CAMERA OBSCURAPub Date : 2021-09-01DOI: 10.1215/02705346-9052830
K. White
{"title":"Introduction: Carolee Schneemann (1939–2019)","authors":"K. White","doi":"10.1215/02705346-9052830","DOIUrl":"https://doi.org/10.1215/02705346-9052830","url":null,"abstract":"\u0000 This is an introduction to a dossier on the work and life of Carolee Schneemann (1939–2019). Schneemann was celebrated in a memorial service at Judson Memorial Church in New York. The service included Malcolm Goldstein's improvisational performance on violin titled Soundings for Carolee. The seven essays in this dossier, derived in part from remarks delivered at the service, comprise a range of critical “soundings” of Schneemann's work and life.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41728945","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2021-09-01DOI: 10.1215/02705346-9052914
Soyoung Yoon
{"title":"Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann","authors":"Soyoung Yoon","doi":"10.1215/02705346-9052914","DOIUrl":"https://doi.org/10.1215/02705346-9052914","url":null,"abstract":"\u0000 This essay attends to the force of aggression in Carolee Schneemann's work, emphasizing the conflicts in the artist's representation of enjoyment, knowledge, and truth in her own body, with a focus on Up To and Including Her Limits (1973–76) and the underexplored text “Anti-Demeter: The More I Give the More You Steal” (1994). Addressing how the latter presents an origin myth for the artist, the essay underscores Schneemann's struggle over questions of genealogy, alliance, influence, and debt. On the question of debt, particular attention is given to its quality of ambivalence on terms of sexual difference, especially for father figures perceived as models of artistic expressivity, and the mothering body as a body of prohibition, labor, illness, and death. Examining the negation of the body, the role of aggression and violence, and the critique of the bind of “male fantasies” in Schneemann's work, the essay proposes a shift in feminist art historiography and its projections on Schneemann the artist. The essay asserts Schneemann's tale as a cautionary and self-reflexive one for those who come after, the would-be-daughters, who would negate the body, the struggle, the art yet again for the myth, in a time ripe for myth, in the wake of the artist's passing.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42462507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2021-09-01DOI: 10.1215/02705346-9052886
Melissa Ragona
{"title":"Schneemann Sounding: Embodied Sonic Systems","authors":"Melissa Ragona","doi":"10.1215/02705346-9052886","DOIUrl":"https://doi.org/10.1215/02705346-9052886","url":null,"abstract":"\u0000 This essay examines the central position the medium of sound played in the work of the artist Carolee Schneemann (US, 1939–2019). By exploring a few key early works such as Glass Environment for Sound and Motion (1962), Chromelodeon (1963), and Noise Bodies (1965), it traces how her exposure to emergent forms in experimental music informed important translations she made of complex sonic structures into expanded, layered, constantly evolving visual systems. The essay argues that Schneemann transformed the body into a soft recording system that broadcast sonic testimonies of everyday encounters with the excesses of conspicuous consumption, the inequalities of gendered relations, and the disturbing encounters with state-mandated violence against other cultures, in particular the US invasion of Vietnam.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41879500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2021-09-01DOI: 10.1215/02705346-9052802
Lisa Åkervall
{"title":"The Auto-Tuned Self: Modulating Voice and Gender in Digital Media Ecologies","authors":"Lisa Åkervall","doi":"10.1215/02705346-9052802","DOIUrl":"https://doi.org/10.1215/02705346-9052802","url":null,"abstract":"\u0000 This essay takes the auto-tuned viral video “Can't Hug Every Cat” as a point of entry for a broader analysis of how modulation decisively shapes politics, aesthetics, and gendering in contemporary digital ecologies. It uncovers how the exaggerated exhibitions of feminine vocal modulation in “Can't Hug Every Cat” entangle with generational feminist anxieties over gendered forms of articulation such as “sexy baby voice” and “upspeak.” It argues that the problematic of the modulated voice is both technologically and thematically central to political, technological, aesthetic, and gendered genealogies of media-technical modulation. The modulated voice given such extraordinary staging in “Can't Hug Every Cat” is therefore restored to the longer history of voice modulation, which is itself closely tied to the rise of control societies and digital media. In this perspective, techniques of voice modulation and social modulation are tandem technologies. The voice modulation that has figured prominently in media cultures in recent decades—from the music of Cher to T-Pain and beyond—is not merely a consequence of digital media and control societies but is also integral to their conditions of possibility. In this light, the rise of technologies for the modulation of the human voice since the nineteenth century is intertwined with the rise of new economic, political, and medical systems of control.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48307732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2021-09-01DOI: 10.1215/02705346-9052858
