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Presence and Physiovalence: Artful Resistance against the Neoliberal Digitization of Our Lives
by
Ueno, Ken
in
Arts festivals
/ Childs, Lucinda
/ Culture
/ Dance
/ Digitization
/ Factories
/ Hanks, Tom
/ Innovations
/ Jackson, Michael (musician)
/ Keyboards
/ Loggia, Robert
/ Media art
/ Music
/ Neoliberalism
/ Noise
/ Performing arts
/ Social change
/ Wilson, Robert
2024
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Presence and Physiovalence: Artful Resistance against the Neoliberal Digitization of Our Lives
by
Ueno, Ken
in
Arts festivals
/ Childs, Lucinda
/ Culture
/ Dance
/ Digitization
/ Factories
/ Hanks, Tom
/ Innovations
/ Jackson, Michael (musician)
/ Keyboards
/ Loggia, Robert
/ Media art
/ Music
/ Neoliberalism
/ Noise
/ Performing arts
/ Social change
/ Wilson, Robert
2024
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Do you wish to request the book?
Presence and Physiovalence: Artful Resistance against the Neoliberal Digitization of Our Lives
by
Ueno, Ken
in
Arts festivals
/ Childs, Lucinda
/ Culture
/ Dance
/ Digitization
/ Factories
/ Hanks, Tom
/ Innovations
/ Jackson, Michael (musician)
/ Keyboards
/ Loggia, Robert
/ Media art
/ Music
/ Neoliberalism
/ Noise
/ Performing arts
/ Social change
/ Wilson, Robert
2024
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Presence and Physiovalence: Artful Resistance against the Neoliberal Digitization of Our Lives
Journal Article
Presence and Physiovalence: Artful Resistance against the Neoliberal Digitization of Our Lives
2024
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Overview
The tendency to reduce the movements of performers in media art to data results in a flattening of identities and makes the performers’ essence seemingly insignificant. Two case studies showcase what might be lost through datafication, even as they resist it: Lucinda Childs “walking” in Bach 6 Solo by Robert Wilson, and Michael Jackson standing still at the start of his 1993 Super Bowl Halftime show. The desire to detach the body from aesthetic significance can be traced back to America’s historical racism.
Publisher
Cambridge University Press
Subject
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