delinda

 

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    delinda
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    i’m thinking of an analogical situation during the 1960s with pan-african artists who were deciding how to combat racism through the imagery in their paintings. the issue could be boiled down to mimesis and reverse gazes- in brazil antropafagia-to cannibalize the image of the other and reframe it. sooner or later critics pointed to the paradox of repeating and reinforcing primitivism through this type of painting “about” blackness: wole soyinka asked “must a tiger proclaim its tigritude?” or must we as feminists be committed to taking and morphing the interface of misogyny, the shallow visual effects, as activism? is it reverse engineering?

    glitch has the potential to be a tool of feminism because it addresses the moment of the translation between assorted wires and code and their visual effects on the screen- emerging from the “deep structure” of machinery and the technological unconscious. as i understand it (as someone who does not operate with code or assorted wires), glitch can “remind us that the techno-historical roots of computers lie not in television, but in radar, a medium of war.” (kittler)  so far, glitch porn, even woman-made, treats these images as though they emerge from television, video, or film, and not as a computer interface.

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