If virtuality is being celebrated as heralding a noticeably new period, wealthy with new percentages and futures hitherto unimagined via cybernetics, networking and digitalizaton, such claims also are being seen with deep skepticism and countered via renewed curiosity within the groundedness and referentiality of the idea that of the index.
In this transdisciplinary e-book, significant artists, filmmakers, movie theorists, philosophers, literary critics, details theorists and cultural analysts research the twists and turns of the contesting phrases of virtuality and indexicality in modern cultural conception relating to background, trauma, sexuality, textuality, nervousness, simulated lives, code, electronic cinema, technology fiction, and modern artwork. Antony Bryant, Juli Carson, N. Katherine Hayles, Anna Johnson, Mary Kelly, Brian Massumi, Claire Pajaczkowska, Griselda Pollock, Adrian Rifkin, Martha Rosler, Alison Rowley, Trinh T. Minha, Samuel Weber, and Paul Willemen draw on concrete practices, starting from movie, video and chatrooms to airport areas, conceptual paintings and textiles, to supply severely engaged, occasionally skeptical, analyses of latest picture worlds within the gentle of a continuous allegiance to grounded histories and important practice.
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Additional info for Digital and Other Virtualities: Renegotiating the Image (New Encounters: Arts, Cultures, Concepts)
The drape is iconic in that it actually denotes the invisibility of items which are ‘gone’, ‘lost’ or ‘dead’. The hiddenness that the fabric can create, and for that reason symbolize, is the connection among notion and reminiscence, that is the aspect universal to either types of signiﬁcation (we could make noticeable, or found in illustration, referents that are now not current to our senses, and we will be able to, via illustration, maintain a reminiscence of what as soon as used to be yet now not is). hence the dual points of mourning and illustration are mixed within the icon of the drape (the French language keeps the normal organization among dying and sleep: mattress sheets are often called ‘draps’). 7. Pajaczkowska 14/03/2010 17:17 web page 141 stress, TIME AND TENDERNESS 141 The absorbent caliber of material is usually a part of its ability to suggest as iconic, noticeable within the manner that stains which point out the capillary motion of ﬁbres hold the that means of mark-making. The physique as topos of conﬂict among nature and tradition is, typically, avoided from staining cloth. there are lots of examples of the potential of fabric to suggest via its use as image. simply because cloth absorbs liquid, it may be dyed to carry color. Imperial pink (from the shells of Mediterranean shellﬁsh), eighteenth-century army scarlet (from South American beetles), the gold embroidery of ecclesiastical clothing, and the black outfits of eu mourners (produced by way of pricey repetitive immersion in dye baths), are all examples of cloth as image, even supposing the organization of the worth of speciﬁc shades with the ﬁnancial price or rarity worth of the dyestuffs provides a degree of ‘motivation’ to the another way completely symbolic organization among color and which means. Deleuze means that the fold additionally comprises symbolic Baroque that means in the iconic, and definitely this is often obvious within the architectural conventions during which stone and marble and different challenging fabrics are made to mimic or characterize the flexibility of the cloth drape and fold. 10 The vestigial continues to be of the ceremonial curtains we ﬁnd on the cinema and the theatre and in different demonstrate contexts have symbolic that means, with their indication of codes of spectatorship. it's the Peircean idea of indexicality that's particularly attention-grabbing to fabric examine. it's because of how that textiles have indices of either tacit and tactile which means contained inside of no matter what different degrees of semiosis they might denote. for instance, how else to account for the that means of the Yoruba culture of manufacturing complicated sewing on textile that's then dyed, in order that the stitched textile resists the dye, leaving an complex tracery of absent stitches whilst the sewing is unpicked? this isn't almost like an utilized type of floor ornament, resembling print, neither is it a method of constructing development via fabrics in the weave, yet is very a signiﬁer of the motion of exhausting hand-stitching that after used to be current, yet is now now not, other than as hint of resistance to immersion in dye.