As digital and immersive architectural installations and augmented reality applications generate new sensations, new digital dimensions and boundaries create new perceptions of our built environment. Digital architectural installations as immersive environments make data visible and tangible and give access to data as an experiential flow. Like the works of Refik Anadol, TeamLab or Universal Everything, digital architectural installations point to a neuroarchitectural and neurophenomenological atmosphere that refers to the understanding and measurement of embodied human experience, and how spaces affect people and how they behave in a given setting. The objectivity of the screen allows viewers to observe through screens, and the screen as an ambivalent object provides a physical interface that transcends the shadow of its materiality, transforming the viewer’s environmental perception. Therefore, this article examines digital architectural environments that reveal the boundaries of architectural space, with particular consideration given to neuroaesthetics. In these data-driven environments, the human body is at the centre of multimodal perception. Therefore, these environments open the door to understanding the boundaries of architecture and invite the viewers to explore the boundaries of art and architecture that have become a fusion in the digital environment.
{"title":"A neuroarchitectural perspective to immersive architectural environments","authors":"Esen Gökçe Özdamar","doi":"10.1386/tear_00107_1","DOIUrl":"https://doi.org/10.1386/tear_00107_1","url":null,"abstract":"As digital and immersive architectural installations and augmented reality applications generate new sensations, new digital dimensions and boundaries create new perceptions of our built environment. Digital architectural installations as immersive environments make data visible and tangible and give access to data as an experiential flow. Like the works of Refik Anadol, TeamLab or Universal Everything, digital architectural installations point to a neuroarchitectural and neurophenomenological atmosphere that refers to the understanding and measurement of embodied human experience, and how spaces affect people and how they behave in a given setting. The objectivity of the screen allows viewers to observe through screens, and the screen as an ambivalent object provides a physical interface that transcends the shadow of its materiality, transforming the viewer’s environmental perception. Therefore, this article examines digital architectural environments that reveal the boundaries of architectural space, with particular consideration given to neuroaesthetics. In these data-driven environments, the human body is at the centre of multimodal perception. Therefore, these environments open the door to understanding the boundaries of architecture and invite the viewers to explore the boundaries of art and architecture that have become a fusion in the digital environment.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134997853","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 rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in art, beyond the market? This research complements existing empirical work, by conducting a case study and interviews with members of DADA, a historic NFT art project which is particularly critical towards the role of the art market. The findings foregrounded five roles that NFTs play in art: as (1) a tool for systemic change, (2) a new way to community, (3) a ritual artefact, (4) a means for preservation and (5) a new medium.
{"title":"Beyond markets: The DADA case for NFTs in art","authors":"Tara Merk","doi":"10.1386/tear_00098_1","DOIUrl":"https://doi.org/10.1386/tear_00098_1","url":null,"abstract":"The rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in art, beyond the market? This research complements existing empirical work, by conducting a case study and interviews with members of DADA, a historic NFT art project which is particularly critical towards the role of the art market. The findings foregrounded five roles that NFTs play in art: as (1) a tool for systemic change, (2) a new way to community, (3) a ritual artefact, (4) a means for preservation and (5) a new medium.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134996976","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 primary question this article deals with is one of ontology. In a dystopian world populated with genetically engineered windups and hybrids, what constitutes ‘the human’? This article looks at how the posthuman body in a dystopian novel like The Windup Girl , set in a world where geographical, political, social, economic and religious norms and boundaries are erased and reconfigured, can in no way simply remain a mere body, but transmutes into a highly complex political and social site from whence multiple relations of power originate, travel and culminate in. The titular character in the novel, Emiko, is a genetically engineered windup created in a laboratory, with obedience and the need to please etched right into her DNA. This makes her a prized possession for a brothel owner in Bangkok, once her Japanese master abandons her. She is both desirable and revolting to her customers at the same time – her perfect body is too perfect, her genetic urge to please at any cost draws them in, but her involuntary shaking and robot-like jerking disgusts them. The windup can thus be seen as both the Lacanian object cause of desire and Kristeva’s abject body.
