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Ev ent-anglement with pix1

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Power Point that accompanies my talk, To Perform a Theory of Feminist Digital Praxis: Cutting Through the Noise of the Digital Self, Noise Seminar, Utrecht, August 27, 2014

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Ev ent-anglement with pix1

  1. 1. #Ev-Ent-Anglement 1 Noise Seminar Utrecht University August, 2014
  2. 2. To Perform a Theory of Feminist Digital Praxis: Cutting through the Noise of the Digital Self
  3. 3. To Cut A “causal procedure and act of decision” Sarah Kember and Joanna Zylinska Life After New Media (MIT Press: 2012)
  4. 4. To Paste A “causal procedure and act of decision” Sarah Kember and Joanna Zylinska Life After New Media (MIT Press: 2012)
  5. 5. To Cut “Cuts are part of the phenomena they help produce.” Karen Barad Meeting the Universe Halfway
  6. 6. Loop!
  7. 7. Loop … “Can the loop be a new narrative form appropriated for the computer age?” “It is relevant to recall that the loop gave birth not only to cinema but also to computer programing. Programming involved altering the linear flow of data through control structures such as ‘if/then’ and ‘repeat/while.’” Lev Manovich, The Language of New Media (MIT: 2001)
  8. 8. Assemblage
  9. 9. A. Juhasz, “Digital AIDS Documentary: Webs, Rooms, Viruses & Quilts,” Blackwell Anthology of Documentary, Juhasz and Lebow, eds.
  10. 10. little parts of me
  11. 11. just for the man
  12. 12. fragments of myself
  13. 13. Cut myself back together with Knowledge/context/analysis Depth/community/politics
  14. 14. #Ev-ent-anglement Imperatives 1-3 • To Cut well: #cut/paste+bleed • To Break Past Binaries: #create/assemble+seep • To Use Objects that Matter: #find/link+entangle
  15. 15. Your Script As I talk, please #cut/paste+bleed into the #ev-ent-anglement from the archive of yourself. Go to http://ev-ent-anglement.com and watch the ev-ent-anglement unfold. Better yet, build yourself in: Find or make images, links, words, that express your responses, connections, ideas, and questions. Everything you paste needs this hashtag to be seen: #eventanglement Feel free to share #emotion-al-entaglements. Or pieces of your #em-body. Gone full circle, mark the #ev-ent-loop. Remember, you’ll be distracted. But the “talk” isn’t going anywhere, and you can find it on the #ev-ent-anglement for review or remix… Please try to entangle at minimum twice during the “talk.”
  16. 16. To Cut Well The photographic act, both as “technique” and “ethical imperative,” serves as “an active practice of cutting through the flow of mediation.” “Time is indivisible, continuous and unknowable, at least to the intellect. In order to ‘know’ it, we must … cut.” Kember and Zylinska
  17. 17. “What does it mean to cut well?” Today’s #ev-ent-anglement: links a distinctly feminist armature to Kember and Zylinska’s more minimal or abstract framework of “photography as a form of differentiation and life making”
  18. 18. K & Z’s Imperative “to get outside oneself and to be technical, that is, to bring things forth, to create, is perhaps also an ethical injunction to create well, even if not a condition of ethical behavior.”
  19. 19. Online Feminist Spaces
  20. 20. little feminist digital objects
  21. 21. Cut, Link & Assemble!
  22. 22. #Cut/Paste+Bleed Please refer to your script. I request that you join the #ev-ent-anglement at least twice during this “talk.” I hope we might “do media studies” in a form that is not only analysis but is “simultaneously critical and creative.” (K & Z, xvii)
  23. 23. Editing “straddles the line between art and craft” Valerie Orpen, Film Editing: The Art of the Expressive
  24. 24. The first advertising silent film Lumiere Brothers (1896): Washing Up
  25. 25. Every stop is linked to another go
  26. 26. “Film Editing: The Art of the Expressive” Where the cut allows for “pruning, curtailing, rejecting, removing” the join permits “adding and accreting.” (Valerie Orpen, Film Editing)
  27. 27. The art of cinema is in the shot …
  28. 28. To Edit “gives the director an almost limitless freedom of movement once he can split up action into small, manageable units” while also conveying “a sense of time to the spectator.” The Technique of Film Editing, Karel Reisz and Gavin Millar
  29. 29. Dialectical Montage “We have now only to mention a large number of other dialectics that are quite difficult to categorize: those concerning dialogue, the style of acting, the decor, make-up, and costumes—everything, in short, relating to the explicit content of images and sounds. For structures almost always seem to occur in dialectical form—that is to say, a structure necessarily evolves within a parameter defined by one or more pairs of clearly delineated poles.” Noel Burch: Theory of Film Practice
  30. 30. This dissonance, this formal affront, this attack on spatio-temporal coherence “hypermediacy … the collage of effect of media forms and styles” (K & Z, 8)
  31. 31. Spatial Montage “Feminism” on YouTube
  32. 32. Spatial Montage “The avant-garde strategy of collage reemerged as the ‘cut-and-paste’ command, the most basic operation one can perform on digital data.” Lev Manovich “Editing at its most Eisensteinian enlivens dead things through the clash of the cut .” Alex Juhasz
  33. 33. Chris Vargas’s green-screens himself onto backgrounds from Liberace’s “private” life, Liberaceón (2011)
  34. 34. "Your Nostalgia Is Killing Me" (2013), a poster designed for posterVIRUS by Vincent Chevalier and Ian Bradley-Perrin
  35. 35. “The Cut-Up Method of Brion Gysin” “Cut ups are for everyone. Anybody can make cut ups. It is experimental in the sense of being something to do.” William S. Burroughs
