The paintings of the Swiss-German artist H.R. Giger are full of images of humanoids hybridized with machines in ways that emphasize the totally shameless recognition, and embrace, of every form of sexual desire and erotic ecstasy. There is no longer an 'it' (or id) that is encountered as a 'thing' other than oneself by a conscious ego alienated from 'it.' This also means that the Posthuman being has fully identified with designed devices, which are deeply integrated into our future biomechanical existence, so that Promethean shame has dialectically reverted to Promethean pride. Giger's darkly Promethean art, which we will return to the next chapter, anticipates the overcoming of what (Gunther) Anders sees as the most extreme form of 'alienation.' Giger's paintings depict the overcoming of alienation both from machinery and from fellow humans --- or humanoids --- who are shown in orgiastic communion.
Jason Reza Jorjani, “Prometheism” (2020).
