{"title":"Review: AI Art: Machine Visions and Warped Dreams, by Joanna Zylinska","authors":"C. Sancto","doi":"10.1525/AFT.2020.47.4.82","DOIUrl":"https://doi.org/10.1525/AFT.2020.47.4.82","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115546383","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":"Exhibition Review: a.O.–b.c. An audiovisual diary","authors":"Elli Leventaki","doi":"10.1525/AFT.2020.47.4.74","DOIUrl":"https://doi.org/10.1525/AFT.2020.47.4.74","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131200996","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":"Things Shining in the Dark","authors":"B. S. Worthy","doi":"10.1525/AFT.2020.47.4.16","DOIUrl":"https://doi.org/10.1525/AFT.2020.47.4.16","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122915399","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 Vertical Roll to .MOV File","authors":"Annie Dell'aria","doi":"10.1525/aft.2020.473004","DOIUrl":"https://doi.org/10.1525/aft.2020.473004","url":null,"abstract":"In this article, I examine artworks from two periods in the history of media art—the 1970s and the 2010s—to demonstrate how changes in our haptic relationship to screen media shift the site of criticality in contemporary media art from disruption of electronic feedback toward an intensification and embrace of image flows that actively seek the viewer's touch and gesture. I situate video art within the shifting concept of flow in everyday media consumption, reading video art practices within a larger matrix of bodily and cultural engagement with screens. I locate touch and gesture as both themes in the content of single-channel works and components of the structure of video installation. Artists discussed include Camille Henrot, Joan Jonas, Rafael Lozano-Hemmer, Bruce Nauman, and Hito Steyerl. My analysis bridges media theory and art history with close readings of salient works of art, connecting the structure of artworks employing haptic input to shifts in the broader media ecology and the dynamic interplay of touch, image, and power under our fingertips.","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127687140","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":"Toward a Feeling of Animacy","authors":"B. Cohen","doi":"10.1525/aft.2020.473006","DOIUrl":"https://doi.org/10.1525/aft.2020.473006","url":null,"abstract":"This essay offers a comparative analysis of two moving-image artworks, UuDam Tran Nguyen's Serpents' Tails (2015) and Tuaấn Mami's In One's Breath—Nothing Stands Still (2018), in order to address questions of contemporary artmaking, ecological devastation, and the public sphere in Vietnam. Set in Ho Chi Minh City, Serpents' Tails hails a question of air pollution, depicting a thrilling dance between humans and “serpents' tails” created from plastic, throwaway bags, and the exhaust fumes of motorbikes. In contrast, the slower-paced In One's Breath—Nothing Stands Still critiques extractive limestone mining in rural northern Vietnam, a process that smothers the land in a kind of white, powdery haze and slow death grip. Both works highlight a question of inequitable breathability in relation to the airscape.\u0000 In comparing these two artworks, this essay aims to parse out intertwined ecological concerns in urban and rural Vietnam, represented by expressions of breathability, in relation to sociopolitical questions of speakability and animacy. Matters of more-than-human animacy cannot be divorced from pressing issues of coloniality, indigeneity, gender, sex, race, and climate justice. When “voice” and “agency” are structurally oppressed in linguistic form, eliminating a grammar of animacy (Robin Wall Kimmerer) that would convey the vitality of “nonliving” beings, then I argue that one may recuperate a feeling of animacy through the visual realm. With emotional charge, Serpents' Tails and In One's Breath—Nothing Stands Still engender a sense of nonhumans' mutual animacy, attempting to re-instill a feeling of respect for, and reciprocity with, the living land.","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"234 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114048500","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":"Book Review: Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics by Elizabeth Otto","authors":"Francesca Ferrari","doi":"10.1525/aft.2020.473010","DOIUrl":"https://doi.org/10.1525/aft.2020.473010","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122928971","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":"Photographer's Field Notes","authors":"H. Allen","doi":"10.1525/aft.2020.473002","DOIUrl":"https://doi.org/10.1525/aft.2020.473002","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123197480","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":"Exhibition Review: 24/7: A Wake-Up Call for Our Non-Stop World","authors":"Ger Zielinski","doi":"10.1525/aft.2020.473009","DOIUrl":"https://doi.org/10.1525/aft.2020.473009","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"405 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131934772","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":"Exhibition Review: At First Light: The Dawning of Asian Pacific America","authors":"J. Glick","doi":"10.1525/aft.2020.473008","DOIUrl":"https://doi.org/10.1525/aft.2020.473008","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114573297","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":"Fetish, Demolition, Ruins","authors":"Rodrigo Lopes de Barros","doi":"10.1525/aft.2020.473005","DOIUrl":"https://doi.org/10.1525/aft.2020.473005","url":null,"abstract":"This article compares the video Reinforced Concrete (2012) by Lucas Ferraço Nassif, begun during Antje Ehmann and Harun Farocki's 2011 workshop-based project Labour in a Single Shot in Rio de Janeiro, and the performance Bustox (2014), which was carried out by the Brazilian experimental theater collective ERRO Grupo in Florianópolis. Each artwork can be read as an attempt to defetishize an idol of Brazilian capitalism, former billionaire Eike Batista. Moreover, Ehmann and Farocki's workshop can be seen as an attack on the process of fetishizing products of labor, fetishization being one of the main characteristics of capitalist society. Ehmann and Farocki's project, and consequently Nassif's video, are connected to the work of theoreticians such as Jacques Derrida and Giorgio Agamben concerning the themes of improvisation and profanation. The concept of the fetish is also revitalized by taking into consideration Latin American thinkers Fernando Ortiz and Osório César.","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123351220","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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