Pub Date : 2024-02-02DOI: 10.14324/111.444.1755-4527.1777
Abhik Maiti
The assimilation of AI technology into theatre practices has inaugurated an expansive frontier of possibilities for both thespians and spectators. In terms of movement, this involves the use of avatars, which inhabit a customary screen milieu (encompassing three-dimensional in-world scenography) that necessitates simultaneous consideration of a tridimensional theatrical space and coexisting performers, within a moment of real-time inception and interconnectedness. This complex confluence raises questions pertaining to the ‘avatarisation’ of corporeal embodiments on the theatrical stage and the consequent emergence of novel performative methodologies. Within AI-enabled performances, the use of motion capture technology, commonly known as ‘mocap’, entails the recording of skeletal data from physical actors, referred to as ‘mocaptors’, who wear a geo-spatial system for motion capture. This is then translated into digital data that can subsequently be used to animate digital characters or avatars.
{"title":"From Strings to Sensors: Movement Representation in AI Theatre","authors":"Abhik Maiti","doi":"10.14324/111.444.1755-4527.1777","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1777","url":null,"abstract":"The assimilation of AI technology into theatre practices has inaugurated an expansive frontier of possibilities for both thespians and spectators. In terms of movement, this involves the use of avatars, which inhabit a customary screen milieu (encompassing three-dimensional in-world scenography) that necessitates simultaneous consideration of a tridimensional theatrical space and coexisting performers, within a moment of real-time inception and interconnectedness. This complex confluence raises questions pertaining to the ‘avatarisation’ of corporeal embodiments on the theatrical stage and the consequent emergence of novel performative methodologies. Within AI-enabled performances, the use of motion capture technology, commonly known as ‘mocap’, entails the recording of skeletal data from physical actors, referred to as ‘mocaptors’, who wear a geo-spatial system for motion capture. This is then translated into digital data that can subsequently be used to animate digital characters or avatars.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"61 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896386","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 : 2024-02-02DOI: 10.14324/111.444.1755-4527.1783
Jordan Casstles
Theoryfiction: weird, reality-warping hybrid born of critical theory, esoterica, Qabala, cyberpunk and Gothic horror. More than mere academic auto-fiction or an intellectual strain of hysterical realism, theoryfiction deliberately attempts to actively infect and colonise the ‘real world’ with its own twisted vision: it is ambivalent in extremis towards the limitations of consensus reality, proving to be capable of incubating accelerationist philosophies and acting as a vehicle to reshape conscious reactions to culture simultaneously. In 1940, Jorge Luis Borges’ short story Tlön, Uqbar, Orbis Tertius predicted the form; between 1997 and 2003, the experimental cultural theorist collective Cybernetic Culture Research Unit (CCRU) brought it into being, only for English philosopher Nick Land to lead the group from a state of cyberfeminism to a growing neoreactionary cyberfascism.
理论小说：由批判理论、神秘学、卡巴拉、赛博朋克和哥特式恐怖小说混合而成的怪异、扭曲现实的混合体。理论小说不仅仅是学术性的自动小说或歇斯底里的现实主义知识分子作品，它还蓄意试图用自己扭曲的视角积极感染和殖民 "现实世界"：它对共识现实的局限性持极端矛盾的态度，被证明能够孵化加速主义哲学，并同时充当重塑意识对文化反应的载体。1940年，豪尔赫-路易斯-博尔赫斯（Jorge Luis Borges）的短篇小说《Tlön, Uqbar, Orbis Tertius》预言了这一形式；1997年至2003年间，实验文化理论家集体 "控制论文化研究小组"（CCRU）将其发扬光大，只是后来英国哲学家尼克-兰德（Nick Land）将该小组从网络女权主义状态引向了日益增长的新反动网络法西斯主义。
{"title":"Enter the Luciferous Hexichasm: On the Savage Theoryfiction of Gruppo di Nun in Revolutionary Demonology","authors":"Jordan Casstles","doi":"10.14324/111.444.1755-4527.1783","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1783","url":null,"abstract":"Theoryfiction: weird, reality-warping hybrid born of critical theory, esoterica, Qabala, cyberpunk and Gothic horror. More than mere academic auto-fiction or an intellectual strain of hysterical realism, theoryfiction deliberately attempts to actively infect and colonise the ‘real world’ with its own twisted vision: it is ambivalent in extremis towards the limitations of consensus reality, proving to be capable of incubating accelerationist philosophies and acting as a vehicle to reshape conscious reactions to culture simultaneously. In 1940, Jorge Luis Borges’ short story Tlön, Uqbar, Orbis Tertius predicted the form; between 1997 and 2003, the experimental cultural theorist collective Cybernetic Culture Research Unit (CCRU) brought it into being, only for English philosopher Nick Land to lead the group from a state of cyberfeminism to a growing neoreactionary cyberfascism.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"58 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893583","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}