{"title":"Disgusting desire: The Windup Girl as both object of desire and abject body","authors":"Mahesh Krishna, Nagendra Kumar","doi":"10.1386/tear_00102_1","DOIUrl":"https://doi.org/10.1386/tear_00102_1","url":null,"abstract":"The primary question this article deals with is one of ontology. In a dystopian world populated with genetically engineered windups and hybrids, what constitutes ‘the human’? This article looks at how the posthuman body in a dystopian novel like The Windup Girl , set in a world where geographical, political, social, economic and religious norms and boundaries are erased and reconfigured, can in no way simply remain a mere body, but transmutes into a highly complex political and social site from whence multiple relations of power originate, travel and culminate in. The titular character in the novel, Emiko, is a genetically engineered windup created in a laboratory, with obedience and the need to please etched right into her DNA. This makes her a prized possession for a brothel owner in Bangkok, once her Japanese master abandons her. She is both desirable and revolting to her customers at the same time – her perfect body is too perfect, her genetic urge to please at any cost draws them in, but her involuntary shaking and robot-like jerking disgusts them. The windup can thus be seen as both the Lacanian object cause of desire and Kristeva’s abject body.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134997157","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 editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022 and gives an overview of each of the issue’s ten articles. The first four articles engage with new technologies from different positions in art and architecture. These articles include an exploration of the indexical function of images as a means for revealing cultural premises governing public space during the pandemic in Hong Kong, a neuroarchitectural perspective on immersive architectural environments, and an investigation of the link between the popularity of immersive art installations and the emotions these installations generate. The ‘Cryptoart’ section features an ethnographic study of the DADA digital art collective, shedding light on the role of non-fungible tokens (NFTs) in community building. Guest-edited by Professor Tanu Gupta, the Special Section ‘Perspectives from Chandigarh’ constitutes the second part of the journal issue. Based on contributions to the national conference on Contemporary Perspectives in English Language, Literature, and Cultural Studies held on 15–16 July 2022, at Chandigarh University in Punjab, India, the six articles reflect a search for meaningful existence within colonial, patriarchal and biopolitical structures that frame everyday practices of exclusion and oppression. Discussing works of literature and cinema from the European, Japanese and the US American canon, the articles contribute a distinctive perspective to the critical analysis of contemporary societies that are shaped by the idea that progress is technological invention.
{"title":"Turning queries into questions: For a plurality of perspectives in the age of AI and other frameworks with limited (mind)sets","authors":"Claudia Westermann, Tanu Gupta","doi":"10.1386/tear_00106_2","DOIUrl":"https://doi.org/10.1386/tear_00106_2","url":null,"abstract":"The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022 and gives an overview of each of the issue’s ten articles. The first four articles engage with new technologies from different positions in art and architecture. These articles include an exploration of the indexical function of images as a means for revealing cultural premises governing public space during the pandemic in Hong Kong, a neuroarchitectural perspective on immersive architectural environments, and an investigation of the link between the popularity of immersive art installations and the emotions these installations generate. The ‘Cryptoart’ section features an ethnographic study of the DADA digital art collective, shedding light on the role of non-fungible tokens (NFTs) in community building. Guest-edited by Professor Tanu Gupta, the Special Section ‘Perspectives from Chandigarh’ constitutes the second part of the journal issue. Based on contributions to the national conference on Contemporary Perspectives in English Language, Literature, and Cultural Studies held on 15–16 July 2022, at Chandigarh University in Punjab, India, the six articles reflect a search for meaningful existence within colonial, patriarchal and biopolitical structures that frame everyday practices of exclusion and oppression. Discussing works of literature and cinema from the European, Japanese and the US American canon, the articles contribute a distinctive perspective to the critical analysis of contemporary societies that are shaped by the idea that progress is technological invention.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134997155","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}
Aesthetic experience is original, dynamic and ever-changing. This article covers three research questions (RQs) concerning how immersive installation artworks can elicit emotions that may contribute to their popularity. Based on Yayoi Kusama’s and Peter Kogler’s kaleidoscopic rooms, this study aims to predict the emotions of visitors of immersive installation art based on their Twitter activity. As indicators, we employed the total number of likes, comments, retweets, followers, followings, the average of tweets per user, and emotional response. According to our evaluation of emotions, panic obtained the highest scores. Furthermore, compared to traditional machine learning algorithms, Tree-based Pipeline Optimization Tool (TPOT) Automated Machine Learning used in this research yielded slightly lower performance. We forecast that our findings will stimulate future research in the fields of data analysis, cultural heritage management and marketing, aesthetics and cultural analytics.
