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

这项以实践为导向的运动图像研究发现了信息作为故事和通过故事传播的相似之处，将传统的童谣《Tinker，Tailor》及其作为数数游戏、算命和口头传统的功能转移到我们当代的虚拟世界中。在这样做的过程中，这项研究在全球危机中困扰着集体未来的LeJ，并重新思考谁可能被写成预测它的人。这项研究认为，年轻一代有一种明显的哀悼感，并探索了创伤是如何在云激活的网络中被叙事、传播和存储的。这项研究的标题是《Spectre，Stalker，Lover，Spam》，这是一首古老的童谣《Tinker，Tailor》(Congreve：1695)，通常被认为是一种算命和数数的游戏，在几个世纪的传统口头讲故事、流通和交流中传递给年轻一代。这项研究确定了故事在今天的化身中传播的方式与古老的口头传统之间的相似之处，然而，这些传统现在被塑造成几秒钟长的移动图像故事，或称故事片段(Ball：2020)。基于艺术家与网络和平台合作并通过媒体工作的传统(Bennani：2020，Sourt：2019，Citarella：2021，Fei：2008-11)，以及哀悼(Watkins：2019&2021，Zahedi：2021，Leon：2020)，Rose：1996)我的意图是将iPhone(或类似的智能设备)的设备转变为创意合作伙伴(Jugenson 2019)。利用社交媒体上基于时间的叙事格式，我将建立一个基于集合的运动图像系列作品。这些将从平台上移走，取而代之的是跨在线和ODInE空间激活。我的移动图像作品将允许In7Mate生态系统的出现：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而实现的感官系统。这些重新审视、重新居住和重新想象世界的特殊方式将允许共享的、实时的历史展开的感觉。通过讲故事来理解后人类中心的哀悼方式和集体归属感，‘死亡书写’、‘在觉醒中’、‘与麻烦在一起’和‘成为人类’(Garza：2019，Sharpe：2016，Jackson：2020)是这个项目的基本方法论起点。将探讨通过在线叙述和模因建立社区的技术(Jamal 2020)，涉及“相遇”/“Ana-物质主义”的问题(Golding：2012)。我将详细阐述精神病地理学(Fisher：2016)和作为旋转建筑的当代网络空间是如何成为恐怖场所(Lyotard：1974)，并探索它们在说明创伤后应激障碍(van der Kolk：2014)在当前创伤后应激障碍社会(Kholeif：2020)中的循环中的作用。我将继续探索美学作为感知和意义创造手段的重要性(Weizman/Fuller：2021，Guaiari：1992)。这将使我能够更好地理解我的运动图像实践，作为通过符号学表示来对抗信息时代的二元冲击的模型(Berardi：2018)。

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).