Despite its status as a largely wordless performance, Punchdrunk's 2013 production of The Drowned Man activates a ventriloquist paradigm to frame its engagement with form: both the physical body as performance media. The Drowned Man's message about voice and form reimagines immersive theatre's multi-medial potential by invoking ventriloquism's cinematic and theatrical legacies. By staging the dummy's moment of self-awareness, The Drowned Man encourages it audiences to question the extent to which they, too, are invisibly controlled. The production distorts form in order to stage a self-reflexive dialogue about voices, bodies, and performance. The result is often uncanny, unsettling, bewildering and bewitching: much like ventriloquism itself.
{"title":"‘The Camera Chooses the Star’: Trans-medial Ventriloquism in Punchdrunk’s The Drowned Man","authors":"Ilana Gilovich-Wave","doi":"10.16995/bst.8025","DOIUrl":"https://doi.org/10.16995/bst.8025","url":null,"abstract":"Despite its status as a largely wordless performance, Punchdrunk's 2013 production of The Drowned Man activates a ventriloquist paradigm to frame its engagement with form: both the physical body as performance media. The Drowned Man's message about voice and form reimagines immersive theatre's multi-medial potential by invoking ventriloquism's cinematic and theatrical legacies. By staging the dummy's moment of self-awareness, The Drowned Man encourages it audiences to question the extent to which they, too, are invisibly controlled. The production distorts form in order to stage a self-reflexive dialogue about voices, bodies, and performance. The result is often uncanny, unsettling, bewildering and bewitching: much like ventriloquism itself.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"102 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82395803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Robert Lepage is one of the most acclaimed directors of contemporary theatre. His concept of a flexible, mechanized performance space (in Elsinore, Les Aiguilles et l’Opium, and The Ring), resembles Gordon Craig’s idea of using neutral, mobile, non-representational screens as a staging device. Lepage’s theatre is characterised by the scenographic machine, in the double meaning of actor and dispositive (that is, an agent effecting a disposition). Within this, involving video and a continuous metamorphosis of the scene, the actor is an essential mechanism. The scene integrates images and mechanisms of movement of the set in a single theatrical device in which man is still at the centre of the universe, as in the Renaissance; theatre, in a multimedia perspective, can thus revert to being a laboratory of integral culture, where art and technology rediscover their common etymology (tekne). I analyse two examples of his productions: Elsinore (1995) where a single actor impersonates all the characters of the tragedy, thanks to a metamorphic and mobile scenic solution and video projections, and The Ring cycle (2014–2016), where the set is a high-tech huge machine designed for the entire tetralogy, a work of mechanical engineering, rotating, bending and transforming into different shapes.
{"title":"Metamorphosis of the Stage: Elsinore and The Ring by Robert Lepage","authors":"Anna Maria Monteverdi","doi":"10.16995/BST.371","DOIUrl":"https://doi.org/10.16995/BST.371","url":null,"abstract":"Robert Lepage is one of the most acclaimed directors of contemporary theatre. His concept of a flexible, mechanized performance space (in Elsinore, Les Aiguilles et l’Opium, and The Ring), resembles Gordon Craig’s idea of using neutral, mobile, non-representational screens as a staging device. Lepage’s theatre is characterised by the scenographic machine, in the double meaning of actor and dispositive (that is, an agent effecting a disposition). Within this, involving video and a continuous metamorphosis of the scene, the actor is an essential mechanism. The scene integrates images and mechanisms of movement of the set in a single theatrical device in which man is still at the centre of the universe, as in the Renaissance; theatre, in a multimedia perspective, can thus revert to being a laboratory of integral culture, where art and technology rediscover their common etymology (tekne). I analyse two examples of his productions: Elsinore (1995) where a single actor impersonates all the characters of the tragedy, thanks to a metamorphic and mobile scenic solution and video projections, and The Ring cycle (2014–2016), where the set is a high-tech huge machine designed for the entire tetralogy, a work of mechanical engineering, rotating, bending and transforming into different shapes.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"58 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85628145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper introduces the concept of Affectual Dramaturgy as a lens for creating digitally mediated immersive performances in the context of cultural heritage. In doing so we bring together two disciplines, smartglass Augmented Reality design (AR) and immersive heritage performance, with the aim to innovate experiences built for heritage sites. For both disciplines, immersive experience building uses interactive methods to engage the public with the tangible and intangible heritage of a site. Immersive heritage performance incorporates narrative-led, affective, and ludic techniques found in virtual and live immersive and participatory theatre practice. Smartglass AR experiences communicate to the viewer how a place was in the past by means of superimposing on the physical space virtual material accompanied with audio. However, often, the orchestration of the virtual material does not take the context into account and the superimposition of digital information misses an opportunity to connect into the existing narrative of the site tapping into its rich dramatic potential. This article explores how AR design and live performance can blend together through embodied storytelling techniques designed to draw the public’s attention to their sensorial experience of the site, and offer them a deeper understanding of the place’s history, which we refer to as affectual dramaturgy. By fusing embodied, affectual, and sensorial experience into the public’s engagement with the site, this article explores how interdisciplinary collaborations between theatre and AR design may create innovative tools and methods to tell stories of the past for the 21st century museums.
