Gazing at Ground Zero: Tourism, Voyeurism and Spectacle

This essay uses the temporary viewing platform at the site of the former World Trade Center to explore our fascination with violence, conflict and disaster. It illustrates how discourses of voyeurism and authenticity promote a desire for sites of horror, and examines how that desire both disrupts and reinforces our prevailing interpretations of global politics. The viewing platform at Ground Zero was initially constructed to manage the thousands of people who traveled to New York in response to the shocking media images of 11 September. However, their desire to escape mediation and touch "the real" had the opposite effect - it transformed Ground Zero into a tourist attraction. Using Ground Zero as a starting point, this essay theorizes discourses of voyeurism and authenticity through the work of Baudrillard, Debord and Bauman in an effort to position the tourist as a significant political subject.

Undressing the actor : the erotic relationship with the audience

The intimacy and eroticism of the actor’s relationship with the audience is captured in the ecstatic revelation of the actor “being in the moment.” Drawing on the theories of Freud and Sartre and twenty years of performance praxis, this paper explores the exchange of erotic discourse between stage and spectator that not only heightens the experience of the liveness of theatre, but creates a symbiosis that is silently negotiated, agreed upon and sensuously performed during the suspended timeframe of the theatrical event. The actor draws the audience into the erotic transaction through various dramatic devices: the seduction of the soliloquy, the somatic and verbal discourses, the sensuality of light and costuming. The audience responds with its own paralingual and verbal foreplay: the playfulness of laughter, the slapping of hands and, most significantly, the gaze. While the gaze is often perceived as a form of voyeurism, this paper argues that the gaze of consensual agreement between audience and actor can work to unmask inhibitions enabling the actor to create the truth of the moment in complete abandon.

Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’

In this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image.

A customisable dashboard display for environmental performance visualisations

We conducted an exploratory study of a mobile energy monitoring tool: The Dashboard. Our point of departure from prior work was the emphasis of end-user customisation and social sharing. