Hauntological cinema: Resisting epistemic erasure and temporal slippage with Sorry to Bother You

2021 ◽  
pp. 003802612110542
Author(s):  
Paul McGuinness ◽  
Alex Simpson
Keyword(s):  
Code Switching ◽  
The Body ◽  
Mass Audience ◽  
Works Of Art

Through a hauntological analysis of Boots Riley’s Afrosurrealist comedy, Sorry to Bother You (2018), we explore how fiction can empower sociologists to think beyond the limits of empiricism to better encounter experiences of erasure and senses of temporal disjuncture that characterise capitalist realism. The panoramic power of cinematic world-building enables representations of the ontologically reified but empirically elusive atmosphere of capitalist realism. Sorry to Bother You, we argue, rearticulates through Afrosurrealism the absurdity of capitalist realism’s whitewashing of its innately racialising violence. Drawing upon the thought of Mark Fisher (1968–2017) we examine the film’s central allegorical spectres: the code-switching comedy of the insidious White Voice, the body horror of the Equisapien human–horse hybrids, and the reality warping influence of shadowy megacorporation Worry Free. By resisting the empirical trappings of capitalist realism, hauntology is able to critique the wavering repression of the no longer and the not yet – the ignored legacies of unresolved traumas and a nostalgia for a future we were promised but never arrived. In response, Sorry to Bother You re-presents to a mass audience the spectre of a positive abolitionism and brings into focus an acid communist horizon using hauntological techniques that visualise experiences denied a presence under capitalist realism. This article aims to highlight the ontological and political potentialities of such works of art and their analysis.

“The most inspiring bikini photos you’ll see this summer”: A thematic analysis of mass audiences’ interpretations of ostomy selfies

2018 ◽  
Vol 20 (10) ◽  
pp. 3858-3878 ◽  
Author(s):  
Mark A Rademacher
Keyword(s):  
Social Media ◽  
Crohn’S Disease ◽  
Thematic Analysis ◽  
News Coverage ◽  
The Body ◽  
Online Health Communities ◽  
News Stories ◽  
Mass Audience ◽  
The Creation ◽  
Health Communities

How people with ostomies—a surgically created opening in the body that expels bodily wastes—use social media to challenge ostomy stigma represents a growing area of research, especially the creation, posting, and circulation of ostomy selfies within online health communities. This project contributes to this research by examining reactions by a mass audience to news stories about a viral ostomy selfie posted by ostomate Bethany Townsend to a Crohn’s disease Facebook page. By analyzing the user-generated comments associated with this news coverage, this study illuminates how ostomy selfies are interpreted outside the highly sympathetic audiences that populate online health communities. Analysis reveals positive and negative reactions, posted by ostomates and non-ostomates alike, coexist within the comments. Implications of the conflicting reactions to ostomies, in general, and ostomy selfies, in particular, are discussed with regard to the effort to destigmatize ostomies in society.

Wave of the Future? Reconsidering the Neuroscientific Turn in Art History

Leonardo ◽  
2016 ◽  
Vol 49 (1) ◽  
pp. 25-31
Author(s):  
Kate Mondloch
Keyword(s):  
Art History ◽  
Science Research ◽  
Human Experience ◽  
The Body ◽  
History Taking ◽  
Brain Science ◽  
Works Of Art ◽  
Brain Sciences ◽  
The Brain

This essay examines the much-contested “neuroscientific turn” in art history, taking the cues of the best of the turn while rejecting its false starts. The most promising transdisciplinary encounters spanning the brain sciences and the humanities begin from the premise that human experience is embodied, but the “body” itself is interwoven across biological, ecological, phenomenological, social and cultural planes. Certain media artworks critically engaged with neuroscience productively model such an approach. Taking Mariko Mori’s brainwave interface and multimedia installation Wave UFO (1999–2002) as a case study, the author explores how works of art may complicate and augment brain science research as well as its dissemination into other social and cultural arenas.