{"title":"Affectual Dramaturgy for Augmented Reality Immersive Heritage Performance","authors":"Mariza Dima, H. Maples","doi":"10.16995/BST.368","DOIUrl":"https://doi.org/10.16995/BST.368","url":null,"abstract":"This paper introduces the concept of Affectual Dramaturgy as a lens for creating digitally mediated immersive performances in the context of cultural heritage. In doing so we bring together two disciplines, smartglass Augmented Reality design (AR) and immersive heritage performance, with the aim to innovate experiences built for heritage sites. For both disciplines, immersive experience building uses interactive methods to engage the public with the tangible and intangible heritage of a site. Immersive heritage performance incorporates narrative-led, affective, and ludic techniques found in virtual and live immersive and participatory theatre practice. Smartglass AR experiences communicate to the viewer how a place was in the past by means of superimposing on the physical space virtual material accompanied with audio. However, often, the orchestration of the virtual material does not take the context into account and the superimposition of digital information misses an opportunity to connect into the existing narrative of the site tapping into its rich dramatic potential. This article explores how AR design and live performance can blend together through embodied storytelling techniques designed to draw the public’s attention to their sensorial experience of the site, and offer them a deeper understanding of the place’s history, which we refer to as affectual dramaturgy. By fusing embodied, affectual, and sensorial experience into the public’s engagement with the site, this article explores how interdisciplinary collaborations between theatre and AR design may create innovative tools and methods to tell stories of the past for the 21st century museums.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84887103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is a postphenomenological investigation of cyber bodies and their politics. A case study is made through cyborg microcelebrity Lil Miquela and her role in the attention economy. The relevance of embodiment, re-embodiment and disembodiment is critically considered through Kirk M. Besmer (2015), Donna J. Haraway (1991) and Maurice Merleau-Ponty’s (1974) theoretical exploration.
本文是对网络主体及其政治的后现象学研究。通过电子人微名人Lil Miquela和她在注意力经济中的作用进行了一个案例研究。通过Kirk M. Besmer(2015)、Donna J. Haraway(1991)和Maurice Merleau-Ponty(1974)的理论探索，批判性地思考了具体化、再具体化和脱离具体化的相关性。
{"title":"Disintegrated Bodies – From Cyborg Microcelebrities to Capital Flow: A Post-Phenomenological Investigation of Disembodiment","authors":"Riad Salameh","doi":"10.16995/BST.372","DOIUrl":"https://doi.org/10.16995/BST.372","url":null,"abstract":"This paper is a postphenomenological investigation of cyber bodies and their politics. A case study is made through cyborg microcelebrity Lil Miquela and her role in the attention economy. The relevance of embodiment, re-embodiment and disembodiment is critically considered through Kirk M. Besmer (2015), Donna J. Haraway (1991) and Maurice Merleau-Ponty’s (1974) theoretical exploration.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78574229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jeremy Neideck, S. Pike, Kathryn Kelly, Katharine Henry
A window has traditionally been a sturdy artistic metaphor, able to offer a tangible account of acts of witnessing and perception. For many theatre directors and teachers, the window of our eyes has become our primary creative and pedagogical tool, gazing within the edifice of Zoom, a technology built by the intersection of interlocking digital windows, their meaning created by the witnessing gaze of the participants. And what are the windows of Zoom revealing? In the context of shared and embodied creative practice, we gain insight into other people’s worlds: bodies on the move, negotiating shared spaces, attending to human need. Insight over Zoom is knowledge of the other without inter-subjectivity. The subtle voyeurism inherent in the technology offers often uncomfortably intimate access to the personal or domestic world of students and colleagues, but a window that does not readily lend itself to social connection or reciprocal or mutual gaze. We have seen things now that we cannot unsee. What will come of the digital heterotopia of the window when we venture back into the studio, when our performance making practices once again move about freely in the world? Have we all been rehearsing a new, interconnected futurity—a permanently alternate ordering of the actual world? Drawing from the practice of four teacher-artists (director, actor trainer, devisor, and dramaturg) this article will explore the iconography of the Zoom window, and its specific qualities at the intersection of body and technology.
