{"title":"Touchscreens, tactility, and material traces: From avant-garde artists to Instagram ASMRtists","authors":"J. O'meara","doi":"10.25969/MEDIAREP/13123","DOIUrl":null,"url":null,"abstract":"The specifics of Instagram’s touchscreen-driven interface further confirm the significance of hands – both those of so-called ‘ASMRtists’ and the audiences who watch and activate the videos using their own fingers – to ASMR videos.[9] By engaging with scholarship on hand-held and touchscreen devices, such as that of Heidi Rae Cooley and David Parisi, I position the hand-focused ASMR videos in relation to studies of how mobile screen devices allow for more tactile forms of vision. Initially writing on handheld devices pre-touchscreen, Cooley identifies the sensual forms of viewing that can be facilitated through handheld devices – with such forms of tactile vision intensifying since 2007 with the popular emergence of touchscreen interfaces on the iPhone and similar devices.[10] More specifically, I align hand-focused ASMR videos with Parisi’s discussion of the fifth phase of haptic interfacing, that of the twenty-first century, wherein digital technology firms like Apple and Nintendo ‘crafted an image of the cultural sensorium in a state of urgent crisis that touch interfaces were uniquely qualified to alleviate’.[11] As Parisi argues in Archaeologies of Touch , advertising campaigns for Apple iPhones and Nintendo DS game consoles presented a narrative that ‘the sense of touch has been forgotten, left behind, and marginalized by a media interfacing schematic overdependent on audiovisual technologies’.[12] Parisi explains that advertisements for such products sought to ‘foster a desire in consumers to reconnect with their lost sense of touch’, while also fetishising the ‘technologized reincarnation’ of touch, one signalling towards ‘a utopic future of fully embodied presence in digital worlds’.[13] As the remainder of this article will explore, the appeal and impact of hand-focused ASMR videos further extends on tactile forms of vision and on the narrative that digital technologies can facilitate a remediated re-connection with touch.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"17 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Necsus. European Journal of Media Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.25969/MEDIAREP/13123","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 1
Abstract
The specifics of Instagram’s touchscreen-driven interface further confirm the significance of hands – both those of so-called ‘ASMRtists’ and the audiences who watch and activate the videos using their own fingers – to ASMR videos.[9] By engaging with scholarship on hand-held and touchscreen devices, such as that of Heidi Rae Cooley and David Parisi, I position the hand-focused ASMR videos in relation to studies of how mobile screen devices allow for more tactile forms of vision. Initially writing on handheld devices pre-touchscreen, Cooley identifies the sensual forms of viewing that can be facilitated through handheld devices – with such forms of tactile vision intensifying since 2007 with the popular emergence of touchscreen interfaces on the iPhone and similar devices.[10] More specifically, I align hand-focused ASMR videos with Parisi’s discussion of the fifth phase of haptic interfacing, that of the twenty-first century, wherein digital technology firms like Apple and Nintendo ‘crafted an image of the cultural sensorium in a state of urgent crisis that touch interfaces were uniquely qualified to alleviate’.[11] As Parisi argues in Archaeologies of Touch , advertising campaigns for Apple iPhones and Nintendo DS game consoles presented a narrative that ‘the sense of touch has been forgotten, left behind, and marginalized by a media interfacing schematic overdependent on audiovisual technologies’.[12] Parisi explains that advertisements for such products sought to ‘foster a desire in consumers to reconnect with their lost sense of touch’, while also fetishising the ‘technologized reincarnation’ of touch, one signalling towards ‘a utopic future of fully embodied presence in digital worlds’.[13] As the remainder of this article will explore, the appeal and impact of hand-focused ASMR videos further extends on tactile forms of vision and on the narrative that digital technologies can facilitate a remediated re-connection with touch.
Instagram的触摸屏驱动界面的细节进一步证实了手对ASMR视频的重要性——无论是所谓的“asmrsts”,还是那些用自己的手指观看和激活视频的观众通过对手持和触屏设备的研究,如Heidi Rae Cooley和David Parisi的研究,我将以手为重点的ASMR视频与移动屏幕设备如何允许更多触觉形式的视觉研究联系起来。库利最初是在触摸屏出现之前的手持设备上写作的,他发现了通过手持设备可以促进的感官观看形式——自2007年以来,随着iPhone和类似设备上触摸屏界面的流行出现,这种形式的触觉视觉得到了加强更具体地说,我将以手为中心的ASMR视频与Parisi关于触觉界面第五阶段的讨论结合起来,即21世纪,其中像苹果和任天堂这样的数字技术公司“在紧急危机状态下创造了一种文化感官的形象,触摸界面是唯一有能力缓解的”正如Parisi在《触觉考古学》中所言,苹果iphone和任天堂DS游戏机的广告宣传呈现出一种叙事,即“触觉已经被遗忘,被遗忘,被过度依赖视听技术的媒体界面所边缘化”帕里西解释说,这类产品的广告试图“培养消费者与他们失去的触觉重新联系的愿望”,同时也迷恋触觉的“技术转世”,一种对“数字世界中完全体现存在的乌托邦未来”的信号正如本文的其余部分将探讨的那样,以手为中心的ASMR视频的吸引力和影响进一步扩展到触觉形式的视觉,以及数字技术可以促进与触觉的修复性重新连接的叙述。