Kitsch is often seen as the denial of shit. Kitsch excludes from view everything that is unacceptable in human existence. In Paul McCarthy’s oeuvre, there is no such dichotomy. For forty years, his scatological work – wallowing in shit, pissing on food, fucking mayonnaise jars, walking on broken glass, re-coding revered artworks as trash porn, and dropping huge piles of shit on cities – has dissected the violence of positivity. This article suggests that McCarthy’s 1970s performance work, his 1990s interactive architectures, and his 2010s automated environments articulate three distinct stages of this violence: libidinal, participatory, and automated, as enmeshed with the spectacular, experience, and information economy, and the aesthetics of the interesting, the zany, and the cute (Ngai). Pinpointing the devastating working of the late-capitalist symbolic order-disorder—an order that perpetually disorders—I argue that McCarthy’s oeuvre articulates the passage from biopolitics (Foucault) to smartpolitics (Han).
{"title":"A Santa with a Butt Plug: Paul McCarthy and the Obliterating Violence of\u0000 Positivity","authors":"Natasha Lushetich","doi":"10.16995/bst.340","DOIUrl":"https://doi.org/10.16995/bst.340","url":null,"abstract":"Kitsch is often seen as the denial of shit. Kitsch excludes from view everything that is unacceptable in human existence. In Paul McCarthy’s oeuvre, there is no such dichotomy. For forty years, his scatological work – wallowing in shit, pissing on food, fucking mayonnaise jars, walking on broken glass, re-coding revered artworks as trash porn, and dropping huge piles of shit on cities – has dissected the violence of positivity. This article suggests that McCarthy’s 1970s performance work, his 1990s interactive architectures, and his 2010s automated environments articulate three distinct stages of this violence: libidinal, participatory, and automated, as enmeshed with the spectacular, experience, and information economy, and the aesthetics of the interesting, the zany, and the cute (Ngai). Pinpointing the devastating working of the late-capitalist symbolic order-disorder—an order that perpetually disorders—I argue that McCarthy’s oeuvre articulates the passage from biopolitics (Foucault) to smartpolitics (Han).","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77366846","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}
The dramatic tradition suggests, for the most part, a progressive relationship between author, performer, producer and audience, in which the author/s originates the playtext, the performers develop a production, and the producer presents the outcome to the public. The arrival of theatrical performance and the fine art exhibition on cinema screens worldwide, the phenomenon of ‘live relay’ or the ‘as live broadcast’ in the arts, challenges this familiar perception of the author/production/audience relationship. The emergence of screening live performances in cinemas has modulated the once-traditional dramaturgical interaction between text, production, and audience. The ‘live relay’ tests the very way we think about theatre and performance. With its destabilization of production and audience spatiotemporal locators, the ‘live relay’ disrupts the vocabulary of theatrical description and it inflects both ontological and epistemological attitudes to the theatre-viewing of the past, the theatre-making of the present, and the interactions thereof. The live relay, moreover, causes disturbances within what can be considered the authorial field. If postdramatic theatre shifts the dramaturgical valency from playwright as creative genius to director as auteur, then the mediaturgy of the ‘live relay’ renders both of these models redundant. This article examines the proposition that the live relay has given rise to new authorial voices and bodies, those of the cinematic director and the institution. These are bodies and voices that need to be accommodated within the mediated and intermedial paradigm of screening live performance in cinema.
