{"title":"《一个可爱的地方》","authors":"Arron Santry","doi":"10.31165/nk.2020.131.593","DOIUrl":null,"url":null,"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.","PeriodicalId":299414,"journal":{"name":"Networking Knowledge: Journal of the MeCCSA Postgraduate Network","volume":"36 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"\\\"A Place Colled Lovely1)\\\"\",\"authors\":\"Arron Santry\",\"doi\":\"10.31165/nk.2020.131.593\",\"DOIUrl\":null,\"url\":null,\"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.\",\"PeriodicalId\":299414,\"journal\":{\"name\":\"Networking Knowledge: Journal of the MeCCSA Postgraduate Network\",\"volume\":\"36 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-10-25\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Networking Knowledge: Journal of the MeCCSA Postgraduate Network\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.31165/nk.2020.131.593\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Networking Knowledge: Journal of the MeCCSA Postgraduate Network","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.31165/nk.2020.131.593","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
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.