like how a trolley rams into another trolley in the line of trolleys outside, its cagey nose – no it’s a headbutt through the other trolley’s backside and all the trolleys look like this when they’re lined up covered from rain awaiting the next customer trolley smacked into the queue. Nick says he once saw an angry guy still carrying his satsumas do a run up and dive through the rear trolley flap and make it through perhaps like three clanking trolleys’ arses before his momentum died. And trolleys take breaths when they’re not bunched together like that, when they’re being pushed around the supermarket, wonky-wheeled, sticky handlebar the kid in the seat based on the mousetrap design unwrapped that before mum’d paid for it. Nick and the boys once put cheese on one of those seats (don’t tell their manager, he’s called Tim, been here since 2005, it was shop cheese, unexpired) they left it overnight to see if there’d be a nibbler in the morning and if there was I guess their laughter and jostling would dampen as the lads considered while communicating without communicating, if you know what I mean, if they really were gonna slam the seat against the frame. But when they got in the people who restock overnight had put it all away even though they said on the group chat (Tim isn’t in it) not to.
{"title":"Cost of Living","authors":"Mark Gorham","doi":"10.2307/j.ctv125jph0.22","DOIUrl":"https://doi.org/10.2307/j.ctv125jph0.22","url":null,"abstract":"like how a trolley rams into another trolley in the line of trolleys outside, its cagey nose – no it’s a headbutt through the other trolley’s backside and all the trolleys look like this when they’re lined up covered from rain awaiting the next customer trolley smacked into the queue. Nick says he once saw an angry guy still carrying his satsumas do a run up and dive through the rear trolley flap and make it through perhaps like three clanking trolleys’ arses before his momentum died. And trolleys take breaths when they’re not bunched together like that, when they’re being pushed around the supermarket, wonky-wheeled, sticky handlebar the kid in the seat based on the mousetrap design unwrapped that before mum’d paid for it. Nick and the boys once put cheese on one of those seats (don’t tell their manager, he’s called Tim, been here since 2005, it was shop cheese, unexpired) they left it overnight to see if there’d be a nibbler in the morning and if there was I guess their laughter and jostling would dampen as the lads considered while communicating without communicating, if you know what I mean, if they really were gonna slam the seat against the frame. But when they got in the people who restock overnight had put it all away even though they said on the group chat (Tim isn’t in it) not to.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"39 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893301","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 : 2024-02-02DOI: 10.14324/111.444.1755-4527.1782
Alex Carabine
Twisting and uncanny, Build Your House Around My Body is a kaleidoscopic hallucination of a novel. Its story fits uneasily in multiple genres, from the Gothic to the bildungsroman, and it is told via the seemingly contradictory—yet ultimately sympathetic—techniques of magical realism and historical fiction. The primary protagonist of the book is Winnie, an American-Vietnamese woman whose biracial identity has alienated her from her dual cultures but also, crucially, from her self. Through her narrative we learn not only the histories of the characters around her, but also the recent history of Vietnam. The novel charts a sinuous and haunting movement across time, space and identity, creating a complex yet fascinating book of shifting narratives and meanings.
