让这个探戈病毒化:在远端联觉表演中触摸不可触摸的东西

Ada Xiaoyu Hao
{"title":"让这个探戈病毒化:在远端联觉表演中触摸不可触摸的东西","authors":"Ada Xiaoyu Hao","doi":"10.1386/jcca_00046_1","DOIUrl":null,"url":null,"abstract":"The COVID-19 pandemic has created an uncanny rift between tact and touch as it expands the virtual towards its potential. Layer upon layer of new information has been repeatedly revising and reformulating our sense of touch. The unconditional freedom of touch needs to be rendered accountable in this rift of time and space. The act of touching entails individual acknowledging the risk of reaching towards the unknown or the known. Tracing with a tactile sense of touch is to be tactful about how, where and what can such act of touching could reach, especially in the context of communicative technology. This article focuses on the possibility of virtual sensibility by challenging ways to feel touched beyond the nostalgic narratives that attempt to indict communicative technology with the loss of touch. To replenish and reinstate touch through tele-synaesthesia performance, I ask: how to elongate our somatosensensation and echo the embodied experience of touching through virtual connectivity? Tele-synaesthesia performance joints telematic and synaesthetic experience together to embody the incorporeality of touch through virtual connectivity. It embodies the injunction of physical contact and challenges what can and cannot be touched by suturing one sensuous modality to another. Inspired by Paul Sermon’s artistic production of Telematic Quarantine (2020) and Pandemic Encounters (2020), that tele-presents the stories of self (isolation), I have created The Best Facial (2021): a series of one-to-one participatory tele-synaesthesia performances, where I became a virtual aesthetician and performed ‘virtual facial care’ on Zoom amid the second wave of the pandemic in the United Kingdom. In this article, I will discuss how tele-synaesthesia performance could trigger tactile experiences in the participants in reference to Michel Foucault’s concept Heterotopia (1986) that allegorically address the incompatible physical places in the society. I discuss how to elicit an affective sensory response from non-tactile senses through virtual touch, as stated by Naomi Bennett’s ‘Telematic connections: sensing, feeling, being in space together’ (2020). I refer to Legacy Russell’s discussion on glitch (2020) to analyse the possible future of tele-synaesthesia performance and its potential for expanding virtual connectivity with an ethical touch of a non-performative refusal of the present.","PeriodicalId":40969,"journal":{"name":"Journal of Contemporary Chinese Art","volume":" ","pages":""},"PeriodicalIF":0.3000,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Make this tango viral: Touching toward the untouchable in tele-synaesthesia performance\",\"authors\":\"Ada Xiaoyu Hao\",\"doi\":\"10.1386/jcca_00046_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The COVID-19 pandemic has created an uncanny rift between tact and touch as it expands the virtual towards its potential. Layer upon layer of new information has been repeatedly revising and reformulating our sense of touch. The unconditional freedom of touch needs to be rendered accountable in this rift of time and space. The act of touching entails individual acknowledging the risk of reaching towards the unknown or the known. Tracing with a tactile sense of touch is to be tactful about how, where and what can such act of touching could reach, especially in the context of communicative technology. This article focuses on the possibility of virtual sensibility by challenging ways to feel touched beyond the nostalgic narratives that attempt to indict communicative technology with the loss of touch. To replenish and reinstate touch through tele-synaesthesia performance, I ask: how to elongate our somatosensensation and echo the embodied experience of touching through virtual connectivity? Tele-synaesthesia performance joints telematic and synaesthetic experience together to embody the incorporeality of touch through virtual connectivity. It embodies the injunction of physical contact and challenges what can and cannot be touched by suturing one sensuous modality to another. Inspired by Paul Sermon’s artistic production of Telematic Quarantine (2020) and Pandemic Encounters (2020), that tele-presents the stories of self (isolation), I have created The Best Facial (2021): a series of one-to-one participatory tele-synaesthesia performances, where I became a virtual aesthetician and performed ‘virtual facial care’ on Zoom amid the second wave of the pandemic in the United Kingdom. In this article, I will discuss how tele-synaesthesia performance could trigger tactile experiences in the participants in reference to Michel Foucault’s concept Heterotopia (1986) that allegorically address the incompatible physical places in the society. I discuss how to elicit an affective sensory response from non-tactile senses through virtual touch, as stated by Naomi Bennett’s ‘Telematic connections: sensing, feeling, being in space together’ (2020). I refer to Legacy Russell’s discussion on glitch (2020) to analyse the possible future of tele-synaesthesia performance and its potential for expanding virtual connectivity with an ethical touch of a non-performative refusal of the present.\",\"PeriodicalId\":40969,\"journal\":{\"name\":\"Journal of Contemporary Chinese Art\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-11-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Contemporary Chinese Art\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/jcca_00046_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Contemporary Chinese Art","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/jcca_00046_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0

