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Raygun and the Eclipse of the Zany? Reading Contemporary Cultural Moments with and against Sianne Ngai’s Aesthetic Categories
Approximately a decade prior, Sianne Ngai presented three aesthetic categories for understanding 'how aesthetic experience has been transformed by the hypercommodified, information-saturated, performance-driven conditions of late capitalism': cute, interesting and zany [Our Aesthetic Categories 1). Raygun, whose popularity and circulation can entirely be traced to live software technologies, is a software image who reproduces software, and, following theorists such as Wendy Chun and Adrian Mackenzie, resembles less the 'real person' for the purposes of our analysis, and more a particularly busy street in the 'neighbourhood of relations' that is software, where 'relations are assembled, dismantled, bundled and dispersed within and across contexts' (Mackenzie 169 in Chun 3). The scale and chaos of this 'Raygun mass', made possible with high-speed internet and massive amounts of data, the capacity for instant content creation supported by rapidly advancing and adapting algorithms, and a politically fractured online audience primed for hot takes and wild (perhaps zany in themselves) conspiracy theories materially outpaces Ngai's description and problematises some of her underscoring claims. Where Ngai's zany is predicated on the rapidly shrinking distinction between work and play [Our Aesthetic Categories 231), with the Raygun phenomenon-which enfolds global competition and an academic career, as well as content generation for a continued stream of likes, subscriptions, and ad revenue-the distinction between work and play seems wholly irrelevant, even arbitrary or beside the point, and suggests a modified productive site in late capitalist processes which penetrates evermore into day-to-day life.
Journal Article
Lili Reinhart Goes Strapless With Corset Detailing in Georges Hobeika for ‘Jimmy Fallon’ Appearance
Trade Publication Article
Plastic Orientalism: Surface Logic and Cultural Technique in K-Pop
This article proposes the notion of \"plastic Orientalism\" as an emergent cultural phenomenon in recent K-pop music through a textual analysis of BTS's 2018 music video \"Idol.\" The music video features a yellow pavilion structure vaguely resembling the Gyeongbokgung Palace in Seoul, but with a two-dimensional flat appearance and a derealized space imposed with computer-generated special effects. By taking a signifier conventionally coded as Oriental(ist) in dominant visual representation and returning such an image ironically with extra saturation, the yellow pavilion is characteristic of plastic Orientalism as a reflective and reflexive cultural technique that radically performs the logic of the surface. \"Idol\" reclaims the overdetermined associations of \"the East\" with inscrutability and excess by aligning itself with the architectural facade, offering a conception of subjectivity as routed through objecthood. I argue that plasticity as a visual rhetoric and reparative reading practice allows a renegotiation of the politics of hegemony and resistance for an ethnic-racial identity that disrupts and modulates among the discourses of Orientalism, techno-Orientalism, and ethnonationalism.
Journal Article