围绕我的身体建造你的房子》（Build Your House Around My Body）曲折离奇，是一部万花筒般的幻觉小说。它的故事在哥特式小说和童话式小说等多种体裁中都显得格格不入，它采用了魔幻现实主义和历史小说等看似矛盾但最终又令人同情的手法。本书的主要主人公温妮是一位美籍越南裔女性，她的双种族身份使她与双重文化产生了隔阂，更重要的是，她与自我产生了隔阂。通过她的叙述，我们不仅了解了她周围人物的历史，也了解了越南的近代史。小说描绘了跨越时间、空间和身份的蜿蜒曲折、令人魂牵梦萦的故事，创造了一部叙事和意义不断变化的复杂而又引人入胜的作品。
{"title":"Haunted Transpositions in Violet Kupersmith’s Build Your House Around My Body (2021)","authors":"Alex Carabine","doi":"10.14324/111.444.1755-4527.1782","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1782","url":null,"abstract":"Twisting and uncanny, Build Your House Around My Body is a kaleidoscopic hallucination of a novel. Its story fits uneasily in multiple genres, from the Gothic to the bildungsroman, and it is told via the seemingly contradictory—yet ultimately sympathetic—techniques of magical realism and historical fiction. The primary protagonist of the book is Winnie, an American-Vietnamese woman whose biracial identity has alienated her from her dual cultures but also, crucially, from her self. Through her narrative we learn not only the histories of the characters around her, but also the recent history of Vietnam. The novel charts a sinuous and haunting movement across time, space and identity, creating a complex yet fascinating book of shifting narratives and meanings.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"56 S29","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893584","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 : 2024-02-02DOI: 10.14324/111.444.1755-4527.1781
Olivia Min Wei Ho
Italian has two words for dancing, ballare and danzare. The former refers to the informal, everyday dancing one does with family and friends; the latter means dancing of a high level, the kind that usually requires years of formal training. British author Emma Warren observes that the conflation of both these meanings into the single English verb ‘dance’ comes at the cost of nuance; for one to be defined as a dancer, the assumption follows that one is good at dancing. In her vibrant non-fiction book Dance Your Way Home: A Journey Through the Dancefloor, she seeks to decouple these meanings: if one dances, she argues, then one is a dancer, no matter how excellently or terribly one dances. Her book is concerned not with professional dance but with the ordinary movement of bodies together to music, the spaces this shapes, and the communities this creates. She writes: ‘Moving together to music, I realised, allows us to form new relationships with ourselves and with the wider world’ (7).
意大利语中有两个表示舞蹈的单词：ballare 和 danzare。前者指非正式的、日常与家人和朋友一起跳的舞蹈；后者指高水平的舞蹈，通常需要多年的正规训练。英国作家艾玛-沃伦（Emma Warren）指出，将这两个词的意思混淆在一个英语动词 "dance "中，是以牺牲细微差别为代价的；如果一个人被定义为舞者，那么就意味着他擅长跳舞。在她充满活力的非虚构作品《Dance Your Way Home：在这本充满活力的非虚构作品《Dance Your Way Home: A Journey Through the Dancefloor》中，她试图将这些含义分离开来：她认为，如果一个人跳舞，那么无论他跳得多么出色或糟糕，他都是一个舞者。她在书中关注的不是专业舞蹈，而是随着音乐一起舞动的身体、由此形成的空间以及由此创造的社区。她写道："我意识到，随着音乐一起舞动，可以让我们与自己和更广阔的世界形成新的关系"（7）。
{"title":"Moving Together, Sharing Space in Dance Your Way Home by Emma Warren","authors":"Olivia Min Wei Ho","doi":"10.14324/111.444.1755-4527.1781","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1781","url":null,"abstract":"Italian has two words for dancing, ballare and danzare. The former refers to the informal, everyday dancing one does with family and friends; the latter means dancing of a high level, the kind that usually requires years of formal training. British author Emma Warren observes that the conflation of both these meanings into the single English verb ‘dance’ comes at the cost of nuance; for one to be defined as a dancer, the assumption follows that one is good at dancing. In her vibrant non-fiction book Dance Your Way Home: A Journey Through the Dancefloor, she seeks to decouple these meanings: if one dances, she argues, then one is a dancer, no matter how excellently or terribly one dances. Her book is concerned not with professional dance but with the ordinary movement of bodies together to music, the spaces this shapes, and the communities this creates. She writes: ‘Moving together to music, I realised, allows us to form new relationships with ourselves and with the wider world’ (7).","PeriodicalId":517017,"journal":{"name":"Movement","volume":"47 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896524","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 : 2024-02-02DOI: 10.14324/111.444.1755-4527.1773