P. Phelan
{"title":"Carolee Schneemann's Sonic Shadow","authors":"P. Phelan","doi":"10.1215/02705346-9052858","DOIUrl":"https://doi.org/10.1215/02705346-9052858","url":null,"abstract":"\u0000 This commemorative essay considers Carolee Schneemann's voice as expressed through performative utterances and written words, with particular focus on Interior Scroll (1975). The essay argues that the performance's documentation in photographs, the primary means of experiencing the work, has come at the expense of attention to Schneemann's voice. The essay reflects on the work of evoking Schneemann's voice through limited records in relation to the process of grief following the artist's death. Schneemann's “sonic shadow,” the essay argues, emerges through affirmative mourning. The essay was composed originally for the memorial service for Schneemann at Judson Memorial Church, New York, on 3 May 2019.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45180516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2020-12-01DOI: 10.1215/02705346-8631595
Jasmine Nichole Cobb
{"title":"Making Space","authors":"Jasmine Nichole Cobb","doi":"10.1215/02705346-8631595","DOIUrl":"https://doi.org/10.1215/02705346-8631595","url":null,"abstract":"In this interview, artist and scholar Deborah Willis describes the work of excavating and organizing the history of Black photography. Willis’s groundbreaking scholarship helped to formally establish an archive of Black visual practice before libraries and cultural institutions began to purposely catalogue such materials. Across projects, she has engaged questions of beauty, citizenship, Black culture, and family history from the nineteenth century to the present by closely examining the camera practices of legendary photographers and the cultural contexts surrounding iconic images. In this interview, Willis describes her research as a student relying on periodical records as well as on the support of Black artists such as Roy DeCarava, Carrie Mae Weems, Gordon Parks, and James VanDerZee. This conversation with the author intertwines Willis’s personal history and the history of creating a visual archive to offer a look back and a look forward at the practice of Black photography.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44761635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2020-09-01DOI: 10.1215/02705346-8359640
Janice Loreck, Sian Mitchell, Whitney Monaghan, Kirsten Stevens
{"title":"Looking Back, Moving Forward","authors":"Janice Loreck, Sian Mitchell, Whitney Monaghan, Kirsten Stevens","doi":"10.1215/02705346-8359640","DOIUrl":"https://doi.org/10.1215/02705346-8359640","url":null,"abstract":"The Melbourne Women in Film Festival (MWFF) is a four-day event in Melbourne, Australia, that supports and celebrates the work of Australian women filmmakers. Launched in 2017, the festival emerged from our desire as screen academics to increase the visibility of both professional and amateur women filmmakers and their work. Despite a strong history of grassroots and state-supported women’s creative cultures in Australia, women have remained marginal within the domestic screen industry. Women filmmakers are also underrepresented within the global festival circuit. This article traces the curatorial practices underpinning MWFF since its inception. We describe our approach to running a locally based, women-centered film festival; how we define “women” and “women’s filmmaking”; and how our programing choices support our festival ethos. We also contextualize our event as one that both continues and is in dialogue with women’s screen culture in Australia, particularly the one-off Women’s International Film Festival held in 1975. Locating our festival in this historical context, we argue that retrospective screenings play a particularly vital role at MWFF in achieving our festival aims. We recount our inaugural festival in 2017 and explain the significance of retrospectives in building a legacy for women filmmakers and making their achievements visible to the next generation.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47591293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2020-05-01DOI: 10.1215/02705346-8085111
C. Albu