摘要

2019冠状病毒病(COVID-19)大流行扩大了虚拟世界的潜力,在触觉和触觉之间造成了不可思议的裂痕。一层又一层的新信息一直在反复修改和重新塑造我们的触觉。在这种时间和空间的裂痕中,需要对无条件的触摸自由负责。触摸的行为需要个体承认接触未知或已知事物的风险。用触觉进行追踪是一种委婉的方法,特别是在交流技术的背景下,这种触摸行为可以达到的方式、位置和内容。本文关注的是虚拟感性的可能性,通过挑战超越怀旧叙事的方式来感受触摸,这种怀旧叙事试图用失去触摸来控诉通信技术。为了通过远端联觉的表现来补充和恢复触觉,我提出了一个问题:如何延长我们的体感,并通过虚拟连接来呼应触觉的具体体验?远联觉的表现是将远传和联觉的体验结合在一起,通过虚拟连接来体现触觉的非物质性。它体现了身体接触的禁令,并通过将一种感官形态缝合到另一种感官形态来挑战可以触摸和不能触摸的东西。受Paul Sermon的艺术作品《Telematic Quarantine》(2020年)和《Pandemic Encounters》(2020年)的启发,我创作了《the Best Facial》(2021年):一系列一对一的参与式远程联觉表演,在英国第二波疫情期间,我成为了一名虚拟美学家,在Zoom上进行了“虚拟面部护理”。在本文中,我将参照米歇尔·福柯(Michel Foucault)的异托邦(Heterotopia, 1986)的概念,讨论远联觉的表现如何触发参与者的触觉体验,该概念寓言地解决了社会中不相容的物理场所。我讨论了如何通过虚拟触摸从非触觉感官中引出情感感官反应,正如内奥米·贝内特(Naomi Bennett)在《远程通信连接:感知、感觉、共同身处太空》(2020)中所说的那样。我参考了Legacy Russell关于glitch(2020)的讨论,分析了远端联觉表现的可能未来,以及它在扩大虚拟连接方面的潜力,同时带有对当前非表演性拒绝的伦理色彩。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Make this tango viral: Touching toward the untouchable in tele-synaesthesia performance
The COVID-19 pandemic has created an uncanny rift between tact and touch as it expands the virtual towards its potential. Layer upon layer of new information has been repeatedly revising and reformulating our sense of touch. The unconditional freedom of touch needs to be rendered accountable in this rift of time and space. The act of touching entails individual acknowledging the risk of reaching towards the unknown or the known. Tracing with a tactile sense of touch is to be tactful about how, where and what can such act of touching could reach, especially in the context of communicative technology. This article focuses on the possibility of virtual sensibility by challenging ways to feel touched beyond the nostalgic narratives that attempt to indict communicative technology with the loss of touch. To replenish and reinstate touch through tele-synaesthesia performance, I ask: how to elongate our somatosensensation and echo the embodied experience of touching through virtual connectivity? Tele-synaesthesia performance joints telematic and synaesthetic experience together to embody the incorporeality of touch through virtual connectivity. It embodies the injunction of physical contact and challenges what can and cannot be touched by suturing one sensuous modality to another. Inspired by Paul Sermon’s artistic production of Telematic Quarantine (2020) and Pandemic Encounters (2020), that tele-presents the stories of self (isolation), I have created The Best Facial (2021): a series of one-to-one participatory tele-synaesthesia performances, where I became a virtual aesthetician and performed ‘virtual facial care’ on Zoom amid the second wave of the pandemic in the United Kingdom. In this article, I will discuss how tele-synaesthesia performance could trigger tactile experiences in the participants in reference to Michel Foucault’s concept Heterotopia (1986) that allegorically address the incompatible physical places in the society. I discuss how to elicit an affective sensory response from non-tactile senses through virtual touch, as stated by Naomi Bennett’s ‘Telematic connections: sensing, feeling, being in space together’ (2020). I refer to Legacy Russell’s discussion on glitch (2020) to analyse the possible future of tele-synaesthesia performance and its potential for expanding virtual connectivity with an ethical touch of a non-performative refusal of the present.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.50
自引率
25.00%
发文量
12
期刊最新文献
China’s cautious ‘facetuning’: The art of cultural diplomacy and nation branding1 From the dilemma of Chinese nation branding and soft power to the performativity of creative power: The TAZARA Memorial Park and artistic intervention in Zambia Rebranding China through facsimiles: A study of mubanshuiyin reproductions in PRC’s art diplomacy and soft power building, 1952–79 Capitalizing on art and artifying capitals: China’s journey to Venice and scandal around the Kenya Pavilion K11 alternative diplomacies: Penetrating the global arts markets
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1