Medicine Reading Literature: the Paradigm of Degeneration

2013 ◽  
Vol 21 (1) ◽  
pp. 21-27
Author(s):  
Lena Arampatzidou
Keyword(s):  
Twentieth Century ◽  
Nervous System ◽  
Figurative Language ◽  
Life Sciences ◽  
The Body ◽  
Literary Texts ◽  
Avant Garde ◽  
Works Of Art ◽  
German Physician ◽  
Natural Life

This article is part of a larger project on the interaction between Natural/Life Sciences and Literature, and is a first attempt to scout the area through concentrating onDegeneration, a book that sees Literature through the eyes of Medicine. Max Nordau, the author of the book, was a turn-of-the-twentieth-century German physician who read contemporary movements in Art and Literature as Disease. He was an adversary of pre-modernist and modernist movements such as aestheticism, decadence, impressionism, and so on, and failed to recognize their avant-garde character. The article examines how Nordau reads certain features of literary texts and works of art which he cannot understand as symptoms of the malfunctioning of the nervous system of the painters and writers concerned. Moving from the body of the text to the body of the artist, Nordau reads particular artistic features as signs of bodily disease of the artists, and he does so by opposing the rationalist discourse of Medicine to the figurative language of Literature.

scholarly journals The affect and its image in Gilles Deleuze's philosophy

2021 ◽  
Vol 51 (1) ◽  
pp. 3-16
Author(s):  
Vesna Dinić-Miljković
Keyword(s):  
Power Quality ◽  
Gilles Deleuze ◽  
The Body ◽  
Temporal Relations ◽  
Spiritual Dimension ◽  
Works Of Art ◽  
Spatio Temporal ◽  
Experiential State ◽  
The Invisible

There is no perception without affection. This necessity comes from the very fact that perception measures our possible action upon things, and thereby, the possible action of things upon us. For the French philosopher Gilles Deleuze, affection occupies exactly this gap between the potentiality of action of the perceived objects and our virtual action upon them. This encounter between the affected body and the affecting body presumes the in-betweenness, an interval between a perception which is troubling in certain respects and a hesitant action. As opposed to emotion, which is directed toward a certain goal and demands actualization, affect precedes will, as a pre-personal intensity referring to the passage from one experiential state of the body to another. Influenced by Baruch Spinoza's concept of affect and Henri Bergson's thesis on movement that he considers the essence of cinema's movement-image, Deleuze creates his own theory of affect that finds its most obvious manifestation in the works of art. The artist creates affects, gives them to us, draws us into the compound, and makes us become with them. Deleuze's aesthetics produces the spectator's movement in-place through sensation. Through shapes and colours, the canvas vibrates, clenches or cracks open because it is the bearer of glimpsed forces. Like with Edward Munch's The Scream or Francis Bacon's Portrait of Pope Innocent X, the invisible forces become visible in themselves and thus the sensation becomes materialized right there on the canvas surface. In cinema, this materialization of sensation Deleuze recognized in the affection-image, abstracted from the causal and spatio-temporal relations to the images that surround it, and therefore open to a spiritual dimension. As power-quality, the affect gains its independence from the thing that expresses it and becomes an entity, a potentiality considered to itself.

scholarly journals The Concept Of The Body In The Contemporary Global Formation

2021 ◽  
Vol 12 (4) ◽  
pp. 898-907
Author(s):  
Ahmed Khlaif Mankhi
Keyword(s):  
The Body ◽  
Works Of Art ◽  
Intellectual System ◽  
Physical Presence

The current research deals with the concept of the body within the framework of the global formation because of its great potential for significance and expression according to the aesthetics of our current era within the conceptual and intellectual system intertwined between truth and imagination to reconfigure reality with the vision of the artist of the present age, so that the body has become a present element in the modern formation with a physical presence after If it was just copies of reality executed with different materials, then the artist invested the expressive energies of the body in the second half of the last century as distinct works of art.

