Pub Date : 2019-01-01DOI: 10.1080/20004214.2018.1562851
Sungyong Ahn
ABSTRACT This research examines the apparatus concepts in the last decades of film studies, from the apparatus theory in the 1970s to the revisionist historiography of the early cinema and new media theory after the 1980s. Diagrammatizing the operation of a cinematographic apparatus as a process to make a fold between its machinic sensor and motor embedded in the material assemblages of media culture, it suggests two prototypes of apparatus, namely theater and laboratory, defined respectively by their different ways of enfolding an inside, problematizing the outside, and reassembling them to each other. Apichatpong Weerasethakul’s ethnographic experiment in Mysterious Object at Noon provides an example of the laboratorial apparatus that transforms its operational environments into the assemblages of singular problems, never representable, but only concretize-able by the apparatus’s function to network them.
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Pub Date : 2019-01-01DOI: 10.1080/20004214.2019.1610296
Giorgio Avezzù
ABSTRACT While “screen” is usually considered a word with a Nordic origin, its older and forgotten classical root shows that its semantic field is more curious than media archaeology commonly thinks. Above all, this proves the existence of a long-lasting connection between the screen and the act of seeing, and the very notion of spectacle in its broader sense. Such a different—Latin, Epicurean—etymology of “screen” can put the idea of separation at the heart of the concept of spectacle. From this perspective, the value of a spectacle stems from a vision of difference—the act of spectating being both detached and detaching, as it enables the spectators to take themselves out of the picture, and thus to draw a morale from what they regard as other than themselves. If we bring this understanding of “screen” to the field of film theory, we deal with an idea of experience that has less to do with the notion of engagement adopted by contemporary approaches focusing on affect, emotion, cognition (and neuroscience), and more to do with the disengagement of the spectator from whatever is represented, and even more to do with the added value that such disengagement brings forth.
{"title":"The deep time of the screen, and its forgotten etymology","authors":"Giorgio Avezzù","doi":"10.1080/20004214.2019.1610296","DOIUrl":"https://doi.org/10.1080/20004214.2019.1610296","url":null,"abstract":"ABSTRACT While “screen” is usually considered a word with a Nordic origin, its older and forgotten classical root shows that its semantic field is more curious than media archaeology commonly thinks. Above all, this proves the existence of a long-lasting connection between the screen and the act of seeing, and the very notion of spectacle in its broader sense. Such a different—Latin, Epicurean—etymology of “screen” can put the idea of separation at the heart of the concept of spectacle. From this perspective, the value of a spectacle stems from a vision of difference—the act of spectating being both detached and detaching, as it enables the spectators to take themselves out of the picture, and thus to draw a morale from what they regard as other than themselves. If we bring this understanding of “screen” to the field of film theory, we deal with an idea of experience that has less to do with the notion of engagement adopted by contemporary approaches focusing on affect, emotion, cognition (and neuroscience), and more to do with the disengagement of the spectator from whatever is represented, and even more to do with the added value that such disengagement brings forth.","PeriodicalId":43229,"journal":{"name":"Journal of Aesthetics & Culture","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20004214.2019.1610296","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43652711","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}
Pub Date : 2019-01-01DOI: 10.1080/20004214.2019.1697551
Adam O’Brien
ABSTRACT “Energy and Eventhood” considers the relationship between infrastructure and the cinematic set piece. It proposes a working definition of the set piece as a distinctly (and perhaps excessively) effortful passage or sequence, and reflects on the tendency for narrative films to incorporate infrastructural sites and structures—such as bridges, dams and pipelines—into such set pieces. A number of writers on infrastructure, as both a cultural phenomenon and a representational object, have noted the aesthetic challenge of rendering it as visible and locatable; this article examines how that difficulty becomes manifest in the infrastructural set piece. It takes as its case studies Unstoppable (2010) and Night Moves (2013), two films noted for their distinctive rhythmic expressiveness, and each one deploying the convention of the set piece in ways that exemplify and reflect on the resistance of infrastructure to narrative containment.
