1994 research outputs found
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Metaverse Landscapes:Technology and Territory
No full textComing out of what the New York Times has called a long tradition of innovation and impunity that marks the Silicon Valley, how can one understand the entrepreneurial and territorial politics of the Metaverse and related developments in the digital sphere? Who designs, who populates, and who governs today’s emergent technologically enabled spaces
Performing Absence as Intervention:The Case of Lee Lozano
Get PDFThe artist has long been understood in conventional Western art history, art criticism, and curatorial practice as the site of active agency, as the origin of the meaning and value of the work of art. By the later 20th century, during a period of social crisis across Europe and North America, however, theorists such as Roland Barthes and Jacques Derrida put pressure on this model. At the same time artists began mobilizing their agency in radically different ways as part of a broad societal challenging of Western hegemony, patriarchal and white dominant models of subjectivity, and structures of power more generally. Jones examines one extreme example of such a mobilization from the 1960s New York art world—the case of American artist Lee Lozano, who ostentatiously proclaimed her plan to ‘drop out’ and leave this vibrant scene at the height of her career—to explore how artistic authorship itself could be seen as a key site for the interrogation of power in the world. The case of Lozano allows to pose the question: is a performance of withdrawal from art institutions the ultimate intervention in a period of social crisis? Or was she effectively ‘copping out’ just at the moment when many of her colleagues (for example, in New York, feminists such as her friend Lucy Lippard, and the anti-racist protestors participating in the 1970 Art Strike) were publicly agitating on the streets and in the museums for equity and inclusion? Amelia Jones is Robert A. Day Professor at Roski School of Art & Design, USC. Publications include Seeing Differently: A History and Theory of Identification and the Visual Arts (2012) and Otherwise: Imagining Queer Feminist Art Histories, co-edited with Erin Silver (2016). Her catalogue Queer Communion: Ron Athey (2020) was listed among the Best Art Books 2020 in the NY Times, and the curated show was listed among Top Ten 2021 exhibitions in Artforum (December 2021). Her book entitled In Between Subjects: A Critical Genealogy of Queer Performance was published in 2021. Her current work addresses the structural racism and neoliberalism of the 21st century world of art and academia. Keynote Lecture in the context of the international Symposium ’Drafts in Action. Concepts and Practices of Artistic Intervention‘, 7-8 July 2023
Rendering Intelligence:Biomedical Datasets and the Impossible Image
Get PDFThe impossible image describes the botanical illustrations crucial to building the British Empire, and the ways botanical drawings emerged as a moral model. In this talk, Wang will draw the connections between the impossible image of botanical illustrations and the traces of the impossible image in current understandings of generative AI. In this unpacking, Wang will look at these traces and their relation to biocentric ways of thinking, as well as at constructions and models of humanness and the body. Xiaowei R. Wang is an artist, writer, organizer, and coder. They are the author of the book Blockchain Chicken Farm: And Other Stories of Tech in China’s Countryside, a 2023 National Book Foundation Science and Literature Award winner. Their writing has appeared in TANK, transmediale, The Nation, and more. Currently, they are one of the stewards of Logic School, an organizing community for tech workers, as well as a Research Fellow at the Center on Race and Digital Justice and a Senior Civic Media Fellow at USC Annenberg. They are working on their second book on the design of tech for care, as well as a new body of work, Witch Fever, that is a speculative botany co-created with an AI
Untying the Mother Tongue
Get PDFUntying the Mother Tongue explores what it might mean today to speak of someone's attachment to a particular, primary language. Traditional conceptions of mother tongue are often seen as an expression of the ideology of a European nation-state. Yet, current celebrations of multilingualism reflect the recent demands of global capitalism, raising other challenges. The contributions from international scholars on literature, philosophy, and culture, analyze and problematize the concept of ‘mother tongue’, rethinking affective and cognitive attachments to language while deconstructing its metaphysical, capitalist, and colonialist presuppositions.Introduction | ANTONIO CASTORE AND FEDERICO DAL BO | 1-9But You Don’t Get Used to Anything: Derrida on the Preciousness of the Singular | DEBORAH ACHTENBERG | 11-24Philosophy’s Mother Envy: Has There Yet Been a Deconstruction of the Mother Tongue? | MICHAEL ENG | 25-43‘My Mother Tongue Is a Foreign Language’: On Edmond Jabès’s Writing in Exile | FEDERICO DAL BO | 45-83The Mother Tongue at School | JAKOB NORBERG | 85-103Scarspeak: Thinking the Mother Tongue as a Formative Mark | JULIANE PRADE-WEISS | 105-126The Shuffling of Feet on the Pavement: Virginia Woolf on Un-Learning the Mother Tongue | TERESA PRUDENTE | 127-153‘I know you can cant’: Slips of the Mother Tongue in Fred Moten’s B Jenkins | JEFFREY CHAMPLIN | 155-163The Mother Tongue of Love and Loss: Albert Cohen’s Le Livre de ma mère | CAROLINE SAUTER | 165-179The Staircase Wit: or, The Poetic Idiomaticity of Herta Müller’s Prose | ANTONIO CASTORE | 181-210Wandering Words: Translation against the Myth of Origin in Fritz Mauthner’s Philosophy | LIBERA PISANO | 211-227ReferencesNotes on the ContributorsInde