"A Place Colled Lovely1)"

Abstract

The digitisation and networked distribution of the PixelVision videos of Sadie Benning presents a challenge to aesthetico-protocological hegemonies that determine the value of digital videos. Subverting their status as ‘poor images’, the uploaded copies of Benning’s works restage their queer, counter-hegemonic resistance via the controls of a new digital context. This paper calls for a reexamination of traditional attitudes towards the digitisation of ‘analogue’ moving image artworks and proposes that compression standards and their artifacts may be recuperated as part of a queer feministmaterialist artistic strategy.