{"title":"Applying machine learning methods to quantify emotional experience in installation art","authors":"Sofia Vlachou, Michail Panagopoulos","doi":"10.1386/tear_00097_1","DOIUrl":"https://doi.org/10.1386/tear_00097_1","url":null,"abstract":"Aesthetic experience is original, dynamic and ever-changing. This article covers three research questions (RQs) concerning how immersive installation artworks can elicit emotions that may contribute to their popularity. Based on Yayoi Kusama’s and Peter Kogler’s kaleidoscopic rooms, this study aims to predict the emotions of visitors of immersive installation art based on their Twitter activity. As indicators, we employed the total number of likes, comments, retweets, followers, followings, the average of tweets per user, and emotional response. According to our evaluation of emotions, panic obtained the highest scores. Furthermore, compared to traditional machine learning algorithms, Tree-based Pipeline Optimization Tool (TPOT) Automated Machine Learning used in this research yielded slightly lower performance. We forecast that our findings will stimulate future research in the fields of data analysis, cultural heritage management and marketing, aesthetics and cultural analytics.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134997159","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 introduces a novel use of technologies to visualize space and temporary structures in public space as a critical and speculative method for artistic research. Imitation and iconification have been vital in visual culture since civilization began. Science has become proficient in picturing invisible matter and numerical data. However, we are limited to visualizing these data in an iconic, ‘understandable’ way, that is, to some extent, reductionist. A non-naturalistic artistic visualization (NNAVi) method is proposed to discover and present the underlying context of objects and space. First, this article discusses the representational function of artistic images and the artistic use of emerging technologies to represent invisible information. Following the discussion, the case study of the virtual reality (VR) artwork The Last Recreational Land shows how NNAVi can be applied. The case study starts with an exploration of the pandemic’s context and nature and then moves to an explanation of the multisensory and immersive setting of the artwork. Interweaving case studies and theoretical references, the article elaborates on how the VR experience is used as a device to respond to the pandemic. By deconstructing the relationship between visualization, imitation and iconification, the article theorizes NNAVi as a new methodology for artistic research that provides tangible insights into the nature of the pandemic.
{"title":"The Last Recreational Land VR experience: A non-naturalistic artistic visualization practice with emerging technologies","authors":"Hin Nam Fong","doi":"10.1386/tear_00105_1","DOIUrl":"https://doi.org/10.1386/tear_00105_1","url":null,"abstract":"This article introduces a novel use of technologies to visualize space and temporary structures in public space as a critical and speculative method for artistic research. Imitation and iconification have been vital in visual culture since civilization began. Science has become proficient in picturing invisible matter and numerical data. However, we are limited to visualizing these data in an iconic, ‘understandable’ way, that is, to some extent, reductionist. A non-naturalistic artistic visualization (NNAVi) method is proposed to discover and present the underlying context of objects and space. First, this article discusses the representational function of artistic images and the artistic use of emerging technologies to represent invisible information. Following the discussion, the case study of the virtual reality (VR) artwork The Last Recreational Land shows how NNAVi can be applied. The case study starts with an exploration of the pandemic’s context and nature and then moves to an explanation of the multisensory and immersive setting of the artwork. Interweaving case studies and theoretical references, the article elaborates on how the VR experience is used as a device to respond to the pandemic. By deconstructing the relationship between visualization, imitation and iconification, the article theorizes NNAVi as a new methodology for artistic research that provides tangible insights into the nature of the pandemic.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"221 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134996962","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 attempts to examine the portrayal of the character of Arthur Fleck in Todd Phillips’s Joker (2019). In the initial part of the film, Arthur exhibits signs that reveal he is headed towards committing a violent crime. Arthur displays signs of psychopathy and a lack of empathy. This article links criminal behaviour analysis to the Bible of the Arya Samaj, an Indian text, to find out how ancient Indian literature’s empirical theories, which are intertwined with philosophical and religious content, shed light on criminal behaviour. The primary purpose of this article is to analyse the behavioural pattern in the character of Fleck and establish links to Dayanand Saraswati’s Satyarth Prakash , which discusses different types of Avidyas , a key concept in Indian philosophy that can be translated as ignorance or unwisdom, which is seen as a fundamental cause of suffering and bondage. It is certainly a significant factor in a person’s personality and behaviour. The major aim of this character analysis is not only to establish the link between Indian ancient texts and criminological behavioural patterns but also to reconceptualize evil through the lenses of Vedic hermeneutics. Vedic hermeneutics is the study of interpreting and understanding the ancient Vedic texts of Hinduism, where an important aspect is the recognition of different levels of meaning within the texts.