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Pub Date : 2018-09-03DOI: 10.1080/20004214.2018.1498677
S. Lien
ABSTRACT This article discusses photographs of Sámi people produced in 1883 and 1884 by the Danish-Norwegian scholar and photographer Sophus Tromholt (1851–1896) and G. Roche, the expedition photographer of the French prince, Roland Bonaparte (1858–1924). While Tromholt’s photographs have been understood as an example of how Sámi people were portrayed as individuals, and how they adapted the medium of photography for their own purposes, Roche/Bonaparte’s anthropometric photographs are seen as the opposite, an attempt to document the typical, racial features of the Sámi population. Contrary to such an understanding, the article argues that there are more common features between these portraits and their contexts of production than earlier suggested. Inspired by Ali Behdad’s discussions on the nature of orientalist photography, it neither sees Roche’s/Bonaparte’s nor Tromholt’s photographic representations as entailing a binary visual structure between the Europeans as active agents, nor Sámi people as passive objects of representation. Furthermore, it suggests that there are common features to be observed in relation to their respective contexts of production, stressing how both Tromholt’s and Roche’s/Bonaparte’s photographs of Sámi people and northern landscapes must be understood not only in the context of the photographic identity performances of the academic male subjects who represented them, but also in relation to the visual economy in which these representations were embedded. This involves a consideration of how travel narratives from pre-photographic Arctic expeditions played a mediating role for the later photographic practices in the Sámi areas.
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Pub Date : 2018-09-03DOI: 10.1080/20004214.2017.1379849
L. Junka-Aikio
ABSTRACT This article examines the work of the anonymous Sámi artist and activist group Suohpanterror as an example of Indigenous culture jamming, which uses global visual archives and the social media to articulate a contemporary Sámi subjectivity politically. In a short time, Suohpanterror has gained national and international recognition as a new Sámi voice, which is challenging earlier representations and conceptions of the Sámi. However, instead of focusing upon Suohpanterror’s efforts to address the dominant society, this study is concerned mainly with Suohpanterror’s operation within, and at the fringes of, the Sámi community itself. To this end, I examine Suohpanterror’s entanglements in the small Sámi “uprising” that took place in the social media in spring 2013 around the interconnected issues of Sámi definition, identity and the potential ratification of the ILO convention 169 in Finland. I argue that in the context of a highly politicized national public sphere which is considered insensitive to Sámi perspectives, “liking”, consuming and sharing Suohpanterror’s work online has offered an easy, effective and unmistakably trendy way to publicly identify with a certain set of (Sámi) political views, and to perform a political “us” which feeds, in particular, on experiences of a shared community of knowledge, and of collective laughter.
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Pub Date : 2018-09-03DOI: 10.1080/20004214.2018.1498672
H. Nielssen
ABSTRACT This article explores how photographs of Sámi peoples were used in the context of Norwegian physical anthropology in the interwar period, but also how they are re-appropriated in the Lule Sámi community in Tysfjord today. It also demonstrates how photography as used in in the Norwegian racial research publications, although designed to highlight physical characteristics, also include references to cultural characteristics and context. Such inclusion of cultural markers and contextual information may be understood as a strategy to overcome the failure of the scientific community to isolate race as a biological fact. The photographs worked to secure “evidence” where evidence could not be found. This strategy is based on the abundancy, or excess of meaning, of the photographic image as such. The article argues that it is precisely this photographic excess that is the key to understanding why and how photography contributed to establish credibility to a scientific discipline in continuous struggle and with frequent breakdowns. The abundancy, or photographic excess, is also a key to understand how photographs that once were used as instruments of racial research, over time have undergone a series of transmutations of functions and meanings. Thus, racial photographs may acquire new meanings when circulating in time and space.