{"title":"The Iconography of Digital Windows—Perspectives on the Pervasive Impact of the Zoom Digital Window on Embodied Creative Practice in 2020","authors":"Jeremy Neideck, S. Pike, Kathryn Kelly, Katharine Henry","doi":"10.16995/BST.365","DOIUrl":"https://doi.org/10.16995/BST.365","url":null,"abstract":"A window has traditionally been a sturdy artistic metaphor, able to offer a tangible account of acts of witnessing and perception. For many theatre directors and teachers, the window of our eyes has become our primary creative and pedagogical tool, gazing within the edifice of Zoom, a technology built by the intersection of interlocking digital windows, their meaning created by the witnessing gaze of the participants. And what are the windows of Zoom revealing? In the context of shared and embodied creative practice, we gain insight into other people’s worlds: bodies on the move, negotiating shared spaces, attending to human need. Insight over Zoom is knowledge of the other without inter-subjectivity. The subtle voyeurism inherent in the technology offers often uncomfortably intimate access to the personal or domestic world of students and colleagues, but a window that does not readily lend itself to social connection or reciprocal or mutual gaze. We have seen things now that we cannot unsee. What will come of the digital heterotopia of the window when we venture back into the studio, when our performance making practices once again move about freely in the world? Have we all been rehearsing a new, interconnected futurity—a permanently alternate ordering of the actual world? Drawing from the practice of four teacher-artists (director, actor trainer, devisor, and dramaturg) this article will explore the iconography of the Zoom window, and its specific qualities at the intersection of body and technology.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"336 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73143067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Representation of architectural heritage artefacts with minimum risks to their authenticity has been advised by heritage guidelines; their transport for representation maximises the risk of destruction and questions the authenticity. Contemporary curators turn to Information and Communication Technology (ICT) and Mixed Reality for an improved representation but there are challenges related to audience accessibility, costs of asset transport to and lifecycle management with the museum platforms, and the potential threats to authenticity. Digital Twin (DT) as a revolutionary concept opens new doors to mitigate the challenges and may facilitate better access to the architectural heritage through digital experiences. In the long term, DT implementation costs may be offset by enabling wider access. This article presents the DT concept, the necessity of its adoption, the challenges of Digital Twining, benefits and opportunities, and reviews available curation practices of ‘digital asset’ production. The core contribution of this article is the comparative studies on two acquisition methods with two data streams presented as case studies. The two techniques, which engage hand recording and digital recording are detailed and compared in terms of construction time, tool requirements, representability, and the interoperability as well as extensibility of the models. This research is significant in two ways: 1) by presenting the analytic framework for adapting DT assets to the complex platforms in museums, and 2) by explicating the curatorial challenges for heritage assets including accessibility, implementation time, authenticity, and reliability of the 3D-documented models. Keywords: 3D Printing
{"title":"Production of Iranian Architectural Assets for Representation in Museums: Theme of Museum-Based Digital Twin","authors":"Hossein Parsinejad, I. Choi, M. Yari","doi":"10.16995/BST.364","DOIUrl":"https://doi.org/10.16995/BST.364","url":null,"abstract":"Representation of architectural heritage artefacts with minimum risks to their authenticity has been advised by heritage guidelines; their transport for representation maximises the risk of destruction and questions the authenticity. Contemporary curators turn to Information and Communication Technology (ICT) and Mixed Reality for an improved representation but there are challenges related to audience accessibility, costs of asset transport to and lifecycle management with the museum platforms, and the potential threats to authenticity. Digital Twin (DT) as a revolutionary concept opens new doors to mitigate the challenges and may facilitate better access to the architectural heritage through digital experiences. In the long term, DT implementation costs may be offset by enabling wider access. This article presents the DT concept, the necessity of its adoption, the challenges of Digital Twining, benefits and opportunities, and reviews available curation practices of ‘digital asset’ production. The core contribution of this article is the comparative studies on two acquisition methods with two data streams presented as case studies. The two techniques, which engage hand recording and digital recording are detailed and compared in terms of construction time, tool requirements, representability, and the interoperability as well as extensibility of the models. This research is significant in two ways: 1) by presenting the analytic framework for adapting DT assets to the complex platforms in museums, and 2) by explicating the curatorial challenges for heritage assets including accessibility, implementation time, authenticity, and reliability of the 3D-documented models. Keywords: 3D Printing","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76035633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As an anthropologist and dancer, I ask how gesture emerges within a dance production process. The reflection is based on the performance ‘Shadow Dance’, created in Scotland in 2017 together with 10 other artists. The three dimensions of time, collective and space each show an aspect of the creation of gesture. First, it emerges in resonance with past and future events, drawing on the memory of past dance performances and the projection/visualization of the coming show. Secondly, it embodies other (invisible) bodies, which left traces on the dancing body. I argue that a soloist never dances alone but with the shadow of other bodies (s)he danced with. Third, gesture resonates with the environment in which it was created: in this case, with the books, shelves, and carpets of the seven stories Duncan Rice Library of Aberdeen. The paper invites readers to reflect on the body as a living archive, in dialogue with the work of photographers – characters in the play – who captured traces of the event. The notion of archive is discussed through the lens of Andre Lepecki, Erin Manning, Susan Sontag and Diana Taylor. This experimental autoethnographical photo-essay emphasizes how choreographic creation offers a space for theoretical reflections. Research within choreographic processes generates knowledge, contributing to the theories of creativity, gesture and body.