{"title":"Screened Live: Technologically Reconfiguring Notions of the\u0000 Author","authors":"Bernadette Cochrane","doi":"10.16995/bst.338","DOIUrl":"https://doi.org/10.16995/bst.338","url":null,"abstract":"The dramatic tradition suggests, for the most part, a progressive \u0000relationship between author, performer, producer and audience, in which the \u0000author/s originates the playtext, the performers develop a production, and \u0000the producer presents the outcome to the public. The arrival of theatrical \u0000performance and the fine art exhibition on cinema screens worldwide, the \u0000phenomenon of ‘live relay’ or the ‘as live broadcast’ in the arts, challenges \u0000this familiar perception of the author/production/audience relationship. The \u0000emergence of screening live performances in cinemas has modulated the \u0000once-traditional dramaturgical interaction between text, production, and \u0000audience. The ‘live relay’ tests the very way we think about theatre and \u0000performance. With its destabilization of production and audience spatiotemporal locators, the ‘live relay’ disrupts the vocabulary of theatrical \u0000description and it inflects both ontological and epistemological attitudes \u0000to the theatre-viewing of the past, the theatre-making of the present, \u0000and the interactions thereof. The live relay, moreover, causes disturbances \u0000within what can be considered the authorial field. If postdramatic theatre \u0000shifts the dramaturgical valency from playwright as creative genius to \u0000director as auteur, then the mediaturgy of the ‘live relay’ renders both of \u0000these models redundant. This article examines the proposition that the \u0000live relay has given rise to new authorial voices and bodies, those of the \u0000cinematic director and the institution. These are bodies and voices that \u0000need to be accommodated within the mediated and intermedial paradigm \u0000of screening live performance in cinema.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"52 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90070377","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 theorises, articulates and demonstrates how performative pedagogies can be employed to engage participants (both sighted and non-sighted) with haptic, gustatory, olfactory and aural sensorial-immersive encounters as part of an ongoing mixed-method project You Don’t Need Eyes to See You Need Vision that aims to develop pedagogic practices, enhance learning experiences for students who are visually impaired and improve public awareness of the need for new practices. Using performative pedagogy and ‘deprivation strategies’, this project has opened up new ways of thinking about how we engage our bodies (for both sighted and non-sighted persons) to experience a multitude of senses beyond the visual, carving out revised ways of thinking about bodily affect in space and time. In recognition of this work, I was a recipient of the University of Lincoln Best Practice Award in Promoting Equality in 2017.
{"title":"Deprivation Strategies: Increasing Public Understanding of Vision\u0000 Impairment Using Performative Pedagogy","authors":"L. Campbell","doi":"10.16995/BST.308","DOIUrl":"https://doi.org/10.16995/BST.308","url":null,"abstract":"This paper theorises, articulates and demonstrates how performative pedagogies can be employed to engage participants (both sighted and non-sighted) with haptic, gustatory, olfactory and aural sensorial-immersive encounters as part of an ongoing mixed-method project You Don’t Need Eyes to See You Need Vision that aims to develop pedagogic practices, enhance learning experiences for students who are visually impaired and improve public awareness of the need for new practices. Using performative pedagogy and ‘deprivation strategies’, this project has opened up new ways of thinking about how we engage our bodies (for both sighted and non-sighted persons) to experience a multitude of senses beyond the visual, carving out revised ways of thinking about bodily affect in space and time. In recognition of this work, I was a recipient of the University of Lincoln Best Practice Award in Promoting Equality in 2017.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78312470","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 discusses the argument that the adoption of artificial intelligence (AI) technologies benefits the powerful few, focussing on their own existential concerns. The paper will narrow down the analysis of the argument to jurisprudence (i.e. the philosophy of law), considering also the historical context. The paper will discuss the construction of the legal system through the lens of political involvement of what one may want to consider to be powerful elites. Before discussing these aspects the paper will clarify the notion of “powerful elites”. In doing so the paper will be demonstrating that it is difficult to prove that the adoption of AI technologies is undertaken in a way which mainly serves a powerful class in society. Nevertheless, analysing the culture around AI technologies with regard to the nature of law with a philosophical and sociological focus demonstrates a utilitarian and authoritarian trend in the adoption of AI technologies. The paper will conclude by proposing an alternative, some might say practically unattainable, approach to the current legal system by looking into restorative justice for AI crimes, and how the ethics of care could be applied to AI technologies.
