tba: Journal of Art, Media, and Visual Culture最新文献

{"title":"Alone in Sci-Fi: The Impossibility of Oneness in Blade Runner 2049 and Empire of the Senseless","authors":"Yasmina Jaksic","doi":"10.5206/tba.v2i1.10698","DOIUrl":"https://doi.org/10.5206/tba.v2i1.10698","url":null,"abstract":"As McLuhan prophesized, the new mediums of electric and communicative technology are no longer separate from the human body and have become rather an extension of body and a reflection of contemporary overloaded minds. Anxieties about technological autonomy steadily increase as artificial intelligences strive towards singularity as the boundaries between human and nonhuman become increasingly indistinguishable. Interestingly however, in Denis Villeneuve’s Blade Runner 2049 (2017) and Kathy Acker’s Empire of the Senseless (1988), it is not the fear of technological singularity that fuels the narratives, but rather a fear of insurmountable governmental power that utilizes technology to come into direct and unmediated contact with life—further splintering and thus shattering attempts at community building. \u0000  \u0000Yasmina Jaksic is an English PhD candidate at York University. Her doctoral research focuses on contemporary Asian-Anglophone Cultures and Literatures of diaspora and double-consciousness.  \u0000 ","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130243322","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}

{"title":"Salt","authors":"Elham Fatapour","doi":"10.32388/7lpqc5","DOIUrl":"https://doi.org/10.32388/7lpqc5","url":null,"abstract":"My practice focuses on exploring media, censorship, and communication through the mediums of painting, installation, and performance. Satellite dishes are one of the primary communication devices used to access mass media and as a result, have become part of urban design.  Many regions are still subject to restrictions in media infrastructure, and their inherent biases. Underground information networks thus emerge. Many secretly engineer homemade devices, such as satellite dishes, as a lifeline to outside media. Using the concept of cybernetic networks, this project seeks to examine the relationship that exists between the political body and the invisible networks demonstrated in unassuming infrastructures, through the use of an autobiographical methodology. Drawing together medium and message, the work explores the materiality of place and person, to demonstrate the complicated relationship that exists between technology and our socio-political climate.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123840343","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}

{"title":"Between Artist and Curator: On the ‘Laws of Attraction’ in Edmund De Waal’s “Elective Affinities” Exhibition","authors":"Margaryta Golovchenko","doi":"10.5206/tba.v2i1.13444","DOIUrl":"https://doi.org/10.5206/tba.v2i1.13444","url":null,"abstract":"BETWEEN ARTIST AND CURATOR: ON THE ‘LAWS OF ATTRACTION’ IN EDMUND DE WAAL’S “ELECTIVE AFFINITIES” EXHIBITION","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116528177","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}

{"title":"Sutured Stories","authors":"Ramolen Laruan","doi":"10.5206/tba.v2i1.10722","DOIUrl":"https://doi.org/10.5206/tba.v2i1.10722","url":null,"abstract":"Meanings, practices, and memories are re-inscribed in the diaspora, wherein new forms are re-imagined in the transnational exchange between the land of origin and new host country. \u0000In these works, fragments of my homeland (Philippines) penetrate through ordinary materials and force a disruption in acts of noticing and, thus, in how we might understand the positions of unfamiliar details within the larger work.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133116047","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}

{"title":"Translating Tongzhi: Splintering Sexual Identity in Hong Kong","authors":"Desmond A. D. O'Doherty","doi":"10.5206/tba.v2i1.13445","DOIUrl":"https://doi.org/10.5206/tba.v2i1.13445","url":null,"abstract":"This article aims to illustrate the appropriation of the term ‘tongzhi, 同志’ in the formation of LGBT+ identity in (post-)colonial Hong Kong tracing the splintering of sexual identity and development of tongzhi from sexual deviant to sexual citizen. It examines three distinct waves (1980s, 1990s, and 2000s) within which the term ‘tongzhi’ has been translated in each context acting as a tool of resistance and subversion. This research adopts a Foucauldian perspective of sexuality and George L. Mosse’s conceptualization of nationalism to analyze how the identity of sexual minorities have been marginalized, problematized, and regulated by three locales of power following the colonization of Hong Kong. ‘Sexual citizenship’ is employed to analyze the transformation of tongzhi during the tongzhi movement’s campaign to decriminalize homosexual activity, develop a community, and acquire the status of citizen.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126215312","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}

