MirrorCameraRoom: the gendered multi-(in)stabilities of the selfie

Warfield, K., 2017. MirrorCameraRoom: the gendered multi-(in)stabilities of the selfie. Feminist Media Studies 17, 77–92. https://doi.org/10.1080/14680777.2017.1261843

p.77

Mark Deuze (2012) suggests that in our increasingly mediated lives, perhaps we are the medium. Theorists of Internet and social media studies have tackled similar befuddling questions where we’ve become at once producers and consumers—pro-sumers (Alvin Toffler 1980)—or simultaneously producers and users—produsers (Karl Fahringer and Axel Bruns 2008). Studying audiences at this period in history is like “wrestling with a jellyfish” (Justin Lewis 2013) because, among other things, audiences could be both always and everywhere (Peter Vorderer and Matthias Kohring 2013) or everywhere and nowhere (Elizabeth Bird 2003).

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From Elephans Photographicus to the Hybronaut

Laura Beloff, ‘From Elephans Photographicus to the Hybronaut: An Artistic Approach to Human Enhancement’, pp.51-66, in:

Elo, M., Luoto, M., 2014. Senses of Embodiment: Art, Technics, Media. Peter Lang.

p.51

[Ref Bateson and von Uexküll on environment of the organism]

Uexkull’s research revealed that every species has its own constructed Umwelt because each species reacts in a distinctive way to the same signals it receives from the physical world. What is thus necessary for one’s biological survival, is included within one’s perception of the world; the Umwelt.

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On Aesthetic Plasticity

Tom Sparrow, ‘On Aesthetic Plasticity’, pp. 177-218, in:

Sparrow, T., Malabou, C., 2015. Plastic bodies: rebuilding sensation after phenomenology. Open Humanities Press, London.

p.177

The argument so far has followed two general, intertwined trajectories: one critical, the other constructive. The critical thread has argued that the two visions of embodiment offered by Merleau-Ponty and Levinas are inadequate for thinking how our bodies actually interact with the material world. The constructive thread has assembled evidence which suggests that both phenomenologists were cognizant of the function that sensation plays in the constitution of experience and identity.

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Artifacts and Attachment

Peter-Paul Verbeek, ‘Artifacts and Attachment: A Post-Script Philosophy of Mediation’, pp.125-146, in:
Harbers, H. (Ed.), 2005. Inside the politics of technology: agency and normativity in the co-production of technology and society. Amsterdam University Press, Amsterdam.

p.125

Within Technology Studies, the predominant vocabulary for understanding the role of artifacts in society is offered by actor-network theory. Bruno Latour, one of its major representatives, maintains that the social sciences’ exclusive focus on humans should be abandoned.

The so-called “principle of symmetry” is the most notable feature of Latour’s approach, entailing that humans and nonhuman entities should be studied symmetrically.

p.126

It will appear that Latour’s vocabulary is helpful in answering this question, but that it needs to be augmented in order to do full justice to the role of things in people’s everyday lives. I shall develop this augmentation by reinterpreting phenomenology, and by elaborating it literally into a post-script philosophy of technical mediation.

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Afghan Box Camera

Birk, L., Foley, S., 2013. Afghan box camera. Dewi Lewis Publishing, Stockport, England.

Frontispiece

Gulbert would recite prayers and verses and blow on the camera, and then take out the photographs announcing, “A MIRACLE!”

p.11

In Afghanistan in the 1950s a simple hand-made wooden camera known as the kamra-e-faoree began to be used widely in the country for the first time.

Further afield in industrialised Europe and North America, patented relations had already appeared in the 1910s; whilst the photograph process the camera used was first introduced by William Henry Fox-Talbot in 1840s England.

In contrast […] to photography as a thing of the elite, the kamra-e-faoree brought photography to the common man and quite literally, to the street.

Only a narrow pavement slot was required to fit a camera, a chair and a cloth backdrop. The chair in which the customer posed for the portrait could also serve the photographer as a perch on which to rest or even sleep in quieter times. The camera lid provided a handy platform on which to place a pair of scissors and box of photo paper as well as hold a mug of tea and a saucer of sweets.

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Functional Information: Towards Synthesis of Biosemiotics and Cybernetics

Sharov, A.A., 2010. Functional Information: Towards Synthesis of Biosemiotics and Cybernetics. Entropy 12, 1050–1070. doi:10.3390/e12051050

p.1051

Understanding of the informational nature of life has led to the emergence of two new disciplines, cybernetics and biosemiotics, which approached the same problem from different angles.

Cybernetics was conceived to study communication and control in machines and living organisms in the light of the information theory. However, because living organisms are too complex and we still have very limited means to control them, cybernetics has much stronger links with technology (i.e., communication industry, computers, and robots) than with biology.

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Potential

Michel Serres, ‘Potential’, pp.33-66, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.

p.33

No seated professor taught me productive work, the only kind of any worth, whereas my gymnastics teachers, coaches and, later, my guides inscribed its very conditions into my muscles and bones. They teach what the body can do.

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Metamorphosis

Michel Serres, ‘Metamorphosis’, pp.3-31, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.

p.4

Anxiety, of course, occurs before the climb, just as fear returns after; but during it, the body progresses, on the rock face, as though it were protected. But, leaving aside guides, pitons, ropes and partners, by what, by whom?

Stretch out your arms and legs: your twenty fingers and toes attain in space a large rectangular frame or a circle – your starfish, octopus or gibbon’s maximal hold on the world. Your active force and sensibility radiate at the extreme points of this figure.

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Media archaeology and re-presencing the past

Vivian Sobchack, ‘Afterword : media archaeology and re-presencing the past’, pp.323-333, in:

Huhtamo, E., Parikka, J. (Eds.), 2011. Media archaeology: approaches, applications, and implications. University of California Press, Berkeley, Calif.

p.323

[…] this discourse of presence (a “presence in absence”) and its particularly concern with the past and the conditions under which it can be re-presenced (as well as historiographically communicated) are central to media archaeology.

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Fingers

Vilém Flusser, ‘Fingers’, pp.57-63, in:
Flusser, V., Zielinski, S., Baitello, N., Novaes, R.M., 2013 [1979]. Natural:mind. Univocal, Minneapolis, MN.

p.57

I am sitting on a chair. The chair is a product of Western civilization and if it were to be analysed it would reveal the history of the West.

The juxtaposition “chair – desk” is a characteristic structure of particular situations of my culture.

p.58

This is a slight paleo-technological writing instrument (a product of the beginning of the 20th century). The machine has keys inscribed with letters of the Latin alphabet.

My fingers hit the keys in a particular order. This order is therefore determined by the specific order of such a language.

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