{"title":"Brandon is a Network Not a Name: Fictocriticism & the Cyberfeminist Art of Shu Lea Cheang","authors":"Zachary Pearl","doi":"10.16995/olh.6391","DOIUrl":null,"url":null,"abstract":"The cyberfeminist art practice of Shu Lea Cheang evinces a particular relation of generative complicity with the art object—what Canadian cultural theorist Jeanne Randolph referred to as “the amenable object” (1983). Randolph, who pioneered “ficto-criticism”—a method of writing that intentionally blurs theory, poetics and narrative—wrote of the amenable object as an incomplete creation whose “ambiguous elements” allow the viewer to make “subjective interventions” in the work. Likewise, Cheang’s participatory installations and non-linear online narratives operate as amenable object-texts, requiring the user to not only navigate but contribute to them through acts of critical play and improvisation. Across Cheang’s oeuvre is also a nomadic politics of border-crossing that resonates as loudly with Donna Haraway’s cyborg as it does with the experimental feminist writing that became associated with fictocriticism. In this paper, I examine correlations between fictocritical approaches and formal tactics in Cheang’s studio practice to consider them as interrelated cyberfeminist strategies of resistance and dissent; ones that arose in counterpoint to the proliferation of deterministic, technocapitalist narratives. In particular, I look at how the fragmentation, partiality and double-voicing seen in many fictocritical texts were echoed in the user-experience of Cheang’s Brandon (1998), a sprawing network that posited the queer body as a collective series of actions. I conclude by looking at how these same techniques recall methods from Dadaism and Surrealism in the early 20th century and reflect on the recurrent role of indeterminacy in art and literature more generally to stem the entropy of binary paradigms.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Open Library of Humanities","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.16995/olh.6391","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
Abstract
The cyberfeminist art practice of Shu Lea Cheang evinces a particular relation of generative complicity with the art object—what Canadian cultural theorist Jeanne Randolph referred to as “the amenable object” (1983). Randolph, who pioneered “ficto-criticism”—a method of writing that intentionally blurs theory, poetics and narrative—wrote of the amenable object as an incomplete creation whose “ambiguous elements” allow the viewer to make “subjective interventions” in the work. Likewise, Cheang’s participatory installations and non-linear online narratives operate as amenable object-texts, requiring the user to not only navigate but contribute to them through acts of critical play and improvisation. Across Cheang’s oeuvre is also a nomadic politics of border-crossing that resonates as loudly with Donna Haraway’s cyborg as it does with the experimental feminist writing that became associated with fictocriticism. In this paper, I examine correlations between fictocritical approaches and formal tactics in Cheang’s studio practice to consider them as interrelated cyberfeminist strategies of resistance and dissent; ones that arose in counterpoint to the proliferation of deterministic, technocapitalist narratives. In particular, I look at how the fragmentation, partiality and double-voicing seen in many fictocritical texts were echoed in the user-experience of Cheang’s Brandon (1998), a sprawing network that posited the queer body as a collective series of actions. I conclude by looking at how these same techniques recall methods from Dadaism and Surrealism in the early 20th century and reflect on the recurrent role of indeterminacy in art and literature more generally to stem the entropy of binary paradigms.
期刊介绍:
The Open Library of Humanities is a peer-reviewed, open-access journal open to submissions from researchers working in any humanities'' discipline in any language. The journal is funded by an international library consortium and has no charges to authors or readers. The Open Library of Humanities is digitally preserved in the CLOCKSS archive.