Spectre, Stalker, Lover, Spam. Intimate Ecologies of Cloud-activated Mourning

幽灵、跟踪者、情人、垃圾邮件。

• 批准号: 2764486
• 金额: --
• 依托单位: Royal College of Art
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2764486
• 关键词: Spectre; Stalker; Lover; Spam.; Intimate

identifying similarities in the way information is circulated as and through stories, this practice-led moving image research translocates the traditional nursery rhyme 'Tinker, Tailor' and its functions as counting game, fortune-telling, and the oral tradition of which it was a part, into our contemporary metaverse. In doing so, this research troubles the collective future leJ amidst the planetary crisis and rethinks who might be authored to foretell it. This research takes as a given that there is a palpable sense of mourning amongst younger generations, and explores how trauma is narrativized, circulated, and stored within cloud-activated networks. The title of this research 'Spectre, Stalker, Lover, Spam' plays with the old nursery rhyme, 'Tinker, Tailor (Congreve:1695), commonly known as a fortune-telling and counting game passed to younger generations throughout the centuries of traditional oral storytelling, circulation and exchange. This research identifies similarities between the ways in which stories circulate in today's metaverse, and age-old oral traditions, which however, shapeshiJ now into seconds-long moving image stories, or 'slices of stories' (Ball:2020).Building from a tradition of artists working with and through the medium of networks and platforms (Bennani:2020, Scourt:2019, Citarella:2021, Fei:2008-11), as well as mourning (Watkins:2019 & 2021, Zahedi:2021, Leon:2020, Rose:1996) my intention is to transform the device of the iPhone (or similar smart device) into a creative partner (Jurgenson 2019). Making use of time-based narrative formats on social media, I will build an assemblage-based series of moving image works. These will be moved away from platforms, and will instead be activated across online and odine spaces. My moving image works will allow for In7mate Ecologies to emerge: sensuous systems enabled by shared viewing experiences across social media, peoples' private devices, and public adver7sing screens. These particular ways of re-seeing, re-inhabiting, and re-imagining the world will allow for the sense of a shared, real-time unfolding of history.'Necrowritng,' being 'in the wake', 'staying with the trouble,' and 'becoming-human' (Garza:2019, Sharpe:2016, Haraway:2016, Jackson:2020) act as foundational methodological departure points for this project by offering a means for understanding post-anthropocentric modalities of mourning and collective belonging through storytelling. Technologies of community-building through online narratives and memes (Jamal 2020) will be explored with regard to the question of the 'encounter' / 'Ana-materialism' (Golding:2012). I will elaborate on how psychotic geographies (Fisher:2016) and contemporary online spaces as rotating anarchitectures are sites of terror (Lyotard:1974) and explore their role in illustrating the circulation of trauma (van der Kolk:2014) within current PTSD societies (Kholeif:2020).I will go on exploring the importance of aesthetics as means for sensing and sense- making (Weizman/Fuller:2021, Guaiari:1992). This Vnally will allow to better understand my moving image practice as a model to counter the binary pounding of the information age by semiotic signifying (Berardi:2018).

本研究以实践为导向，将传统童谣《补锅匠，裁缝》及其作为计数游戏、算命和口头传统的一部分的功能，转移到我们当代的元诗中。在这样做的时候，这项研究困扰着集体未来leJ中的行星危机，并重新思考谁可能被写来预言它。这项研究认为，有一个明显的哀悼感在年轻一代，并探讨创伤是如何叙事，传播，并存储在云激活的网络。这项研究的标题“幽灵，潜行者，情人，垃圾邮件”与古老的童谣“修补匠，裁缝”（康格里夫：1695），通常被称为算命和计数游戏，通过传统的口头讲故事，流通和交换的世纪传递给年轻一代。这项研究确定了故事在今天的虚拟世界中传播的方式与古老的口头传统之间的相似之处，然而，现在将其塑造成几秒钟长的移动图像故事，或“故事片段”。（Ball：2020）.建立在艺术家与网络和平台合作的传统基础上（本纳尼：2020年，斯考特：2019年，西塔雷拉：2021年，费：2008 - 11年），以及哀悼（沃特金斯：2019年和2021年，扎赫迪：2021年，莱昂：2020年，罗斯：1996）我的意图是将iPhone（或类似的智能设备）转变为创意合作伙伴（Jurgenson 2019）。利用社交媒体上基于时间的叙事形式，我将建立一个基于组合的系列移动图像作品。这些将从平台上移除，而是在在线和odine空间中激活。我的移动影像作品将允许In7mate生态出现：通过社交媒体，人们的私人设备和公共广告屏幕共享观看体验实现的感官系统。这些重新看待、重新居住和重新想象世界的特殊方式将允许一种共享的、实时的历史展开感。"死亡书写"、"觉醒"、"与麻烦同在"和"哀悼人类"（Garza：2019，Sharpe：2016，Haraway：2016，杰克逊：2020）作为这个项目的基本方法论出发点，通过讲故事提供了一种理解后死亡中心的哀悼和集体归属方式的手段。通过在线叙事和模因（Jamal 2020）社区建设的技术将在“遭遇”/“Ana-materialism”（Golding：2012）的问题上进行探索。我将详细阐述精神病地理（Fisher：2016）和当代在线空间作为旋转的非架构是如何成为恐怖的场所（Lyotard：1974），并探索它们在说明创伤（货车der Kolk：2014）在当前PTSD社会中的循环中的作用（Kholeif：2020）。我将继续探索美学作为感知和意义建构的手段的重要性（Weizman/Fuller：2021，Guaiari：1992）。这个Vnally将允许更好地理解我的运动图像实践，作为一个模型，通过符号象征来对抗信息时代的二元冲击（Berardi：2018）。