{"title":"Intimate Connections","authors":"C. Albu","doi":"10.1215/02705346-8085111","DOIUrl":"https://doi.org/10.1215/02705346-8085111","url":null,"abstract":"Through her versatile use of video technology, Nina Sobell explores nonverbal means of communication that interfere with normative modes of behavior and closely regulated interpersonal relationships. Deeply informed by the pursuit of intimate connections, her practice fosters reflection on how we modulate our sense of selfhood through interactions with others. This article examines Sobell’s video performances with chicken carcasses, instantiating the ambiguities of mother- infant relationships, in connection with her Brainwave Drawings, a series of installations based on biofeedback that unveils reciprocal influences between art participants’ psychic states. Even though these sets of works were developed during the same time frame (1974–82) and are equally concerned with bodily communication, they are almost never interpreted as conceptually related. Underscoring their mutual affiliation with a feminist agenda, this article argues that these works are deeply intertwined at the level of their interrogation of socially sanctioned forms of interaction. Embracing the dynamics of open systems, Sobell cultivates fluid forms of communication and exposes the invisible threads that connect us to others. She relies on technological mediation in order to advance a more complex understanding of the biological and social underpinnings of selfhood. Sobell’s works invite viewers to consider interpersonal exchanges that surpass linguistic forms of communication and reveal the porous thresholds between body and mind, self and other, nature and culture.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48803038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2019-09-01DOI: 10.1215/02705346-7584904
Feng-Mei Heberer
{"title":"Sentimental Activism as Queer-Feminist Documentary Practice; or, How to Make Love in a Room Full of People","authors":"Feng-Mei Heberer","doi":"10.1215/02705346-7584904","DOIUrl":"https://doi.org/10.1215/02705346-7584904","url":null,"abstract":"This article explores the possibilities for activist intervention through documentary media at a time when rhetorics of rights and recognition are increasingly appropriated into nationalist state projects, capitalist expansion, and a Northern hemispheric vision of the “good world.” It asks: How do activist media (makers) respond to the appropriation of liberal values? What language—visual, affective, political—do they use to remain morally and aesthetically legible to a wider public and majoritarian decision-makers while insisting on the need for structural transformation? To work through these questions, the article studies the documentary work of queer-feminist migrant labor activism in East Asia. This work offers particularly valuable insight into a strategy summarized here as sentimental activism: the simultaneous repetition and radical decentering of liberal rights discourse and its sensorium of human legibility. While critiques of sentimental affect as manipulative political instrument are numerous, this article probes under what conditions sentimental aesthetics might refuse to repeat and transform the normative paradigms stipulating who deserves rights and recognition in the first place. In focusing on Lesbian Factory (dir. Susan Chen, 2010), a documentary by the Taiwan International Workers’ Association on the collaborative effort of Taiwanese activists and queer Filipina migrant workers to push for better migrant labor rights, this article tracks how the documentary deploys a sentimental lexicon of rights and recognition for transformative ends: to center queer female migrant workers as historical protagonists in struggles for social justice and transformation and as an inspirational source for radical aesthetics.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48015266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
CAMERA OBSCURAPub Date : 2019-09-01DOI: 10.1215/02705346-7584952
Arnika Fuhrmann
{"title":"The Story of Untold Displacements","authors":"Arnika Fuhrmann","doi":"10.1215/02705346-7584952","DOIUrl":"https://doi.org/10.1215/02705346-7584952","url":null,"abstract":"This essay investigates Buddhist-Muslim intimacies and coexistence in Thailand in order to complicate recent discussions of the relation of religion to gender and sexual freedoms. It is concerned with contributing a new, Southeast Asian perspective to a prominent strain of contemporary criticism that traces the anti-Islamic bent of European and US public discourses to biases inherent in liberal thought. Authors such as Saba Mahmood, Jasbir Puar, and Judith Butler have tracked how, under the assumption of Islam’s sexual illiberalism, the figure of “the Muslim” has become liberalism’s paradigmatic other. Although it builds on these critiques, the essay asks how these logics play out quite differently in a majority Buddhist society and in a modernity that is not understood only as secular. The essay investigates how contemporary globally circulating Thai films furnish a radically different approach to multiethnic coexistence, emancipatory sexual politics, the temporalities of modernity, and the domain of the law that is so closely connected to sexual and religious freedoms. The essay thereby analyzes the problem of liberalism in the context of multiply constituted notions of freedom, belonging, and coexistence beyond European and North American contexts. Like Butler, the author relies on a claim about temporality but argues that the plural temporalities of Southeast Asian modernities allow for different relations between minority and majority populations and between notions of gender equality or sexual freedom and religious belonging.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48147901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}