Cloud Nine (A Performance)

Cloud Nine is a parody on cloning and the human genome project. We live in a society that is obsessed with the attainment of a ‘perfection’ be it the mind or body. Think breast implants, "the youth pill" or performance enhancers such as testosterone. The search for beating aging is on. Alarmingly, through genetic engineering, we humans will soon have the power to not only cheat age and add to the crisis of resource consumption but also to eliminate certain groups of people such as those with mental or physical disabilities. While you get to play parent and God, at Cloud Nine, we must make sure that humankind never gets to play God.

Cloud Nine is a parody on cloning and the human genome project, through the use of performance and props. Cloud Nine refers to a state of euphoria, of disease-less and age-less life that could result from controlling human genes. The identity of Cloud Nine is based on a cumulonimbus shape. The reason for this is the association of this cloud, which is the biggest, puffiest and the most "heavenly looking" to be associated with the phrase cloud nine.

The performance was done at the SVA Gallery in New York:
Ishan Khosla dressed as a physician would instruct donors on how to donate their DNA and have them fill out a form to decide the characteristics of their offspring. In 9 minutes a child would be "born" with those characteristics which the parent could take with them.

Word Origin and History for cloud nine
by 1950, sometimes also cloud seven (1956, perhaps by confusion with seventh heaven), American English, of uncertain origin or significance. Some connect the phrase with the 1895 International Cloud-Atlas (Hildebrandsson, Riggenbach and Teisserenc de Bort), long the basic source for cloud shapes, in which, of the ten cloud types, cloud No. 9, cumulonimbus, was the biggest, puffiest, most comfortable-looking. Shipley suggests the sense in this and other expressions might be because, "As the largest one-figure integer, nine is sometimes used for emphasis." The phrase might appear in the 1935 aviation-based play "Ceiling Zero" by Frank Wilbur Wead.