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As the mate‑ riality of the body engages the corporeality of materials, tools, and objects through art making, manifold sensations, associations, and understandings extend one to and through the other prosthetically. In doing so, the sensate embodiment of art precedes and enables understanding embodiment across bodies, disciplines, and cultures. The theories of Merleau‑Ponty, Massumi, Lyotard, Hayles, Dewey, and other scholars will be invoked to support my conceptualization of prosthetic that connects the flesh of the body and the flesh of the world felt in the body through art research and practice.

It is this troubling, incompatibility of prosthesis, which advocates pros‑ thetic pedagogy, an embodied form of art research and teaching that challeng‑ es and resists both the disabling stereotypes and stigmas of the amputated as dysfunctional, and the fear and loathing of technological supplements that enable the body’s agency. Indeed, there exists an interesting correlation between the fear of disabled bodies and their enabling through prosthetic technology insofar as the fear of technology is the consequence of denying the body’s technological need, which in turn is a consequence of the body’s presumption of wholeness and self‑sufficiency.

It takes a fact of shared space, the contiguity of two or more VERGE OF COLLAPSE 27 differences, and narrates their relation as a coincidental event. But that shared space remains [unstable] impossible to delimit; for as long as every relation is a relation to difference, what is a close or distant relation cannot be rigorously determined. (Wills 1995, 42; italics added) According to Wills, given the instability of images and ideas, their mean‑ ings and our understanding of them are contingent, they always exist in prosthetic relation to other images and ideas.

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