The Ontology of Play

2011 ◽  
Author(s):  
Simon Gikandi
Keyword(s):  
Social Relationships ◽  
The Body ◽  
Time And Space ◽  
Works Of Art ◽  
Modern Identity

This chapter argues that whether they were produced in defiance or imitation of the culture of taste, the works of art imagined and implemented by slaves, from buildings to dances and festivals, enabled the enslaved to redefine their relation to time and space, to reconstitute their own bodies and social relationships outside the shadow of their masters, and thus to display bodies that were not mere chattel. The animatedness of the slave in festival, the explosiveness of the body, the celebration of excess, was at odds with all the assumptions that governed white taste and polite behavior, the essence of Englishness and modern identity. In positioning itself against the norms of polite behavior and its regimes of controlled or regulated feelings, the slaves' negative sensorium became one of the most important arsenals in the making of the black self.

Mirror As Inspiration In The Creation Of Artworks

2021 ◽  
Vol 7 (3) ◽  
pp. 1009
Author(s):  
Kerine Claudya Wijaya ◽  
Ariesa Pandanwangi ◽  
Belinda Sukapura Dewi
Keyword(s):  
Qualitative Study ◽  
Experimental Method ◽  
Creative Process ◽  
The Body ◽  
Inner Life ◽  
Work Of Art ◽  
Creation Process ◽  
Works Of Art ◽  
The Creation ◽  
Relationship Of

<p>Every artist has the goal of creating works of art that cannot be separated from the spiritual feelings experienced daily. The creative process of creating this work of art is initiated from the mirror which will be explored in the work of art. The method used is descriptive qualitative study and experimental method. The problem in this creation process is how the phenomenon that occurs when humans feel unhappy in their inner life so that they feel depressed, even judged between individuals, both physically and non-physically. The result of this creation process is a puzzle arrangement which is a metaphor for the results of reflection as well as the spiritual relationship of the soul with the body that has been experienced in living and contemplating life. The message conveyed through this work is that humans must understand each other.</p><p>Setiap seniman memiliki tujuan menciptakan karya seni yang tidak lepas dari perasaan spiritual yang dialami sehari-hari. Proses kreatif penciptaan karya seni ini digagas dari cermin yang akan dieksplorasikan pada karya seni. Metode yang dipergunakan adalah studi metode deskriptif kualitatif dan metode eksperimental. Permasalahan dalam proses penciptaan ini bagaimana fenomena yang terjadi ketika manusia merasakan perasaan tidak bahagia dalam kehidupan batinnya sehingga merasa tertekan, bahkan dinilai antar individu, baik secara fisik maupun non fisik. Hasil dari proses penciptaan ini adalah susunan puzzle yang merupakan metafora dari dari hasil refleksi sebagaimana hubungan spiritual jiwa dengan tubuh yang telah berpengalaman dalam penjalanan hidup dan perenungan hidup. Pesan yang disampaikan melalui karya ini adalah manusia harus saling memahami antara satu dengan lainnya</p>

scholarly journals Identifying the Functions of Code Switching in a Computer Mediated Online Communication

2017 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Areej Dawoud ◽  
Sayyed Rashid Shah
Keyword(s):  
Real Time ◽  
Online Communication ◽  
Code Switching ◽  
The Body ◽  
The Internet ◽  
Conversational Analysis ◽  
Online Chat ◽  
Face To Face ◽  
Wide Range ◽  
Context Specific

This study aims to explore the functions of code switching of English-Arabic speakers in a computer-based online communication. Its goal is to understand whether code switching on the internet has the same functions as face-to-face interaction in real time situation. In addition, it aims to highlight the different conversational characteristics of code switching in a virtual environment, such as online chat. Adopting a Conversational Analysis (CA) approach, the data were collected from online Paltalk chatrooms, specifically "BnatKSA". The six participants, three males and three females were proficient in English and Arabic languages. Using bidirectional English-Arabic code switching, the six participants frequently chatted online for two hours a day over a period of one month. The findings indicate a wide range of functions of code switching on the internet. Some of these functions are unique and context specific, which can be considered a contribution to the body of knowledge. The findings suggest that the range of code switching functions online is broader and more meaningful than face-to-face communication in real time situation.

