|Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.|
between herself and her parents, who presumably are not her biological progenitors.
Much like the characters discussed earlier, she does not convey any message about how to improve the world. Her unruliness results from her inability to be different, from the way she is, which constantly collides with her environment—and hence, from the‹way in which she is biologically determined.› This biologism is ironically refracted by her cyborg-like nature which has lost all its naturalness. Her body is a risk to her environment to the extent that the effect of technology are doubled and reinforced in such a way that they do not seem bearable any longer because they are uncontrolled and uncontrollable and emanate from an individual outside the dominating power apparatus.
In the video «Host» (1997), she is a young woman seeking help for her computer problems. «As the participant indulges in a virtual conversation about a troublesome relationship, the session instantly becomes an amalgamation of daytime television and tabloid, wherein the surveillance camera becomes the eye of the media».  Although the computer voice is
very nice in the beginning and promises help if she enters her personal code, there is no help for her and she has to leave, remaining frustrated and lonely. Lucas writes: «The ending mimics the mundane routine of a bank transaction, yet with the seriousness of religious propaganda, ‹if you would like to save your life…›, ‹please enter initials…›‚ ‹To exit this program, please use the escape button›.»
The woman/artist/cyborg/worker is located on both sides: She is a user and a system operator at the same time. What we see here is not a new homogeneous and closed techno-body with new abilities. We see the performing of a body, the female body, as one which is overwhelmed, intruded and completely constructed by new technologies and media. But not in the sense of an upgrade or enhancement of possibilities. It's rather a new body condition of total fluidity and porosity. For such a body it makes no difference on which side of the system it is positioned: The borders are blurred, subjectivity is lost, agency is drawn into a machine-like play of interactivity. So the sysop, though she seems to have the more active role, is performed by the flows