Pornography’s inscriptions in representation have troubled feminist writers, who since the 1970s have been critically addressing issues related to the presentation of the female body. Porn, it was contended, is for the most part a heterosexist genre, and its market circulation serves male libidinal pleasure, fixing the position of pleasure for both wo/men and abiding by patriarchal, gendered and sexually imposed norms. Later, the term was reclaimed under a critical re-perception of porn, cast as a gaze upon different others. This time race, religion, class came to the forefront. From Rosi Braidotti (m.s.) who addresses issues of racism in islamophobic representations such as the documentary ‘Fitna’, to the many commentators who related pornography to acts of torture, most notably in Abu-Ghraib (McClintock 2009) – pornography becomes a ‘concept metaphor’ that haunts autonomy (the laws of the self) through an heteronomous (laws of the other) affect (cf. Nancy 2007). Similarly, in debates over forced sex-work, the voyeuristic humanitarian gaze produces its Others either by sexualizing the other’s body, or by desexualizing the human in it.
On the other hand, many newly emerging artworks, documentaries, and porn productions, attempt to exscribe from porn its initial, normatively repressed qualities, and re-inscribe a feminist or queer perception of enjoyment and pleasure through feminine jouissance and the possibilities to push the limits of representation. In such tactics (de Certeau 1984), porn does not only become a concept-metaphor but, rather, it is being worked through a radical metonymic approach which seeks to transgress norms, explore desires and open up to affects. Tactics thus become tactile.
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Today, art is simple, direct and clear. No illusions. Today, art could not possibly function as l’art pour art, or ‘art as art’, or ‘art as idea as idea’. Unlike historicism, it does not aspire to exalted objectives (aesthetical or political), as it did during the epoch of historical modernism1, neither is it eclectically dispersed or decentered as pure pleasure like in the era of consumer post-modernism.(2) Today, art subjects are socially explicit(3), culturally referential(4) and artistically realistic(5). The relationship between art and reality(6) is ontological.
Art is not a mirror representation of the world, but it is a representative, or rather a probe of an ‘artistic action’ in the world that is a ‘new-or-other’ nature. Here the term ‘nature’ denotes polysemy of culture, or to be more precise, the multifold effects of the struggle for power inside culture and society. In the course of the 19th and at the beginning of the 20th century, this was the ‘class struggle’ between capitalists and workers. In the second half of the 20th century the struggle was waged between politically opposed blocs (the East and the West) in the symmetrically split world (influential spheres). Today it is the struggle between the ‘center’ and ‘margins’:
– within individual (localized) societies,
– within culture as new nature,
– within private or public art of communication,
– within global politics,
– within local or global economy,
– within the distribution of power inside our everyday,
– within production, exchange and consumption of values (information, influence, pleasure).
Written by Miško Šuvaković. Continue HERE
Liz Miller & Martin Allor at Concordia University ask: “How can human rights activists best reach audiences in a multichannel universe that is increasingly inundated with images of war, tragedy and suffering? How to avoid having your campaign lost in the sea of nonstop reality media? The Witness model of advocacy promotes “narrowcasting,” the idea that it is not always how many people see a video but who sees it and what they do with it.
Full Text: PDF
Via Canadian Journal of Communication
Video Advocacy Institute (VAI)
Cotton production, India. Courtesy of Uwe H. Martin
Niger Delta States. Courtesy of George Osodi.
SUPPLY LINES brings visual practitioners with notable bodies of previous work on globalization together with theorists working in areas of spatial culture, geography, art history and cultural theory to critically examine concepts of resource extraction, use, circulation, and representation. It furthermore forges a collaborative and interdisciplinary mode of geographical knowledge production, with the ultimate intent of stimulating ongoing research, education and public interest in the common use of limited resources. In addition to reframing resources, in other words, Supply Lines seeks to reposition the public’s relation to them. In so doing, it aspires to contribute to participatory, community-oriented models of society, which are increasingly crucial as resource conflicts intensify.
This visual research project explores human interactions with natural resources (e.g., water, oil, silver) and the spatial and social relations ensuing from them. Rather than understanding resources as fixed or externally given, the project conceives of them as collectively produced and able to mobilize and interrelate diverse areas with one another: geographically, historically, economically, and culturally. With growing consciousness about the global limitation and unsustainability of vital resources, there is an urgent need for new means of representation to convey the complexity of such social, geopolitical, ecosystemic and climatic relations. This project’s development of new visual and theoretical material aims to contribute to expanding the notion of “resource” from a hitherto primarily economic-industrial domain toward an aesthetic-cultural context.
Text via Geobodies
Images via Gasworks