1,720,965 research outputs found
Landscape is my Sir: performing a confluence of perversity, nature and kitsch
Get PDFThis body of work and research aims to construct a cosmology of desire and perversity, which functions to unsettle existing narratives of power and landscape. A composite immersive experience built of performances, installations, videos and weavings, the work performs a collision of rural, colonial and queer imaginaries. Through this coupling of imaginaries, I unpack ideas of land and gender, western expansion and the imaging of colonially occupied territory. The work creates new visual languages with which to better comprehend cultural hybridity and the queering and unsettling of rural cultural paradigms. Using built and found sites, the work introduces a performance persona, Chico California, a homosexual leatherman seeking to engage in erotic relationships with space, site and inanimate objects. Chico California, a mysterious semi-feral misanthrope, makes his provocative, problematic and un-procreative advances on Nature and Landscape discoverable, presenting the onlooker with opportunities to encounter him in his habits of desire
Western attraction: theming the postcolonial dark ride
No full textThis project involves the conceptualization, design, construction and staging of -tzintlán, the world’s first postcolonial theme park. This support paper provides a broad understanding of the core concepts, theories, material considerations and historical background for the project. The paper hybridizes academic writing forms with second-person narrative, itself an immersive experience that transforms the paper into a ride. In this way the paper reflects its own content, demonstrating how story, narrative and thought are embodied, affective, sensory, and somatic experiences. This approach allows for a critical examination of theming, immersive technologies, and multi-layered spaces, for the purpose of developing decolonial, Indigenous/Chicanx futurist strategies for worldbuilding and self-conceptualizing. The paper addresses -tzintlán as a space-maker for the exhibiting of site-specific works, a blend between artistic and curatorial practice. The paper guides the reader through questions of fidelity, time, ephemeral, liminal, inverted, and subverted spaces as they pertain to the construction of -tzintlán. Attention is given to major influences on the thinking behind the park, including Disneyland and Aztlán, two multilayered territories which have shaped the artist’s own worldviews, imaginaries, and cultural spheres. It also provides examples of other art-centered carnivals and theme parks which have influenced -tzintlán. Details on the process of designing and creating -tzintlán are given, along with information on each component within the park.
Code Drift & Life By Computer
No full textJackson 2bears is a Kanien’kehaka (Mohawk) multimedia artist and Ph.D. candidate at the University of Victoria. His artworks have been exhibited in solo and group exhibitions across Canada, most recently at: EM-Media (Calgary, AB), the Vancouver Art Gallery, Interaccess (Toronto, ON), SAW (Ottawa, ON), and the North American Indigenous Games (Cowichan, BC). He has also been exhibited internationally in media arts festivals and group exhibitions such as Digital Art Weeks (Zurich, Switzerland), Syncritism (Savannah, GA) and Altered States (Plymouth, UK). He was recently named the recipient of a Victor Martyn Lynch-Staunton Award from the Canada Council for the Arts.
Marilouise Kroker is Senior Research Scholar at the Pacific Center for Technology and Culture, University of Victoria. She is the author, with Arthur Kroker, of Hacking the Future (1996). She has co-edited and introduced numerous anthologies including Digital Delirium (1997), Body Invaders (1987), and Last Sex (1993) — all published by St Martin’s Press, as well as Critical Digital Studies: A Reader co-edited with Arthur Kroker (University of Toronto, 2008). She is the co-editor of the Digital Futures book series for the University of Toronto Press, as well as the peer-reviewed, electronic journal CTheory.SSHRC Image, Text, Sound and Technology Summer Institute, Workshop and Conference Grant – Critical Digital Studies WorkshopFacultyUnreviewe
Live Audio-Visual Art + First Nations Culture
No full textThis essay focuses on a selection of First Nations artists that have envisioned their own unique style within the sphere of ”˜Live Cinema’ performance, and other associated genres such as ”˜Vjing’ and ”˜Scratch Video’ – relatively new forms of artistic practice that here I conceptualize as being modernized versions of our ancient traditions of storytelling. Following a ”˜remix’ logic, this essay means to explore some aspects particular to the art of live audiovisual performance, and the ”˜rhythmic’ aesthetic at the heart of Live Cinema that has attracted a number of artists from my generation to make work in these fields, and develop their own strategies for creative expression that remain faithful to our traditions as Onkwehonwe (Indigenous peoples). [1]Onkwehonwe, a Kanien’kehaka (Mohawk) word meaning ”˜original people.
Drone Warfare Seminar: Jackson 2bears
No full textJackson 2bears introduces his video art piece "After the Drones."Arthur Kroker, Canada Research Chair in Technology, Culture and Theory
Digital InflectionsFacultyUnreviewe
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
The Technological Unconscious, Animism and the Uncanny
No full textThis paper takes an interdisciplinary approach to the question of technology by examining points of convergence between Jungian psychoanalysis and Indigenous philosophy. The theoretical trajectory of the text will consider traditional Haudenosaunee cosmologies as a way of re-thinking contemporary questions about our digital present and future, in turn proposing possible means of engagement and resistance. Central to the text is a critical analysis of select writings on the topic of dreams and the unconscious by Carl Jung, while at the same time reflecting on traditional Indigenous teachings extracted from the Haudenosaunee theory of dreams. The end goal of the text is to develop an Indigenous theory of technology that is faithful to traditional teachings, while addressing the uncanny essence of digitality in contemporary times.SSHRC Image, Text, Sound and Technology Summer Institute, Workshop and Conference Grant – Critical Digital Studies WorkshopFacultyUnreviewe
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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