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Pub Date : 2018-09-03DOI: 10.1080/20004214.2018.1510647
Veli-Pekka Lehtola
ABSTRACT Returning old photographs to Sámi communities has been a part of modern repatriation policies, trying to recollect the Sámi heritage from museums, archives and collections outside the modern Sámi area. It is not only important to return items, such as photographs, but also to reconstruct the knowledge around them: to re-identify the old encounters and stories. The article suggests that the earlier interpretations have emphasised the inter-ethnic relations between the Sámi and the majority societies. When returned to local levels of Sámi communities, however, to be interpreted through the lenses of the Sámi subjects, the photographs tell multiple visualized stories about intra-ethnic “our histories”, the recent past of families, kinships and small Sámi communities. The article is based on my experiences and the projects that have been carried out in Finland in the past 15 years, repatriating photographs to Sámi societies.
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Pub Date : 2018-09-03DOI: 10.1080/20004214.2018.1510646
S. Lien, H. Nielssen
There is currently a growing worldwide interest in the Northern and Arctic areas in relation to natural resources, ecology and climate change. But the attention has also been directed towards the question of indigenous rights and the matter of preserving their culture. In June 2017, the National Assembly in Norway sanctioned the establishment of a Truth Commission in order to shed light on a difficult past, involving the oppression and injustices committed towards the Sámi and Kven populations. At the same time Sámi contemporary art attracts wide attention on important international arenas such as Documenta in Athens and Kassel. Negotiating the past is an integral part of ongoing political and cultural processes. Photography is in an important entrance to the past as well as the present. Hardly any cultural form has been more important than photography in the ways Sámi people have been perceived. This special issue of Journal of Aesthetics and Culture explores past and contemporary photography practices connected to the Sámi areas or Sápmi. It raises the following questions: What does the photographic legacy contain? How has it been formed and used? How have tensions between indigenous local agency and the gaze of dominant others been addressed both historically and in the contemporary society? Much of the photographic legacy related to Sápmi is coloured by the ways in which Europeans imagined the Sámi. In this sense it forms part of a NordicEuropean colonial visual culture and perceptual regime, and as such largely conforms to understandings of racial difference, ideas of cultural evolution, and the various agendas of the civilizing missions. The photographs manifest projects ranging from the development of racial typologies to ethnographic classification; they were tools of administrative control and surveillance; they formed part of arctic explorations and Christian missionizing and civilizing projects like education, health and hygiene; and they were distributed in the Western marked as exotica. practices of scientific explorers travelling to the North, with a focus on the images from Sophus Tromholt and Roland Bonaparte’s expeditions in 1883 and 1884. The rather limited existing literature about these photographs is divided in two directions. One points to contemporary artistic reengagements as repatriation of visual heritage, while the other strives to articulate the various degrees of objectification of the Sámi sitters (individuality or typology). However, Lien argues that the photographs in question not only reflect the asymmetries between the photographer and the sitters. Situated in a larger visual economy of exploration, they also appear as identity performances of the academic male subjects who produced them—who made use of photography in order to salvage the scientific credibility of their respective projects. Bonaparte’s journey was only one of many expeditions to the North with the purpose of racial research. Hilde Wallem Nielssen
