This article contextualizes chicana cyberart in the decolonial conception of the region of Aztlán, confirming clearly that "Latin America is not entirely in the territory which carries its name" (CANCLINI, 2008). This 'territorial' appropriation is also temporal: it is performative of decolonial temporality as it dethrones the colonialist regime of chrononormativity which disqualifies non-eurocentric epistemes by mapping them onto the past. Specifically, the article addresses how chicana cyberart decolonizes temporality by refusing the transcendentalist or post-social version of the cyborg narrative. Discussing specific ways in which chicana cyberart queers the chrononormative prescription of the future as high technology over the past as its low-tech residue, the article affirms Afrofuturism's broader conception of technology (which acknowledges its residue as its own suppressed supplement) as an effective threat to the chronic biopolitics of straight temporality.
Decolonial Art; Queer; Chrononormativity; Cyborg; Chicana Cyberart
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