{"title":"Speciation Dance","authors":"M. G. Wilson","doi":"10.5206/tba.v1i1.7941","DOIUrl":"https://doi.org/10.5206/tba.v1i1.7941","url":null,"abstract":"tba Submission \u0000  \u0000Video Link \u0000  \u0000https://vimeo.com/188828000 \u0000  \u0000Artist Statement \u0000  \u0000As an artist I approach my practice as a conduit for imagining alternate political and personal realities in which the non-human animals are afforded relational and differentiated rights of membership in a multispecies community. The intention of such work is to stir the moral imagination of my viewer. By not simply raising indignation at abuse and neglect, not presenting (yet again) an image of the animal other as a passive victim, my purpose is to envision the animals we are entangled with as neighbours, friends and members of disparate communities. \u0000  \u0000Speciation Dance is a new media installation work that challenges established relationships between human and nonhuman animals. It represents a progression in my attempts to abandon the presumptive act of speaking for the animal other. Rather, this work joins animal and human voices in hopes of decentering the anthropocentrism inherent in art making. \u0000  \u0000Project Description: \u0000Speciation Dance \u0000  \u0000A small but strategic desire exists within humanity to preserve certain charismatic animal species from extinction; this has led to a dance both epic and intimate, which paradoxically attempts to maintain natural wildness by crafting an elaborate system of interspecies dependency. This contradiction is most visible in the conservation of whooping cranes. This species has come to emblemize the extreme commitment humans have made to the management of creatures we ourselves have driven to near nonexistence. In the performative video work, Speciation Dance, I focus on slippages in identity for both human-surrogate-mates and animals in captive breeding programs. In these relationships scientists and conservation workers don cobbled together costumes and assume monastic vows of silence to prevent their charges from becoming too accustomed to humans. But perhaps more importantly, these orniphiles (bird lovers) encourage the crane to imprint upon their bird persona. \u0000  \u0000When a creature imprints upon an individual outside of their species it disrupts speciation, the inbred impulse to be attracted only to one's own kind. Imprinting on a human distorts animal identity; seeing itself as human an animal will have no desire to copulate with its own species. As the performers in Speciation Dance transform into bird/people we hear ornithologist George Archibald describing his cross-species relationship with a crane named Tex. George and Tex’s story inspired this piece, and George’s narrative, assembled from found audio recordings, gives humor and context to the work. In this 6-minute two-channel video work, I am documenting two professional dancers from the Nova Dance Collective as they flirt with becoming-animal. Stepping into the role of a liminal being, neither human nor bird, they perform as humans-come-whooping cranes. Dipping, leaping, strutting and extending prosthetic heads to the sky, they attempt to relate to each other thr","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120946928","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}

{"title":"Incredulity and the Digit","authors":"Maxwell Hyett","doi":"10.5206/tba.v1i1.7962","DOIUrl":"https://doi.org/10.5206/tba.v1i1.7962","url":null,"abstract":"To follow the inevitable and historical impact of technology on the practice of art and its reception this text looks to flesh out some effects of the digital on contemporary culture. Here, the term ‘digital’ is used in the broadest sense in order to approach the complex relationships emerging between the real world, so to speak, and immaterial code which constructs a virtual world of computing. Specifically, this text is interested in deepening our understanding of the function of the digit(al) in relation to the action of poking. The ‘poke’ bridges the oft unconsidered gap between pushing the physical body of the computer into computational action and the inquisitive engagement of human thought with a material world.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125386480","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}