{"title":"Social Justice and Artificial Intelligence by Dr. Adnan Hadzi (University of Malta)","authors":"Adnan Hadzi","doi":"10.16995/BST.318","DOIUrl":"https://doi.org/10.16995/BST.318","url":null,"abstract":"This paper discusses the argument that the adoption of artificial intelligence (AI) technologies benefits the powerful few, focussing on their own existential concerns. The paper will narrow down the analysis of the argument to jurisprudence (i.e. the philosophy of law), considering also the historical context. The paper will discuss the construction of the legal system through the lens of political involvement of what one may want to consider to be powerful elites. Before discussing these aspects the paper will clarify the notion of “powerful elites”. In doing so the paper will be demonstrating that it is difficult to prove that the adoption of AI technologies is undertaken in a way which mainly serves a powerful class in society. Nevertheless, analysing the culture around AI technologies with regard to the nature of law with a philosophical and sociological focus demonstrates a utilitarian and authoritarian trend in the adoption of AI technologies. The paper will conclude by proposing an alternative, some might say practically unattainable, approach to the current legal system by looking into restorative justice for AI crimes, and how the ethics of care could be applied to AI technologies.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78106192","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 article explores site-responsiveness in the context of a collaborative work, Tide Times, by Laura Bissell (writer) and Timothy Cooper (electroacoustic composer) created for the island of Cramond. In this co-written submission we examine the ways in which the work responded to our experience of exploring the tidal island on the East Coast of Scotland during five visits between April and August 2018. Contextualising Tide Times through Ingold’s ideas of atmosphere and place (Ingold, 2015), theories of soundwalking (Westerkamp, 2007) and acoustic ecology (Clarke, 2005) we discuss our attempt to heighten the participants’ experience of the island and encourage a playful exploration of place. This article will discuss the ways in which the electroacoustic compositions and texts responded to site, environmental sound, the natural flora and fauna of the island and its visitors. Tim’s electroacoustic compositions were combined with a palimpsest of texts including reflective accounts of visits to Cramond (written by Laura and Tim), site-responsive poems (written by Laura), fragments of found text, poems and excerpts from oceanographer Rachel Carson’s The Edge of the Sea (Carson, 2014)(curated by Laura). These audio tracks attempt to explore an experience of this place, its tidal qualities, and the multiple identities of Cramond Island over time. Inspired by the geocache we found on our first visit to the island (a global treasure hunt using GPS), we created nine treasure chests to be found using a map to accompany the audio exploration which included invitations for visitors to the island to engage in making their own creative responses to this site. Whilst the pre-recorded tracks and the invitations remain constant, the way that the participants respond to these will continue to reshape the precise nature of the work: in this way the participants become active collaborators in the creation of Tide Times.
{"title":"Tide Times: Responding to Cramond","authors":"Laura Bissell, Timothy G. Cooper","doi":"10.16995/BST.312","DOIUrl":"https://doi.org/10.16995/BST.312","url":null,"abstract":"This article explores site-responsiveness in the context of a collaborative work, Tide Times, by Laura Bissell (writer) and Timothy Cooper (electroacoustic composer) created for the island of Cramond. In this co-written submission we examine the ways in which the work responded to our experience of exploring the tidal island on the East Coast of Scotland during five visits between April and August 2018. Contextualising Tide Times through Ingold’s ideas of atmosphere and place (Ingold, 2015), theories of soundwalking (Westerkamp, 2007) and acoustic ecology (Clarke, 2005) we discuss our attempt to heighten the participants’ experience of the island and encourage a playful exploration of place. This article will discuss the ways in which the electroacoustic compositions and texts responded to site, environmental sound, the natural flora and fauna of the island and its visitors. Tim’s electroacoustic compositions were combined with a palimpsest of texts including reflective accounts of visits to Cramond (written by Laura and Tim), site-responsive poems (written by Laura), fragments of found text, poems and excerpts from oceanographer Rachel Carson’s The Edge of the Sea (Carson, 2014)(curated by Laura). These audio tracks attempt to explore an experience of this place, its tidal qualities, and the multiple identities of Cramond Island over time. Inspired by the geocache we found on our first visit to the island (a global treasure hunt using GPS), we created nine treasure chests to be found using a map to accompany the audio exploration which included invitations for visitors to the island to engage in making their own creative responses to this site. Whilst the pre-recorded tracks and the invitations remain constant, the way that the participants respond to these will continue to reshape the precise nature of the work: in this way the participants become active collaborators in the creation of Tide Times.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83558265","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}
Rosemary E. Cisneros, Karen Wood, Sarah Whatley, Michele Buccoli, M. Zanoni, A. Sarti
Virtual reality (VR) is becoming an increasingly intriguing space for dancers and choreographers. Choreographers may find new possibility emerging in using virtual reality to create movement and the WhoLoDancE: Whole-Body Interaction Learning for Dance Education project is developing tools to assist in this process. The interdisciplinary team which includes dancers, choreographers, educators, artists, coders, technologists and system architects have collaborated in engaging, discussing, analysing, testing and working with end-users to help with thinking about the issues that emerge in the creation of these tools. The paper sets out to explore the creative potential of VR in the context of WhoLoDancE and how this may offer new insights for the choreographer and dancer. We pay attention to the virtual environment, the virtual performance and the virtual dancer as some of the key components for equipping the choreographer to use in the creating process and to inform the dancing body. The cyclical process of live body to virtual, back to the dancing body as a choreographic device is an innovative way to approach practice. This approach may lead to new insights and innovations in choreographic methods that may extend beyond the project and ultimately take dance performance in a new direction.
