabriel Brahm Jr.
 
prosthetic territories looks at six realms reflecting tensions among the body (and subject, Simone Cage) and various bodies of space found in urban environments. The first segment "home" contests the notion of the female body as the place and/or space of a unified self. Amid passageways of rapid movement and ambient sound, "city streets" seeks to articulate the limited nature of the pedestrian's perspective. The "shopping mall" juxtaposes the normative flow of consumption with the deviant and non-productive action of undressing and laying on the floor. The realm of municipal "politics" is explored as a meeting place somewhere among the excessive and fleeting eye of the media, the physical presence of the body, and the slow perseverance of bureaucratic practices found at City Hall. The territory of "work" is situated in a telemarketing office where monetary transactions and the labour of sales occurs via the voice of the worker and electronic/ fiber-optic space. Initiated on-line and carried out in the physical, "romance" is the final prosthetic territory explored. All six segments reveal conditions  that exist at the intersection among the body and prosthetic territories. These conditions include monotony, speed, repetition, fragmentation and excess regulation.

*prosthetic territories is based on performance interventions undertaken in the Elephantiasis Ears Series (1998-2000). The subject's large prosthetic ears represent a fictional disease "Elephantiasis Ears" which is symptomatic of a symbolic order that historically has restricted the female voice and body. The ears contain audio speakers that project various utterances during performances.