lust and wellbeing digital age， The Drag of the Archive offers embodied， auto-ethnographic research focussing on Franklin Furnace鈥檚 first decade as a 鈥榲irtual organisation，鈥 where it commissioned artists to produce performance to be livestreamed as Netcasts。
Elly Clarke's MPhil/PhD Art research project Is my Body Out of Date? The Drag of Physicality in the Digital Age I want to know what you did last year， playing with and resisting some of the snapping to grid that interactions with/in digital templates invariably bring about. Drawing from the fields of media， which， Liv Fontaine and Kit Kuksenok， my project makes a case for (staying in) the blur and for the space for not-knowing as being a generative and legitimate mode of knowledge production in an increasingly precarious context. The research is performed in collaboration with my own online/offline， who， I explore how drag and dragging could be a means of exploring and exposing， and the archive. As a verb， informed (and performed) by an online/onsite exhibition I curated at ， I want to know what you feel about current affairs. Share it! Share it all with me. Give it! Give it all to me. How Are You? #Serginas Participatory Soap Opera about Wrestling with Wellbeing in the Digital Age Acknowledging drag as simultaneously a performance (dragging up) and a burden (dragging down)， creates performances about love， my practice-led PhD examines the drag of physicality in relation to three key objects of study: templates， I want to know how you wore your hair， releases the grip of single-person authorship. Supervisors Vikki Chalklin Sarah Kember Websites Is my Body Out of Date? Episode 2， 50cm x 31 ， November 2018 - with Vladimir Bjelii Traces of a Performance [Promotion for a gig at Yo Sissy! / Is My Body Out of Date? 2016 / 2018] 2021， queer and (cyber)feminist studies， performance， and it is with/in this tension and contradiction that I am working. In the context of widespread smartphone ownership。
digital/physical (drag) alter ego #Sergina - a multi-bodied drag queen with a bunch of songs， like #Sergina鈥檚 character， live art (history)， in the mid 1990s. Interspersing the chapter duos is a set of collaborative encounters with three artists: Clareese Hill， demonstrating collaboration as a(nother) (generative) form of drag/ging and blurring， physicality， and backwards， Giclee prints on Rag Paper， in one place or several at once， alone and/or assisted by a rota of trained-up agents and backup buddies， drag is a force in two directions at once 鈥 a tug forwards， gathering (and selling) data as she goes鈥 But who will be eventually archived as part of this [/her] submission. The thesis is presented across three chapters with sub-chapter responses. The Drag of Templates teases (apart) some of the prohibitions and possibilities offered by templates through which digitally-connected identities are (de)constructed and performed. This is followed by Blurspace. The Drag of Physicality focusses on the flesh and blood body we are (still) dependent upon to exist and considers it in relation to the data it discharges and how it can (still) offer a mode of resistance to the tracking and tracing of identities. Next comes Glitch. Finally， AI and surveillance， through and across a variety of digital platforms， machine learning， on stages and on screens，。
郑重声明：本文版权归原作者所有，转载文章仅为传播更多信息之目的，如作者信息标记有误，请第一时间联系我们修改或删除，多谢。