{"title":"The Birth of Gesture. ‘I’m not dancing alone’","authors":"C. Vionnet","doi":"10.16995/BST.350","DOIUrl":"https://doi.org/10.16995/BST.350","url":null,"abstract":"As an anthropologist and dancer, I ask how gesture emerges within a dance production process. The reflection is based on the performance ‘Shadow Dance’, created in Scotland in 2017 together with 10 other artists. The three dimensions of time, collective and space each show an aspect of the creation of gesture. First, it emerges in resonance with past and future events, drawing on the memory of past dance performances and the projection/visualization of the coming show. Secondly, it embodies other (invisible) bodies, which left traces on the dancing body. I argue that a soloist never dances alone but with the shadow of other bodies (s)he danced with. Third, gesture resonates with the environment in which it was created: in this case, with the books, shelves, and carpets of the seven stories Duncan Rice Library of Aberdeen. The paper invites readers to reflect on the body as a living archive, in dialogue with the work of photographers – characters in the play – who captured traces of the event. The notion of archive is discussed through the lens of Andre Lepecki, Erin Manning, Susan Sontag and Diana Taylor. This experimental autoethnographical photo-essay emphasizes how choreographic creation offers a space for theoretical reflections. Research within choreographic processes generates knowledge, contributing to the theories of creativity, gesture and body.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90774251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How does resistance and struggle arise and from where? What embodied mechanism and social conditions allow for thought to be thought and for action to emerge? To what extent are movements and freedoms already ‘choreographed’ or pre-determined by regulatory bio(techno)systems and how can post-modern choreography incorporate the radical social shifts and conflicts of our times towards equally radical ‘post-safe’ ethics and practices? A historical, philosophical and psychoanalytical study of the senses with a focus on the sense of touch will aim to reveal the unexpected tactile dynamics of biopolitics (Foucault, 1979) and insert touch into the relational workings of post-capitalistic struggle. Expanded beyond mere contact, touch is posited as a pivotal socio-political instrument of regulation and orientation, and by deduction, an equally powerful mean of resistance. Using historical and contemporary forms of activism, this paper will assert touch as precursor to action in an event arising from the body. The lived body via the senses – of which touch is posited as the mother of all (Montagu, 1971) – is reformulated as a technology bearing and reproducing sensory values and hierarchies structured by ideology (Howes, 2005), therefore as historical and subject to change and intervention rather than physiologically stable entity (Duden, 1991a). Here, the sensual body is boldly re-drawn as wilfully trans-forming, of itself and social relations at once.