{"title":"“Apt Invention” in the Anthropocene: Hyperobjects, Marek Hłasko, and Zero K","authors":"Daniel Uncapher","doi":"10.5206/tba.v1i1.7936","DOIUrl":"https://doi.org/10.5206/tba.v1i1.7936","url":null,"abstract":"Anthropogenic climate change defines the contemporary global experience. Like finance and fascism in the ‘30s, world war and holocaust in the ‘40s, and cold war in the ‘50s, the sixth mass extinction event has emerged as the looming issue, the dominating Real, to which all other realisms are secondary. \u0000But unlike war and economic collapse, Anthropogenic climate change poses challenges that are generally mistreated, or avoided entirely. As Timothy Clark writes in Ecocriticism on the Edge, “the largely benumbed recognition of this reality has become one feature of life in the so-called Anthropocene, to use the currently still informal term for the epoch at which largely unplanned human impacts on the planet’s basic ecological systems have passed a dangerous, if imponderable, threshold.” (Clark x) The Anthropocene “evades normal categories of attention,” and is thus “frightening and intellectually liberating.” \u0000In the ‘50s and ‘60s the novelist Marek Hłasko, the so-called “Eastern European James Dean,” (Ufberg) developed a technique he called “apt invention” to write about his own existential threat of postwar totalitarianism. In his autobiography Beautiful Twentysomethings Hłasko wrote that the straight truth was incomprehensible to people, and only by surpassing the facts with “apt invention” could a writer render the reality of life in Soviet-occupied Poland on the page. \u0000In other words, “apt invention” is the act of mediated imagination that makes the gesture of realism possible, an idea at large today in the popularity of speculative fiction, weird fiction, slipstream, and other modes of genre-lucid literature. Don DeLillo’s Zero K (2016), capitalizing off a popular tolerance for speculation in realism, employs various modes of 21st-century “apt invention” to explore death in an age of extinction, a genre-like surpassing of reality to communicate the Lacanian Real, the experience outside of representation, if experience is to be communicable at all.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134021192","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}

{"title":"Floral Borders: Physical and Semiotic Uprooting in Taryn Simon’s Paperwork and the Will of Capital (2015)","authors":"Hana Nikčević","doi":"10.5206/tba.v1i1.7967","DOIUrl":"https://doi.org/10.5206/tba.v1i1.7967","url":null,"abstract":"An exposé of the “stagecraft” and performance of politics, the multimedia series Paperwork and the Will of Capital (2015) sees American artist Taryn Simon recreate the floral arrangements displayed at thirty-six political treatise signings involving countries present at the 1944 United Nations Monetary and Financial Conference, which responded to economic globalization, establishing the International Monetary Fund and the World Bank. In citing the Dutch Golden Age 'impossible bouquet' as Paperwork’s historical precursor, Simon sets the cash-led movement of flowers in relation to the contents of the featured political treatises: the forced, cash-led movement of people, the reclassification of humans as goods, and the prioritization of economic benefit over the imbricated concerns of human lives and environmental sustainability. This paper examines Simon's articulation of the implications of 'fake nature,' of an anthropocentric era of capitalism and global environmental crisis wherein human and nonhuman beings are divorced of their ontological meanings and reassigned artificial values. ","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"358 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124514523","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}

{"title":"There is nothing you can think that is not the moon","authors":"Rhonda Weppler","doi":"10.5206/tba.v1i1.8043","DOIUrl":"https://doi.org/10.5206/tba.v1i1.8043","url":null,"abstract":"Our proposed project is a curated digital catalogue of objects which we have collected for over 20 years. Including over 400 different objects, each has been carefully photographed on all of its sides. These recorded surfaces are reconfigured digitally as if the object has been flayed and flattened, enabling the object to be printed two dimensionally. Once printed and cut out, the surfaces can be folded to create a three dimensional, realistic facsimile of the original. While the mimic lacks the actual history of the original, the duplicated aging and wear patterns persuade the viewer otherwise. Can these imposters truly conjure up the ghosts associated with the original? Is the copied souvenir capable of fulfilling the role of a real souvenir? Objects that were collected on trips, childhood favorites, marked our teenage years, or were given to us by our now-deceased grandparents, appear to provide us with a connection to our past. However, in reality they are as material bound as their paper twins. \u0000  \u0000We have shown the entire collection of printed duplicates as an ephemeral installation in the form of a life-sized thrift store. Printed on translucent acetate, the objects now transformed into lanterns and were given away during a community light festival event. Dispersing the collection in this way is a play on gift giving, allowing the piece to diffuse and the objects to begin new histories. \u0000[See video link for installation:  https://vimeo.com/341254142] \u0000We want to continue this idea of dispersal by posting a collection of the objects to be available for online printing, for anyone to produce themselves. Depending on space available, this collection could be a handful of curated images, or a more extensive selection. Each object would be accompanied by a small text outlining where and when the original objects was found. We have selected a few of these as examples of what the project would look like; these are on the following pages (at a lower resolution than what is possible).","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122706362","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}