目前，全世界对北方和北极地区的自然资源、生态和气候变化越来越感兴趣。但人们的注意力也集中在土著人的权利问题和保护他们文化的问题上。2017年6月，挪威国民议会批准成立真相委员会，以揭露一段艰难的过去，其中涉及对萨米人和克文人的压迫和不公正。与此同时，萨米当代艺术在雅典的Documenta和卡塞尔等重要国际舞台上引起了广泛关注。谈判过去是正在进行的政治和文化进程的一个组成部分。摄影是过去和现在的重要入口。就萨米人被感知的方式而言，几乎没有任何文化形式比摄影更重要。《美学与文化杂志》的这期特刊探讨了与萨米地区或萨米有关的过去和当代摄影实践。它提出了以下问题：摄影遗产包含什么？它是如何形成和使用的？在历史和当代社会中，土著地方机构和占主导地位的其他人的注视之间的紧张关系是如何解决的？许多与萨米人有关的摄影遗产都被欧洲人想象萨米人的方式所染上了色彩。从这个意义上说，它构成了北欧殖民视觉文化和感知制度的一部分，因此在很大程度上符合对种族差异、文化进化思想和文明使命的各种议程的理解。这些照片展示了从种族类型学到民族志分类的各种项目；它们是行政控制和监督的工具；它们是北极探险和基督教传教和文明项目的一部分，如教育、健康和卫生；它们分布在西方，被标记为异国情调。科学探险家前往北方的实践，重点关注1883年和1884年Sophus Tromholt和Roland Bonaparte探险的图像。关于这些照片的现有文献相当有限，分为两个方向。一个指出当代艺术的重新融入是对视觉遗产的回归，而另一个则努力阐明萨米人的不同程度的物化（个性或类型）。然而，连战认为，这些照片不仅反映了摄影师和拍摄者之间的不对称。它们处于一个更大的视觉探索经济中，也表现为制作它们的学术男性受试者的身份表现——他们利用摄影来挽救各自项目的科学可信度。波拿巴的旅程只是众多以种族研究为目的的北方探险之一。Hilde Wallem Nielssen的文章讨论了两次世界大战期间，萨米人的照片是如何在挪威体质人类学的背景下使用的。她认为，在科学同时处于顶峰和崩溃边缘的时刻，摄影增加了其对种族研究的价值。照片对种族研究仍然具有重要意义，但不是生物识别仪器。它们提供了种族特异性的视觉想象“证据”，而科学实践在其他方面都失败了。然而，这些图像集中体现了萨米人遭受压迫和虐待的经历，如今正在萨米社区重新谈判和传播。在Veli Pekka Lehtola的贡献中，这种重新加入的过程被带到了最前沿。Lehtola专注于Sápmi和芬兰的摄影材料，他表示
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Pub Date : 2018-08-01DOI: 10.1080/20004214.2017.1400864
Emily Rosamond
ABSTRACT This paper analyses addressivity in online dating platforms, with OkCupid as its focus. Drawing from Mikhail Bakhtin’s theory of addressivity, I argue the need for a generic account of online dating—one that focuses on the particular kinds of address that typify expressive scenarios on its platforms. Rather than focusing solely on how users address themselves to other users, I instead examine several layers of addressivity within the online dating scenario: (1) users addressing other users, (2) users addressing platforms, (3) platforms addressing publics, (4) companies addressing investors, and (5) investors addressing users. I argue that within surveillance capitalism generally, and within online dating platforms in particular, there is an imbalance of addressivity: though online users are broadly aware that their data may be collected and analysed, they are nonetheless unconscious of and/or uncomfortable with this form of sharing, because it does not easily fit into previously known narratives of dating. In other words, the automatic gathering and analysis of data by OkCupid is a background condition of all its users’ activity—but this is not sufficiently accounted for in users’ generic understandings of online dating. OkCupid cofounder Christian Rudder’s continual efforts to make online dating data analytics both understandable and palatable for users (via OkCupid’s promotional material, TED-Ed talks, a blog and a book on data) aims, in part, to address this imbalance. These stagings of the platform’s address to its users aim to garner interest in, and acceptance of, becoming part of aggregated, privatized data sets—and indeed, coming to be witnessed and assetized by the automated gaze of data analytics.
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Pub Date : 2018-05-18DOI: 10.1080/20004214.2017.1422924
Kristin Veel, N. Thylstrup
ABSTRACT Geolocation as an increasingly common technique in dating apps is often portrayed as a way of configuring uncertainty that facilitates playful interaction with unknown strangers while avoiding subjecting the user to unwanted risks. Geolocation features are used in these apps on the one hand as matching techniques that created links between the user and potential partners through geographical location, and on the other as warranting techniques that can help a user to determine whether to trust a given profile. Tracing a trajectory from Georg Simmel’s figure of the stranger as intrinsic to modern urban culture, through Stanley Milgram’s familiar stranger as an inspiration for the infrastructure of social networking sites, to a consideration of the double perspective of overview and embedment inherent in geolocation’s ability to map, we identify the stalker as an emblematic figure that appears not as a threatening Other, but rather as our own doubling.
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