Sound world of the Russian estate in the lyrics at the turn of the XIX–XX centuries

2020 ◽  
pp. 162-173
Author(s):  
Maria S. Akimova ◽  
◽  
Keyword(s):  
Russian Literature ◽  
The Body ◽  
Sound Recording ◽  
Silver Age ◽  
Old World ◽  
Modern Reader ◽  
Works Of Art ◽  
Historical Dynamics ◽  
Russian Poetry ◽  
Poetic Imagery

The article notes the relevance of a systematic, holistic study of the poetics of Russian literature of the Silver age, which is increasingly necessary as this era moves away from the modern reader. Typical of the culture of XIX–XX features: “the anthro pological turn”, “the expansion of artistic sensibility”, a new notion of psychological insight, lyrical exploration of the experience of the body — resulted in works of art the largest layer of the touch of poetic imagery reflecting the experience of individual sense of life. On the material of Russian poetry of the late XIX — early XX century the sound world of the Russian estate and the poetics of its sound space are analyzed. It is shown how the sound variety is gradually replaced by silence or new sounds — disturbing, foreshadowing the death of the estate as part of the old world. There are traced the mechanisms of transmission of sound “psychophysiological space”, methods of repre sentation of nonverbal language, including features of sound recording. An attempt is made to trace the internal reactions that this or that sound causes in the lyric hero, and in the subjective interpretations of a number of poets to reveal the “acoustic invariant” of the “estate” poetry of the Silver age in its historical dynamics.

scholarly journals METAFORA KONSEPTUAL CINTA DALAM LIRIK LAGU TAYLOR SWIFT ALBUM RED: KAJIAN SEMANTIK KOGNITIF (CONCEPTUAL METAPHOR OF LOVE IN TAYLOR SWIFT SONGS ALBUM OF RED: A COGNITIVE SEMANTICS APPROACH)

2020 ◽  
Vol 18 (1) ◽  
pp. 47
Author(s):  
Irwan Syah ◽  
Wagiati Wagiati ◽  
Nani Darmayanti
Keyword(s):  
Qualitative Method ◽  
Figurative Language ◽  
Conceptual Metaphor ◽  
The Body ◽  
Cognitive Semantics ◽  
Works Of Art ◽  
Love Life ◽  
The Government ◽  
Descriptive Qualitative

This paper describes the conceptual metaphor of love in Taylor Swift’s song in her album Red. Along with time, works of art especially music, keeps developing up until now. Many musicians pour their thoughts in their songs about their criticism over the government or simply about their love life.  One of such is Taylor Swift. Swift’s messages are not all explicit but some are implicit with the use of figurative language (metaphor). Descriptive qualitative method and a cognitive semantics approach are used to  describe and analysis the data from Taylor Swift’s song in the album. Theresult shows that the conceptualization metaphor of love manifests in many forms, namely the object of love as things, love as part of the body, love is a game, love is a sign, love is an art, love is an object of sound, love is a colour, love is a trap and love is a problem. AbstrakPenelitian ini mendeskripsikan metafora konseptual cinta dalam lirik lagu Taylor Swift pada album Red. Seiring dengan perkembangan zaman, karya seni, khususnya seni musik berkembang hingga saat ini. Banyak musisi yang menuangkan pemikirannya di dalam lagu yang berisi kritikan terhadap pemerintahan atau seputar kehidupan pribadi, khususnya percintaan. Salah satu penulis lagu tersebut adalah Taylor Swift. Pesan yang dituangkan Swift tidak hanya dinyatakan secara eskplisit, tetapi ada juga yang dinyatakan secara implisit dengan menggunakan bahasa kiasan(metafora). Metode deskriptif kualitatif dan kajian semantik kognitif  digunakan untuk mendeskripsikan dan menganalisis data yang bersumber dari lirik lagu Taylor Swift pada album Red. Hasil penelitian menunjukkan bahwa konseptualisasi metafora cinta yang ditemukan antara lain objek cinta sebagai sebuah barang, cinta sebagai bagian tubuh, cinta adalah permainan, cinta adalah tanda, cinta adalah seni, cinta sebagai objek suara, cinta adalah warna, cinta adalah perangkap, dan cintaadalah masalah.

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