{"title":"Proof of Life Through Anti-Life","authors":"Zachary J. A. Rondinelli","doi":"10.5206/tba.v1i1.7986","DOIUrl":"https://doi.org/10.5206/tba.v1i1.7986","url":null,"abstract":"Tom King & Mitch Gerads' Mister Miracle (2017) has quickly become one of the most philosophically sophisticated superhero comics in recent memory, one that substantially departs from the classic representation of the title character and his supporting cast. A complex family drama, Mister Miracle asks the reader to grapple with questions that blur the lines between the \"real\" and the \"imaginary\", as well as what is \"true\" and \"false\". By applying the theoretical frameworks of Jean Baudrillard’s Simulacra and Simulation (1981), the obfusctation of Mister Miracle’s false reality can be revealed as a sophisticated simulacrum that utilizes (dis)simulation and elements of hyperreality as a means of control against Mister Miracle/Scott Free in order to wrench from him control of his “life”. Ultimately though, it becomes clear that this attempt to hijack and diminish Mister Miracle’s potential for a happy life results in the opposite of its intended effect, creating instead a paradoxical death that unintentionally validates the value of life through an alternate anti-life.","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":"121455655","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":"The Parafiction as Counterpoint to the Gimmick","authors":"Louise Nyman","doi":"10.5206/tba.v1i1.8015","DOIUrl":"https://doi.org/10.5206/tba.v1i1.8015","url":null,"abstract":"In her article “The Theory of the Gimmick,” Sianne Ngai makes the argument that the gimmick is found in every object bought and sold in a capitalist economy and, therefore, the aesthetic of the gimmick is a phenomenon specific to that of capitalism. In an attempt to understand this aesthetic category, Ngai proposes it may be due to the way in which the gimmick transforms idea into thing. This paper looks at the transformation of concept into object as exemplified by Duchamp’s readymade, and suggests how the increasingly gimmicky nature of conceptual art has resulted in an aesthetic condition wherein there is a collapse of the boundary between “art” and “nonart”—fiction and reality. The parafiction, an art practice that performs a deceptive act through use of stylistic mimicry, does not necessarily re-establish this boundary between the real and the fictive, but promotes a necessary awareness of this collapse; and insodoing distrupts the confused condition caused by the predominance of the gimmick.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"87 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":"128580530","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":"From Rome to Yamoussoukro","authors":"P. Krieger","doi":"10.5206/tba.v1i1.8016","DOIUrl":"https://doi.org/10.5206/tba.v1i1.8016","url":null,"abstract":"The reproduction of architectural monuments on an authentic scale and in design, or modified as an allusion to the original, is a production of a fake. The global presence of “duplitecture” raises the question—a key concern in this first tba issue—whether a fake bears truth, and how this paradox can be explained. This short article, based on my long-term research on the Neobaroque, analyzes the principles of contemporary architectural fake (re)production, made visible in the photographic and video work Doppel of the German artist, Caspar Stracke. Doppel, “duplicates” in English, is a series produced in three phases, beginning in 2004, continuing in 2009, and concluding in 2019 (at an exhibition in the Künstlerhaus Frise in Hamburg). It thematizes a cultural practice known in many epochs and cultures of the world. In this article, I’ll focus on just one panel, entitled “Rome to Yamoussoukro.\"","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"113 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":"133566440","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":"Falseiling","authors":"Prerna Prerna","doi":"10.5206/tba.v1i1.8049","DOIUrl":"https://doi.org/10.5206/tba.v1i1.8049","url":null,"abstract":"Based on an urban myth in India, where people often question the use of drop (fall) ceiling in households wondering if they are hiding money up there; this series was my interpretation of what we are hiding. For me, this meant a literal exposure of what was exactly above each drop ceiling tile. My work does not happen to you, you happen upon it through subtle interventions I create. These interventions demand the viewer to introspect the space and my work makes visible the unnoticed elements of that space. After the viewers suspension of disbelief, there is a discrepancy in the moment of realisation, that my work is trying to be something it's not while simultaneously blending into the environment. This discrepancy is not alarming, but grows exponentially as one spends time with it, leaving little grasp of what is real and what is not.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"7 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":"132978198","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":"Just a Robot Keeping It Real","authors":"T. Black","doi":"10.5206/tba.v1i1.7968","DOIUrl":"https://doi.org/10.5206/tba.v1i1.7968","url":null,"abstract":"One of the surprising outcomes of the social media era of the Internet is its internal contradiction between the endless possibilities for fiction, identity play, performance, and lying, and the profile structure, with its insistence on a single, unified, and quantifiable self. Facebook CEO Mark Zuckerberg insists “you have one identity” while the entire history of Internet culture suggests one, in fact, has many. As a result, the meaning of authenticity becomes a crucial point in determining the future of online life, and in this respect, it represents a contradiction that the world of performance is uniquely familiar with. This project reconsiders virtual performances of authenticity and realness as platform-specific social texts, using performance theory to complicate the idea of univocal self-construction in online life. I present the story of Miquela, a virtual Instagram influencer whose complex creation story and dramatic reveal prompts large and nebulous questions about the nature of authenticity, performance, and self-branding in social-media space. I develop three forms of authenticity that Miquela deploys throughout her career to perform as an influencer and Instagram microcelebrity, and update connections between authenticity, intimacy, and self-image to adapt to late-2010s ways of self-branding and personal storytelling online. Further, I argue these same tools are reflected by corporate brands to further compel audiences to entangle brand identity with their own selves. The tropes of Instagram self-performance are deployed across a spectrum of personal, political, social, and capitalist modes, with authenticity enabling this new height of context collapse.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"1 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":"128169044","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":"Race as techno-politico-aesthetic category in the past and present of visual representation","authors":"Melnikov Mikhail","doi":"10.5206/tba.v1i1.7985","DOIUrl":"https://doi.org/10.5206/tba.v1i1.7985","url":null,"abstract":"My article extends the thought of thinkers such as Beth Coleman, Wendy Chun, Robin James, and Falguni Sheth, who argue that race is itself a kind of productive technology. I claim that material and epistemological developments in technology served not only to embed race within the Western subject of representation's 'enframing' apparatus (early modernity and the dawn of industrial capitalism), but also served to reveal the embeddedness of race as such (late modernity, the worker’s movement, civil rights and the crisis of representation), thus making it possible to put race on display in the visual arts as a dis/assembling component of the social order. To make my claim, I use Heidegger's theory of the modern world-picture, which frames the limits of visual representation for the modern subject of representation (the European man); but against Heidegger, I claim that the technoscientific means by which the world-picture is developed are the same means by which race is rent from this frame to be critically disassembled during modernity's crisis of representation. I argue that instead of Heidegger's ontology of aesthetics, which understands art as a saving grace from the enframing of the modern world-picture, Deleuze's ontology of the nonrepresentational Figure is preferable; with it, we can understand artworks which are race-critical as aestheticizing the forces of violence or joy from which the racialized Figure emerges.","PeriodicalId":433224,"journal":{"name":"tba: Journal of Art, Media, and Visual Culture","volume":"16 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":"131148058","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}
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