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).

通过故事来确定信息的相似之处，这项实践主导的运动图像研究将传统的童谣“修补匠，裁缝”及其作为计数游戏，算命及其口头传统的功能迁移到我们当代的元元中。在这样做的过程中，这项研究困扰着集体的未来，在行星危机和重新思考可能被撰写以预言它的情况下。这项研究认为，在年轻一代之间存在着明显的哀悼感，并探讨了创伤是如何在云激活网络中叙述，流通和存储的。这项研究的标题“幽灵，缠扰者，情人，垃圾邮件”与旧托儿所的押韵，tinker，裁缝（Congreve：1695），通常被称为算命和计数游戏，在整个世纪的传统口头讲故事，流通和交流中传给了年轻一代。这项研究确定了故事在当今的元元中流传的方式与古老的口头传统之间的相似之处，然而，Shapeshij现在进入了几秒钟的漫长的动态图像故事或“故事切片”（Ball：2020）。从与网络和平台的媒体和平台一起工作的艺术家的传统（Bennani：2020年：2020年），cirella：2019年：2019年：2019年：202：2019年：2019年：2019年：2019年：202。作为哀悼（沃特金斯：2019和2021，Zahedi：2021，Leon：2020，Rose：1996）我的目的是将iPhone（或类似智能设备）的设备转换为创意合作伙伴（Jurgenson 2019）。利用社交媒体上基于时间的叙事格式，我将构建一系列基于组合的运动图像作品。这些将被转移到平台上，而将在在线和ODINE空间中激活。我的运动图像工作将允许In7mate生态学出现：通过在社交媒体，Peoples的私人设备和公共Adver7sing屏幕上共享查看体验来启用感官系统。 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通过讲故事的哀悼和集体的以人类后为中心的方式。通过在线叙事和模因（Jamal 2020）的社区建设技术将在“遭遇” /“ ANA-METRATIALISM”的问题上进行探讨（Golding：2012）。我将详细说明精神病地理（Fisher：2016年）和当代在线空间如何旋转无政府状态是恐怖的遗址（Lyotard：1974），并探索了它们在说明创伤的循环中的作用（van der Kolk：2014）（van der Kolk：2014）（当前PTSD社会内）（Kholeif：2020）。 （Weizman/Fuller：2021，Guaiari：1992）。这将使我可以更好地理解我的运动图像练习作为模型，以通过符号学表示对信息年龄的二进制重击（Berardi：2018）。