ABSTRACT
What some have called the praxis turn in science studies, during which attention was focused upon laboratories and practices rather than theory production, led to the recognition that science proceeds by using technologies (instruments), which in turn led to the term technoscience. Here I will use the same methodological features to examine a deep history and phenomenology of art praxis in which a parallel result leads to my neologism, technoart. I take my clues from what today is called postphenomenology, which emphasizes human relations to technologies, the resultant forms of embodiment skills developed in uses, and the multistable results over time.