  36. 36. Hyperlinking “The acceptance of hyperlinking in the 1980s can be correlated with contemporary culture’s suspicion of all hierarchies, and preference for the aesthetics of collage in which radically different sources are brought together within a singular cultural object.” (Manovich, 76)
  37. 37. “All writing is in fact cut-ups” Burroughs
  38. 38. Circles & Lines
  39. 39. Man with a Movie Camera Women with her Editing Scissors
  40. 40. The Fall of the Romanov Dynasty (Esfir Shub, 1927)
  41. 41. Cutting
  42. 42. Ab-jecting “Repelling, rejecting; repelling itself, rejecting itself. Ab-jecting.” Julia Kristeva, 1980
  43. 43. Link Me “As a substance that flows from the bodily depths out, menstrual blood is carefully managed, concealed, contained and increasingly suppressed through the use of hormonal contraceptives. We can read the management of this flow of blood as a means of working on the body’s boundaries, that is, of demarcating the body’s inside from its outside.” Emilia Sanabria, “The Body Inside Out: Menstrual Management and Gynaecological Practices in Brazil”
  44. 44. Metaphoric Glue “forces, intensities, and energies not substances,” effecting the “complex, random processes not predictable states” Diana Coole and Samantha Frost, “Introduction” New Materialisms: Ontology, Agency and Politics
  45. 45. #Ev-ent-anglement, Imperative 4 “What kind of politics could embrace partial, contradictory, permanently unclosed constructions of personal and collective selves and still be faithful, effective—and, ironically, socialist-feminist?” Donna Haraway, “A Cyborg Manifesto”
  46. 46. “An argument for pleasure in the confusion of boundaries and for responsibility in their construction,” Donna Haraway
  47. 47. For #Ev-ent-anglement 1 We cut/paste+bleed binaries Art/Craft Long take/Montage On/Off screen Invisible/Visible Dull matter/Vibrant life Loop/Line Hierarchy/Flat Politics/Feelings Past/Present Present/Future Cut up/Happening Time/Space Virality/Duration Critique/Create
  48. 48. Intra-action “There is no ‘between’ as such, human and non-human organisms and machines emerge only through their mutual co-constitution.” Karen Barad
  49. 49. Loops & Lines “A line both divides things and creates spaces that we can imagine we can be ‘in.’” “Collectives seem to have ‘lines’ in the sense of being modes of following: to inhabit a collective might mean to follow a line.” Sara Ahmed, Queer Phenomenology
  50. 50. Circles and Loops The circle of consciousness-raising and the videos it inspired directly contest the patriarchal, linear project of industrial production with its predictable plots (and products). In First Day FSW, 1980, that year’s body of students introduce themselves to each other, and us, by passing the camera around the circle. “Julie James. I am seed. I am heart. I am healing. I am power. I am smooth. I am alive. I am dark red. I am pulsing. I am magic. I am clearing. I am self.” And so on. After the tape ends with the group joining together in a rousing class portrait culminating with a chant, “Feminist Studio Workshop, 1979-80,” and a loud “YEAH!” a quick fade to black bumps us against an unanticipated snippet of yet another circle. We accidentally fall into the last five minutes of a consciousness-raising meeting of a group of deaf women (perhaps the other tape was taped over this), who speak together (we hear through an interpreter while they sign) about the role of affection in their lives, and end their meeting (and tape) with a group (circle) hug. Juhasz, “Views of the Feminist Archive”
  51. 51. Circles and Loops, Looped “The loop and the sequential progression, do not have to be considered mutually exclusive. A computer program progresses from start to end by executing a series of loops.” Lev Manovich
  52. 52. photos
  53. 53. tweets
  54. 54. Blog posts
  55. 55. videos
  56. 56. essays
  57. 57. purchases
  58. 58. Thumbs up
  59. 59. “Composting the Net” Shu Lea Cheang, 2012
  60. 60. The dump of the Internet
  61. 61. #Ev-ent-anglement, Directive 5, Cut Our Feminist Objects Well “Evoke the possibility of doing justice to and with objects of study.” “The disciplinarity of Women’s and Gender Studies proceeds precisely from its formalization of the political as the value that differentiates it from traditional fields of study.” Robyn Wiegman, Object Lessons
  62. 62. Obscure Feminist Archive The Watermelon Woman (Cheryl Dunye, 1995)
  63. 63. Beyond Self-Expression “once such self-visualization and expression is widely available, how do we strategize our activism around the new forms, links, and actions that said expression takes up? And, most critically, what else might be needed beyond speaking and spreading our ideas through digital realist representations?” Juhasz, “Ceding the Activist Digital Documentary,” in Nash, Hight and Summerhayes, eds., New Documentary Ecologies
  64. 64. Cut into Art Lowly bits of evidence—like our tweets, reposts, thumbs up, photographs, and cat gifs—do not become a digital documentary, do not have enough meaning—until they are edited, by a documentarian, and thereby organized into an argument; until they are aestheticized by being made into art. Juhasz, “Ceding the Digital Documentary”
  65. 65. Conclusion • In what ways can digital practices participate in the distribution of affects and feelings as a strategy of resistance and subversion? • How can emotions, once shared, facilitate political action, recognition, and dialogue, and bring about social change?
  66. 66. Conclusion, Again For now and into the future, I am committed to experimenting with #ev-ent-anglements, made by cutting/pasting+bleeding ourselves, co-produced with purpose and commitment, in shared spaces and times both on and off line. Together, today, and always also later on the Internet, we might make things that could inspire change, but might themselves be the thing that is change in the making.

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