Lisa van Straten
Identity has arguably been the most prominent theme in the works of postcolonial theorists and has been approached from various viewpoints that generally fall into two groups: a melancholic idiom of ‘in-betweenness’ or a celebratory focus on hybridity and multiculturalism. These conceptions of identity implicitly rely on notions of (cultural) space as largely homogenous and demarcated by boundaries, which can either (I) exclude, resulting in artificial, essentialised identities and in-between non-identities, or (II) include, enabling connections that can result in multicultural assemblages. As such, they seem to reflect what Marie-Laure Ryan, Kenneth Foote and Maoz Azaryahu in their work Narrating Space/Spatializing Narrative (2016) have called the two principal ways for conceptualising space: space as container and space as network. For writer and theorist Stephen Clingman, however, these abstractions fail to reflect the complexity of reality in which spaces, and by extension identities, are culturally entangled rather than determined by a single culture or a composite of cultures. Consequently, he seeks to transcend these categories by emphasising identity as a transcultural process of linguistic and physical navigation; an idea he maps out in his revolutionary work The Grammar of Identity (2009) aided by an analysis of several novels, including Jean Rhys’s Wide Sargasso Sea (1966).
{"title":"Going Nowhere, Being No One: Navigating Space and Identity in Jean Rhys’s Wide Sargasso Sea","authors":"Lisa van Straten","doi":"10.14324/111.444.1755-4527.1773","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1773","url":null,"abstract":"Identity has arguably been the most prominent theme in the works of postcolonial theorists and has been approached from various viewpoints that generally fall into two groups: a melancholic idiom of ‘in-betweenness’ or a celebratory focus on hybridity and multiculturalism. These conceptions of identity implicitly rely on notions of (cultural) space as largely homogenous and demarcated by boundaries, which can either (I) exclude, resulting in artificial, essentialised identities and in-between non-identities, or (II) include, enabling connections that can result in multicultural assemblages. As such, they seem to reflect what Marie-Laure Ryan, Kenneth Foote and Maoz Azaryahu in their work Narrating Space/Spatializing Narrative (2016) have called the two principal ways for conceptualising space: space as container and space as network. For writer and theorist Stephen Clingman, however, these abstractions fail to reflect the complexity of reality in which spaces, and by extension identities, are culturally entangled rather than determined by a single culture or a composite of cultures. Consequently, he seeks to transcend these categories by emphasising identity as a transcultural process of linguistic and physical navigation; an idea he maps out in his revolutionary work The Grammar of Identity (2009) aided by an analysis of several novels, including Jean Rhys’s Wide Sargasso Sea (1966).","PeriodicalId":517017,"journal":{"name":"Movement","volume":"43 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139896377","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 : 2024-02-02DOI: 10.14324/111.444.1755-4527.1793
Alisha Mathers
Unable to live in his homeland of Nigeria because of his sexuality, Edafe Okporo fled to America. Seeking asylum in the so-called Land of the Free, however, proved harder than he expected. In his memoir and manifesto Asylum, Okporo traces his search for refuge from Nigeria to New York City.The result is a harrowing tale of loss, detailing Okporo’s tiresome fight to find refuge from persecution. Recent ethnographic studies have explored the experiences of queer refugees, specifically how queer community groups have supported and excluded queer refugees in asylum, but also how the safety of queer refugees within the asylum system is extremely precarious. Asylum, however, provides a rare insight into an asylum system from a queer refugee’s perspective. The narrative also offers an in-depth exploration into the often- hidden parts of the asylum process, such as his initial moments of exile and life in detention in the United States.
