[NetBehaviour] Digimag 75 / Spring Issue - Digital Identities, Self Narratives - International Call for Papers

Marco Mancuso mk.digicult at gmail.com
Thu Apr 20 11:30:40 CEST 2017


Hello Patrick good morning

thanks for your suggestions and yes, we would be excited to host your essay
in the new upcoming Digimag Journal: the abstract here is totally focused
on the subject and it would be also the chance to finally publish a text of
you...a wonderful pleasure for us

I would simply need to ask you to write us at journal at digicult.it, just
because there are other people involved from the staff to be officially
updated

Looking forward
Marco Mancuso



DIGICULT
Marco Mancuso | Founder & Director
Curator, Critic and Lecturer
Largo Murani 4, 20133 Milano
*E* redazione at digicult.it
*W* http://www.digicult.it
*W* http://www.marcomancuso.net
*T* +39.340.8371816
<http://www.digicult.it/digimag>

2017-04-18 13:07 GMT+02:00 Patrick Lichty <pl at voyd.com>:

> Is this papers or abstracts?
>
>
> In February 2017, I began a project called The Horror of the Gaze, in
> which I used the Chinses selfie program Meitu to “cutify” nearly 100
> artists, scholars and curators from around the world. These “Cute” versions
> of my community began to circulate, and questions of privacy, control of
> personal images, colonialism, and the politics of “whiteness” arose. In Our
> Aesthetic Categories, Sianne Ngai discusses the mediation of the “Zany” and
> “Cute” and “Interesting” as obfuscating affective issues of
> hypercommodification, colonialization, and stereotyping. Each obscures
> hidden agendas of objectification and hidden anger.  As with the Japanese
> artist Takeshi Murakami whose smiling “Mr DOB” is a post-nuclear
> nationalistic reappropriation of Mickey Mouse, “cuteness” is often a scrim
> for other, darker agendas. In the case of Meitu, it is a double signifier
> for the Asian perception of paleness, and cuteness, which are distinctly
> different from the Western perceptions of the aesthetics used in the app
> (paleness, large, watering eyes, pronounced lips). It is important to
> consider the conflation of racial and cultural tropes in play by the use of
> these apps.  How does one culture’s digital selfie filters map onto
> others?  Gayatri Spivak, in the Translation Studies Reader, states that
> accuracy in translation requires affect for the subject, and do these modes
> of production have these qualities? Grusin and Bolter in their seminal book
> reMediation, describe the agendas that are imposed by passing through the
> computer. And lastly, if McLuhan’s adage of the medium being the message is
> true, what can we ascertain is being said by Meitu remediations of cultural
> identity?
>
>
> In this talk, I wish to deconstruct the affect of cuteness in the
> augmentation of selfie apps for cell phones like Meitu (China) and Snapchat
> (USA).  Examples under consideration will include notable augmented
> Snapchat selfies, and my project, Horror of the Gaze, which includes nearly
> 100 New Media art celebrities, detournements of famous despots and
> remediations of glamour models to test aesthetic amplification. Also, if
> implemented, I will discuss the installation of “Make Karachi Cute Again”,
> a Facebook-based installation in which I will ask members of the Karachi
> community to submit their portraits for “cutification” by Chinese workers
> using the Meitu app and placing it back online.  What is most interesting
> in all these cases is the remapping of affect through these transformation
> and their amplification or draining of meaning.
>
>
>
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