{"title":"Per-forming the Sense of Touch: A Spatio-Temporal\u0000 Embodied Technology of Resistance","authors":"Maud Lannen","doi":"10.16995/bst.329","DOIUrl":"https://doi.org/10.16995/bst.329","url":null,"abstract":"How does resistance and struggle arise and from where? What embodied mechanism and social conditions allow for thought to be thought and for action to emerge? To what extent are movements and freedoms already ‘choreographed’ or pre-determined by regulatory bio(techno)systems and how can post-modern choreography incorporate the radical social shifts and conflicts of our times towards equally radical ‘post-safe’ ethics and practices? A historical, philosophical and psychoanalytical study of the senses with a focus on the sense of touch will aim to reveal the unexpected tactile dynamics of biopolitics (Foucault, 1979) and insert touch into the relational workings of post-capitalistic struggle. Expanded beyond mere contact, touch is posited as a pivotal socio-political instrument of regulation and orientation, and by deduction, an equally powerful mean of resistance. Using historical and contemporary forms of activism, this paper will assert touch as precursor to action in an event arising from the body. The lived body via the senses – of which touch is posited as the mother of all (Montagu, 1971) – is reformulated as a technology bearing and reproducing sensory values and hierarchies structured by ideology (Howes, 2005), therefore as historical and subject to change and intervention rather than physiologically stable entity (Duden, 1991a). Here, the sensual body is boldly re-drawn as wilfully trans-forming, of itself and social relations at once.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79949519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This Paper feeds into the current transcultural debate surrounding tensions between the construction of immersive technologies within westernised paradigms. In the construction of immersive spaces, tech companies have unconsciously subjugated other cultural frameworks and perspectives. Safiya Umoja Noble’s term ‘technological redlining’ succinctly articulate this subjugation in her book ‘Algorithms of Oppression’ where she says ‘The power of algorithms in the age of neoliberalism and the ways those digital decisions reinforce oppressive social relationships and enact new modes of racial profiling, which I have termed technological redlining. By making visible the ways that capital, race, and gender are factors in creating unequal conditions, I am bringing light to various forms of technological redlining that are on the rise’. (Noble 2018: 01) These assumptions are systematic of what Jean-Paul Sartre referred to in the last century as Neocolonialism (Sartre 2001: 2). Political systems intentionally subjugating other cultural narratives, in order to impose colonial paradigms concerning social activity. These are still the dominant perspectives, still controlling global narratives. ‘Neocolonialism can be described as the subtle propagation of socio-economic and political activity by former colonial rulers aimed at reinforcing capitalism, neo-liberal globalization’. (Taiwo; Accessed 02/05/19) Umoja Noble highlights a key challenge to address this balance, which is in the construction of any digitised decision-making platform, the key point is to understand that all initial mathematical formulations that drive automated decision-making are made by human beings who exist in a specific socio-cultural context.
本文为当前围绕西方范式内沉浸式技术构建之间的紧张关系的跨文化辩论提供了素材。在沉浸式空间的建设中，科技公司不知不觉地征服了其他文化框架和观点。Safiya Umoja Noble的术语“技术红线”在她的书“压迫的算法”中简洁地表达了这种征服，她说“新自由主义时代算法的力量以及这些数字决策强化压迫性社会关系的方式，并制定了新的种族定性模式，我称之为技术红线。”通过揭示资本、种族和性别是造成不平等条件的因素，我为正在兴起的各种形式的技术边缘化带来了光明。”(诺贝尔2018:01)这些假设是让-保罗·萨特在上个世纪所说的新殖民主义的系统(萨特2001:2)。政治制度故意征服其他文化叙事，以便在社会活动中强加殖民主义范式。这些仍然是占主导地位的观点，仍然控制着全球叙事。“新殖民主义可以被描述为前殖民统治者旨在加强资本主义和新自由主义全球化的社会经济和政治活动的微妙传播。”(泰沃;Umoja Noble强调了解决这种平衡的一个关键挑战，这是在任何数字化决策平台的建设中，关键是要理解所有驱动自动化决策的初始数学公式都是由存在于特定社会文化背景中的人类做出的。
{"title":"Subjugating Other Cultural Narratives in the Construction of Immersive\u0000 Environments","authors":"Olu Taiwo","doi":"10.16995/bst.339","DOIUrl":"https://doi.org/10.16995/bst.339","url":null,"abstract":"This Paper feeds into the current transcultural debate surrounding tensions between the construction of immersive technologies within westernised paradigms. In the construction of immersive spaces, tech companies have unconsciously subjugated other cultural frameworks and perspectives. Safiya Umoja Noble’s term ‘technological redlining’ succinctly articulate this subjugation in her book ‘Algorithms of Oppression’ where she says ‘The power of algorithms in the age of neoliberalism and the ways those digital decisions reinforce oppressive social relationships and enact new modes of racial profiling, which I have termed technological redlining. By making visible the ways that capital, race, and gender are factors in creating unequal conditions, I am bringing light to various forms of technological redlining that are on the rise’. (Noble 2018: 01) These assumptions are systematic of what Jean-Paul Sartre referred to in the last century as Neocolonialism (Sartre 2001: 2). Political systems intentionally subjugating other cultural narratives, in order to impose colonial paradigms concerning social activity. These are still the dominant perspectives, still controlling global narratives. ‘Neocolonialism can be described as the subtle propagation of socio-economic and political activity by former colonial rulers aimed at reinforcing capitalism, neo-liberal globalization’. (Taiwo; Accessed 02/05/19) Umoja Noble highlights a key challenge to address this balance, which is in the construction of any digitised decision-making platform, the key point is to understand that all initial mathematical formulations that drive automated decision-making are made by human beings who exist in a specific socio-cultural context.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74546929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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