{"title":"Re-conceptualizing the villain: Todd Phillips’s Joker through the lens of Vedic hermeneutics","authors":"Lalit Aditya Kaushal, Nipun Kalia","doi":"10.1386/tear_00104_1","DOIUrl":"https://doi.org/10.1386/tear_00104_1","url":null,"abstract":"This article attempts to examine the portrayal of the character of Arthur Fleck in Todd Phillips’s Joker (2019). In the initial part of the film, Arthur exhibits signs that reveal he is headed towards committing a violent crime. Arthur displays signs of psychopathy and a lack of empathy. This article links criminal behaviour analysis to the Bible of the Arya Samaj, an Indian text, to find out how ancient Indian literature’s empirical theories, which are intertwined with philosophical and religious content, shed light on criminal behaviour. The primary purpose of this article is to analyse the behavioural pattern in the character of Fleck and establish links to Dayanand Saraswati’s Satyarth Prakash , which discusses different types of Avidyas , a key concept in Indian philosophy that can be translated as ignorance or unwisdom, which is seen as a fundamental cause of suffering and bondage. It is certainly a significant factor in a person’s personality and behaviour. The major aim of this character analysis is not only to establish the link between Indian ancient texts and criminological behavioural patterns but also to reconceptualize evil through the lenses of Vedic hermeneutics. Vedic hermeneutics is the study of interpreting and understanding the ancient Vedic texts of Hinduism, where an important aspect is the recognition of different levels of meaning within the texts.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134996820","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}
Cinema serves as a mirror, reflecting the development or state of society. It plays an important function in entertainment and education and can bring about a shift in our perspectives and attitudes. The article includes a descriptive analysis of Deaf Culture as a prominent subject in the movies Sound of Metal () and CODA () and clarifies the most prevalent misconceptions about disability in both films. In recent years, filmmakers have made an effort to create true and authentic representations of Deaf Culture, moving beyond the notion of a tokenized portrayal of the Deaf. They shifted the emphasis away from unwarranted sympathy towards perceptive analyses of Deaf characters with the aim of dismantling the embarrassing perception of deafness. Filmmakers have provided the Deaf population with a voice by giving real-life Deaf performers a place in mainstream cinema. Even though many efforts have been made, the article also shows that the mainstream media have not generally represented the Deaf Community favourably. Furthermore, the article looks at the psychological conflict that arises when hearing people and hearing-impaired people share the same room.
电影是一面镜子，反映社会的发展或状态。它在娱乐和教育中发挥着重要的作用，可以改变我们的观点和态度。本文对电影《金属之声》(Sound of Metal)和《CODA》(CODA)中作为突出主题的聋人文化进行了描述性分析，并澄清了这两部电影中对残疾最普遍的误解。近年来，电影制作人努力创造真实和真实的聋人文化表现，超越了对聋人的象征性描绘的概念。他们将重点从毫无根据的同情转向对聋人角色的敏锐分析，目的是消除对聋人的尴尬看法。电影人通过让现实生活中的聋人演员在主流电影中占有一席之地，为聋人提供了发声的机会。尽管做出了很多努力，但这篇文章也表明，主流媒体并没有普遍地对聋人群体进行正面的报道。此外，这篇文章着眼于当听力正常的人和听力受损的人住在一个房间时产生的心理冲突。
{"title":"Disability and silver screening: Comparative analyses of Deaf Culture in Sound of Metal and CODA","authors":"Astha Singh","doi":"10.1386/tear_00100_1","DOIUrl":"https://doi.org/10.1386/tear_00100_1","url":null,"abstract":"Cinema serves as a mirror, reflecting the development or state of society. It plays an important function in entertainment and education and can bring about a shift in our perspectives and attitudes. The article includes a descriptive analysis of Deaf Culture as a prominent subject in the movies Sound of Metal () and CODA () and clarifies the most prevalent misconceptions about disability in both films. In recent years, filmmakers have made an effort to create true and authentic representations of Deaf Culture, moving beyond the notion of a tokenized portrayal of the Deaf. They shifted the emphasis away from unwarranted sympathy towards perceptive analyses of Deaf characters with the aim of dismantling the embarrassing perception of deafness. Filmmakers have provided the Deaf population with a voice by giving real-life Deaf performers a place in mainstream cinema. Even though many efforts have been made, the article also shows that the mainstream media have not generally represented the Deaf Community favourably. Furthermore, the article looks at the psychological conflict that arises when hearing people and hearing-impaired people share the same room.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134997158","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}
Contemporary critics have opined that the vision of dystopian texts has come true about the present situation rather than about the future. In today’s technologically driven world, where the gulf between speculative fiction and political reality seems to have narrowed, feminist dystopian fiction has gained immense popularity. These texts address gender ideologies and issues and often use current social conditions to demonstrate the sexism inherent in patriarchal societies. This article aims to analyse the novel Vox (2018) by American writer Christina Dalcher within the framework of feminist dystopia to highlight the unbridled nature of violence used against women and the eventual emergence of the female body as the locus of self-articulation and resistance against the dystopian authority. It also demonstrates how the novel creates a narrative space within which the feminine body is transformed from a static object of representation to a potent subject of the text.