{"title":"Virtual Reality and Choreographic Practice: The Potential for New\u0000 Creative Methods","authors":"Rosemary E. Cisneros, Karen Wood, Sarah Whatley, Michele Buccoli, M. Zanoni, A. Sarti","doi":"10.16995/BST.305","DOIUrl":"https://doi.org/10.16995/BST.305","url":null,"abstract":"Virtual reality (VR) is becoming an increasingly intriguing space for dancers and choreographers. Choreographers may find new possibility emerging in using virtual reality to create movement and the WhoLoDancE: Whole-Body Interaction Learning for Dance Education project is developing tools to assist in this process. The interdisciplinary team which includes dancers, choreographers, educators, artists, coders, technologists and system architects have collaborated in engaging, discussing, analysing, testing and working with end-users to help with thinking about the issues that emerge in the creation of these tools. The paper sets out to explore the creative potential of VR in the context of WhoLoDancE and how this may offer new insights for the choreographer and dancer. We pay attention to the virtual environment, the virtual performance and the virtual dancer as some of the key components for equipping the choreographer to use in the creating process and to inform the dancing body. The cyclical process of live body to virtual, back to the dancing body as a choreographic device is an innovative way to approach practice. This approach may lead to new insights and innovations in choreographic methods that may extend beyond the project and ultimately take dance performance in a new direction.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"105 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78049869","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}
‘Wearable Technology’ is a buzzword of our contemporary era. It could be argued there are few examples of aesthetically pleasing devices that are designed to meet our needs and/or our consumer desires. However, do we focus on design and aesthetics of technology as a holistic action with the capacity to simultaneously engage conceptual and practical shifts that make our society a place with no boundaries? To design inclusively is to engage the user deeply throughout the design process, sharing our practices and amalgamating people’s unique knowledge as technological interventions. Design diversity and inclusion seems to be used interchangeably with two other terminologies, a) Universal Design and b) Design for All. The terms have a parallel purpose but their origin and use is distinguished in various parts of the world. For example, Inclusive Design is used within Europe and goes beyond age, ethnicity, gender, sex, and disabilities to focus on other excluded groups to deliver mainstream solutions. Inspired by the limited understanding and choices around aesthetics and personalisation in wearables, this article discusses how we use technology to empower individuals in a variety of contexts; to improve our way of living in the world, through a number of contextual resources and practice-research, which were devised and conducted to address women’s concerns and preferences on wearable technologies.
