Digital Consciousness : A Reflective Methodology for Transcorporeal Affective Communication
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Authors
Stanley, Gabriel
Issue Date
2020-03-01
Type
Thesis
Language
en_US
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Abstract
At the very center of my theoretical work are the methodologies of three authors: Mel Y. Chen, Jean Baudrillard, and Jasbir Puar. By incorporating the framework proposed by Baudrillard for the “precession of the simulacra” I was given a set of tools for examining the spread of the image as a marker of truth under social register. By examining the production of meaning using the image as the immediate mode of representation while using the theoretical approach of the conflation of the represented with the representation under a vocabulary that had already been established. This greatly assisted in my ability to expand upon the already complicated language necessary for the presentation of any ontological argument, specifically in a work that seeks to describe the politics of the image(the seen) with a language inherently deprived of all the characteristics that define the image.It was also incredibly entertaining to find the applications for theory centered around technology from the 1980s and identify the relevance that texts from a period that did not rely upon digitalization. By bringing the discussion of the simulacra to a new temporality found I was able to assess the greater risk of interpretive confusion for the technological subject in regard to the logistical inability for most users of digital technology to understand the mechanisms used for communication. Exploring the semantic destabilization of the image through the modern banality of digital infrastructure created an opportunity for a contemporary study that could focus on the approximating relationships between people while proving especially interesting alongside the arguments of theorists from the middle of the 20thcentury, such as Debord, whose prescience seems almost ominous. More modern writers, such as Chen, provided information that seemed immediately relevant and accessible for a commentary on modern living. Focusing their efforts on an unsettling of the linguistic constructions of hierarchies of animacy. Finding a grammatically oppressive reality present in the English language, Chen constructs a methodology for the treatment of non-human entities and enters into a precise dismantlement of the spoken (and silenced) discriminations placed upon disabled persons. Chen's Conversations on toxicity and prosthesis, encouraging fluidity of interpretation of the object and the self and replacing existing “truths” of animacy for a new methodology that understands relationships between equal entities and not between functioning hierarchies of oppression that enforce ontological century, such as Debord, whose prescience seems almost ominous. More modern writers, such as Chen, provided information that seemed immediately relevant and accessible for a commentary on modern living. Focusing their efforts on an unsettling of the linguistic constructions of hierarchies of animacy. Finding a grammatically oppressive reality present in the English language, Chen constructs a methodology for the treatment of non-human entities and enters into a precise dismantlement of the spoken (and silenced) discriminations placed upon disabled persons. Chen’s conversations on toxicity and prosthesis, encouraging a fluidity of interpretation of the object and the self and replacing existing “truths” of animacy for a new methodology that understands relationships between equal entities and not between functioning hierarchies of oppression that enforce ontological barriers. Furthering these conceptualizations of being, Puar brings discourse on disability justice to social realities, interpreting historical structures and events through a theoretical approach. Tracing these sources as my major influences in content, I also hold them as the models for my theoretical writing. I attempted to merge the structuring of the heady ontological arguments of Baudrillard and Chen with the descriptive language and structural investigations in the more stylized writings of Puar. I believe that the following work represents a merging of theoretical constructions in methodologies and manner of writing. To interpret the art of Nam June Paik I reflected the work of Simone Browne, with a careful critique of art throughout the text “Dark Matters.” My work should reflect in form the sources that I have read and the structural formation of arguments combined to express the social applications of ontological formations of being with a look at how a discussion of the image paired with its analysis may further the means for expression of these concepts.
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xi, 35 p.
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