{"title":"Negotiating patriarchal hegemony: Female agency in Christina Dalcher’s Vox","authors":"Sana Altaf","doi":"10.1386/tear_00103_1","DOIUrl":"https://doi.org/10.1386/tear_00103_1","url":null,"abstract":"Contemporary critics have opined that the vision of dystopian texts has come true about the present situation rather than about the future. In today’s technologically driven world, where the gulf between speculative fiction and political reality seems to have narrowed, feminist dystopian fiction has gained immense popularity. These texts address gender ideologies and issues and often use current social conditions to demonstrate the sexism inherent in patriarchal societies. This article aims to analyse the novel Vox (2018) by American writer Christina Dalcher within the framework of feminist dystopia to highlight the unbridled nature of violence used against women and the eventual emergence of the female body as the locus of self-articulation and resistance against the dystopian authority. It also demonstrates how the novel creates a narrative space within which the feminine body is transformed from a static object of representation to a potent subject of the text.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134997854","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}
Vampires are portrayed opposite to humans, depicted as the dichotomy between predator and prey. Being ever so near to their prey, vampires develop a proclivity for imbibing or emulating characteristics that are considered to be in the sole charge of humans. This text employed is The Vampire Tapestry by Suzy McKee Charnas. The article will analyse Edward Weyland as a post-human symbol, positing himself as an ever-evolving entity that is both human as well as a threshold to gauge humanity of the other characters involved. The article underlines the ways in which Giorgio Agamben’s concept of Anthropological Machine and Katherine Hayles’s concept of Technogenesis will be used to examine Weyland and other characters as being participants in mutual evolution, tacitly affecting each other through performative actions. The article will inspect the term ‘human’ as more than just a reified concept, as a term that is constantly in flux and how bio-politics is immanent to the very concept of human.
{"title":"More than human: Analysing Edward Weyland as a post-human self-humanizing vehicle in Suzy McKee Charnas’s The Vampire Tapestry","authors":"Angadbir Singh Kakkar","doi":"10.1386/tear_00099_1","DOIUrl":"https://doi.org/10.1386/tear_00099_1","url":null,"abstract":"Vampires are portrayed opposite to humans, depicted as the dichotomy between predator and prey. Being ever so near to their prey, vampires develop a proclivity for imbibing or emulating characteristics that are considered to be in the sole charge of humans. This text employed is The Vampire Tapestry by Suzy McKee Charnas. The article will analyse Edward Weyland as a post-human symbol, positing himself as an ever-evolving entity that is both human as well as a threshold to gauge humanity of the other characters involved. The article underlines the ways in which Giorgio Agamben’s concept of Anthropological Machine and Katherine Hayles’s concept of Technogenesis will be used to examine Weyland and other characters as being participants in mutual evolution, tacitly affecting each other through performative actions. The article will inspect the term ‘human’ as more than just a reified concept, as a term that is constantly in flux and how bio-politics is immanent to the very concept of human.","PeriodicalId":41263,"journal":{"name":"Technoetic Arts","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134996806","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：