{"title":"Diversity and Inclusivity in the Age of Wearables: A Buzzword, a Myth, an\u0000 Uncertain Reality","authors":"A. Maragiannis, Rain Ashford","doi":"10.16995/BST.320","DOIUrl":"https://doi.org/10.16995/BST.320","url":null,"abstract":"‘Wearable Technology’ is a buzzword of our contemporary era. It could be argued there are few examples of aesthetically pleasing devices that are designed to meet our needs and/or our consumer desires. However, do we focus on design and aesthetics of technology as a holistic action with the capacity to simultaneously engage conceptual and practical shifts that make our society a place with no boundaries? To design inclusively is to engage the user deeply throughout the design process, sharing our practices and amalgamating people’s unique knowledge as technological interventions. Design diversity and inclusion seems to be used interchangeably with two other terminologies, a) Universal Design and b) Design for All. The terms have a parallel purpose but their origin and use is distinguished in various parts of the world. For example, Inclusive Design is used within Europe and goes beyond age, ethnicity, gender, sex, and disabilities to focus on other excluded groups to deliver mainstream solutions. Inspired by the limited understanding and choices around aesthetics and personalisation in wearables, this article discusses how we use technology to empower individuals in a variety of contexts; to improve our way of living in the world, through a number of contextual resources and practice-research, which were devised and conducted to address women’s concerns and preferences on wearable technologies.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85582325","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 article examines audience engagement in immersive, headphone and headset enabled performances looking specifically at the audience member’s experience of their own interoceptive processing. Interoception, the appraisal of one’s internal systems, is a key modality through which such artworks perform. Interoception includes two forms of perception: proprioception (involving signals from the skin and musculoskeletal system) and visceroception (involving signals from the internal organs such as heart rate, breath and digestions) (Pollatos et al, 2016), and interoception has been has been identified as critical in one’s sense of embodiment and wellbeing (Farb and Daubenmier, 2015). Through the use of binaural recording, headphones, and three-dimensional film, as well as a visceral dramaturgy of sound, text, image and narration techniques, artists are able to target an audience member’s awareness of interoceptive sensation. The article addresses three key examples: headphone theatre production Seance (2017) by Glen Neith and David Rosenberg; Whist (2017), an AR/VR and dance work by company AOE, and; Daphne in Three Movements (2017), an ongoing practice-as-research project combining videography, sound design and physical theatre. Following the consideration of how these productions stimulate interoceptive awareness, conclusions will be drawn about the reliance of these works on a visceral dramaturgy that targets the audience’s somatosensory system. Giving consideration to the cultural context of ‘hyperaesthesia’ and offering comparison between headphone theatre and practices such as ASMR, the article will examine how the director/designer of such performances functions as a curator of sensation, building a performance text that triggers sensory effects as a means of developing texture, theme and affect.
{"title":"Visceral Dramaturgies: Curating Sensation in Immersive Art","authors":"Rosemary E. Klich","doi":"10.16995/BST.319","DOIUrl":"https://doi.org/10.16995/BST.319","url":null,"abstract":"This article examines audience engagement in immersive, headphone and headset enabled performances looking specifically at the audience member’s experience of their own interoceptive processing. Interoception, the appraisal of one’s internal systems, is a key modality through which such artworks perform. Interoception includes two forms of perception: proprioception (involving signals from the skin and musculoskeletal system) and visceroception (involving signals from the internal organs such as heart rate, breath and digestions) (Pollatos et al, 2016), and interoception has been has been identified as critical in one’s sense of embodiment and wellbeing (Farb and Daubenmier, 2015). Through the use of binaural recording, headphones, and three-dimensional film, as well as a visceral dramaturgy of sound, text, image and narration techniques, artists are able to target an audience member’s awareness of interoceptive sensation. The article addresses three key examples: headphone theatre production Seance (2017) by Glen Neith and David Rosenberg; Whist (2017), an AR/VR and dance work by company AOE, and; Daphne in Three Movements (2017), an ongoing practice-as-research project combining videography, sound design and physical theatre. Following the consideration of how these productions stimulate interoceptive awareness, conclusions will be drawn about the reliance of these works on a visceral dramaturgy that targets the audience’s somatosensory system. Giving consideration to the cultural context of ‘hyperaesthesia’ and offering comparison between headphone theatre and practices such as ASMR, the article will examine how the director/designer of such performances functions as a curator of sensation, building a performance text that triggers sensory effects as a means of developing texture, theme and affect.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90522257","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}
In a world where presentation of the self (Goffman) performed through ‘selfies’ have become everyday expressions, portrayal of the Self is being redefined by contemporary feminist artists. Building upon the legacy of artists such as Hannah Wilke, Lyn Hershman Leeson and Cindy Sherman a new generation of feminist artists through technology and particularly social media continue to explore gendered representations of the body by using their own bodies in their creative process. Using concepts of identity work, dramaturgy and impression management this paper considers the ways in which artists are using self-portraiture/selfies as art to exemplify the ways in which social media sites can be perceived as spaces to explore and document the construction of an ongoing series of narratives about the self. Taking an ethnography and visual studies approach this investigation considers the ways in which fictive personas constructed and performed by artists Leah Schrager as Ona Artist and Amalia Ulman’s Excellences & Perfections series respectively are brought to life. Both artists demonstrate how Instagram as a platform provides a stage for identity work that offers an opportunity to explore visual self-branding; the potential of narrative construction of identity via selfies and the effect of social media on identity construction. By exploring the art selfie phenomenon as well as observing the extent of selfie taking in contemporary culture this analysis identifies specifically how digifem artists are both claiming control over their own bodies and questioning issues of gender, technology and identity through a fictive lens.
{"title":"The Theatre of the Selfie: Fictive Practices of the Instagram\u0000 Artist","authors":"S. Sylvester","doi":"10.16995/BST.315","DOIUrl":"https://doi.org/10.16995/BST.315","url":null,"abstract":"In a world where presentation of the self (Goffman) performed through ‘selfies’ have become everyday expressions, portrayal of the Self is being redefined by contemporary feminist artists. Building upon the legacy of artists such as Hannah Wilke, Lyn Hershman Leeson and Cindy Sherman a new generation of feminist artists through technology and particularly social media continue to explore gendered representations of the body by using their own bodies in their creative process. Using concepts of identity work, dramaturgy and impression management this paper considers the ways in which artists are using self-portraiture/selfies as art to exemplify the ways in which social media sites can be perceived as spaces to explore and document the construction of an ongoing series of narratives about the self. Taking an ethnography and visual studies approach this investigation considers the ways in which fictive personas constructed and performed by artists Leah Schrager as Ona Artist and Amalia Ulman’s Excellences & Perfections series respectively are brought to life. Both artists demonstrate how Instagram as a platform provides a stage for identity work that offers an opportunity to explore visual self-branding; the potential of narrative construction of identity via selfies and the effect of social media on identity construction. By exploring the art selfie phenomenon as well as observing the extent of selfie taking in contemporary culture this analysis identifies specifically how digifem artists are both claiming control over their own bodies and questioning issues of gender, technology and identity through a fictive lens.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90525064","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 speculative aesthetics, what might feminist ontologies and artist imaginings do for rethinking the “real” assemblages and infrastructures of our quotidian experience, particularly with respect to those that standardize aggressive capital agendas, maximum industrial output and extreme waste? This paper draws connections between female artists’ image and event-making, speculative design and tacit knowledge, as sensing tools for technological possibilities at a time when energy dependency, in the form of electricity, is the greatest generator of fossil fuel waste and pollution. I use Remedios Varo’s paintings from the mid 1930–1960s as a springboard to think about sustainability and ecological design from an embodied, fem-magic and deep-time perspective, and I draw from other female artists whose work explores technologies and energy, such as Alice Aycock, Tania Candiani, Cassie Meador and Hito Steyerl. An analysis of these artists’ works allows me to explore the ways that feminist imaginings function as an ontological orientation that shifts power away from contemporary infrastructures, to decolonize and re-feminize electrical possibilities as alternative ways of engaging with and sensing assemblages.
{"title":"Performing the Electrical: Ecologies of the Imaginary and\u0000 Fem-technologies","authors":"Geneva Foster Gluck","doi":"10.16995/BST.306","DOIUrl":"https://doi.org/10.16995/BST.306","url":null,"abstract":"As speculative aesthetics, what might feminist ontologies and artist imaginings do for rethinking the “real” assemblages and infrastructures of our quotidian experience, particularly with respect to those that standardize aggressive capital agendas, maximum industrial output and extreme waste? This paper draws connections between female artists’ image and event-making, speculative design and tacit knowledge, as sensing tools for technological possibilities at a time when energy dependency, in the form of electricity, is the greatest generator of fossil fuel waste and pollution. I use Remedios Varo’s paintings from the mid 1930–1960s as a springboard to think about sustainability and ecological design from an embodied, fem-magic and deep-time perspective, and I draw from other female artists whose work explores technologies and energy, such as Alice Aycock, Tania Candiani, Cassie Meador and Hito Steyerl. An analysis of these artists’ works allows me to explore the ways that feminist imaginings function as an ontological orientation that shifts power away from contemporary infrastructures, to decolonize and re-feminize electrical possibilities as alternative ways of engaging with and sensing assemblages.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87350032","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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