The work presented by Amoral is in the same vein as a series of projects that address technologies from their presence in the body, as a key tool in the construction of gender.

Perhaps we could think about the digestive system of cows, as Lucrecia Masson puts it with her ruminant epistemologies, since the bikini that Amoral builds is made from tripe, that is, meat from the digestive system of cows. Masson uses the ruminant character of the cow to question heterosexual temporality and its broad value system, where normative youth and beauty, as well as modern agility, speed and efficiency, mark a way of relating to the world. Masson bases hir observations on, precisely, the digestive system of cattle, which consists of four stomachs. This system, from a complex structuring, allows the use of a series of nutrients of different character, for which it requires a place and an unhurried time to execute. We could think of this place as a resistance to the fever of social networks, to live broadcasts, to the pure feverish exposure of live content loaded with self-references, which we can find today on corporate social networks. Ruminant temporality is therefore a challenge for this heterosexual time which, in addition to being linear, gets drunk on speed as if it were a futuristic date. The costumes that Amoral presents in this project transform the insult that the epithet "cow" could imply into a tinsel suit, to question the bodily effects of the gender technologies that constitute the prevailing world order.