{"title":"Sexual/Orientation: Navigating the Asylum System as a Queer Black Man in Edafe Okporo’s Asylum (2022)","authors":"Alisha Mathers","doi":"10.14324/111.444.1755-4527.1793","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1793","url":null,"abstract":"Unable to live in his homeland of Nigeria because of his sexuality, Edafe Okporo fled to America. Seeking asylum in the so-called Land of the Free, however, proved harder than he expected. In his memoir and manifesto Asylum, Okporo traces his search for refuge from Nigeria to New York City.The result is a harrowing tale of loss, detailing Okporo’s tiresome fight to find refuge from persecution.\u0000Recent ethnographic studies have explored the experiences of queer refugees, specifically how queer community groups have supported and excluded queer refugees in asylum, but also how the safety of queer refugees within the asylum system is extremely precarious. Asylum, however, provides a rare insight into an asylum system from a queer refugee’s perspective. The narrative also offers an in-depth exploration into the often- hidden parts of the asylum process, such as his initial moments of exile and life in detention in the United States.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"91 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139897060","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 : 2024-02-02DOI: 10.14324/111.444.1755-4527.1779
William Burns
What should we make of this series of opaque observations and reflections, composed in what might strike an unfamiliar reader at first as a peculiarly rapid form of shorthand? Looked at again, these stanzas constitute two remarkably sustained syntactical performances, whose respective hypotaxis and parataxis are, however, hard to construe: a crisscrossing of a remembered past tense and second-order commentary that in each case leaves their speaker’s temporal location uncertain. This figure’s spatial movement in the first stanza, although similarly occluded, provides one route into the poem, while at the same time introducing its own form of hesitancy. I find myself liable to fall foul of ‘to step on’, with what might be sensed as its apparently incomplete preposition, and leaning into it conversely seems to risk trampling over the poem entire.
{"title":"‘Something like words for | motion’: Ian Patterson’s Shell Vestige Disputed","authors":"William Burns","doi":"10.14324/111.444.1755-4527.1779","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1779","url":null,"abstract":"What should we make of this series of opaque observations and reflections, composed in what might strike an unfamiliar reader at first as a peculiarly rapid form of shorthand? Looked at again, these stanzas constitute two remarkably sustained syntactical performances, whose respective hypotaxis and parataxis are, however, hard to construe: a crisscrossing of a remembered past tense and second-order commentary that in each case leaves their speaker’s temporal location uncertain. This figure’s spatial movement in the first stanza, although similarly occluded, provides one route into the poem, while at the same time introducing its own form of hesitancy. I find myself liable to fall foul of ‘to step on’, with what might be sensed as its apparently incomplete preposition, and leaning into it conversely seems to risk trampling over the poem entire.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"112 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893576","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 : 2024-02-02DOI: 10.14324/111.444.1755-4527.1775
Mike Fu
As a resident of New York City during my twenties and early thirties, I lived through a cascade of cultural eras that exemplified America’s complex and oftentimes contradictory character. Certain palpable shifts coincided with major political events: my time in the city was bookended by the election of Barack Obama as president in 2008 and Donald Trump’s last year in office in 2020. Other changes were more subtle or cumulative in nature, broader trends that took shape around me as I grew into my adult identity and found footing within various communities. Millennials and Generation Z began to stake positions in public discourse with their idiosyncratic worldviews and economic or political grievances, all while Internet 2.0 developed in step with the proliferation of smartphones and the rise of social media. Amidst this wholesale reshaping of human experience by technology, I started to become aware of the independent magazine as a site of representational discourse and collective identity formation, especially for the Asian American community.
{"title":"Within and Beyond: Indie Magazines and the Asian Diasporic Subject","authors":"Mike Fu","doi":"10.14324/111.444.1755-4527.1775","DOIUrl":"https://doi.org/10.14324/111.444.1755-4527.1775","url":null,"abstract":"As a resident of New York City during my twenties and early thirties, I lived through a cascade of cultural eras that exemplified America’s complex and oftentimes contradictory character. Certain palpable shifts coincided with major political events: my time in the city was bookended by the election of Barack Obama as president in 2008 and Donald Trump’s last year in office in 2020. Other changes were more subtle or cumulative in nature, broader trends that took shape around me as I grew into my adult identity and found footing within various communities. Millennials and Generation Z began to stake positions in public discourse with their idiosyncratic worldviews and economic or political grievances, all while Internet 2.0 developed in step with the proliferation of smartphones and the rise of social media. Amidst this wholesale reshaping of human experience by technology, I started to become aware of the independent magazine as a site of representational discourse and collective identity formation, especially for the Asian American community.","PeriodicalId":517017,"journal":{"name":"Movement","volume":"131 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139893639","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：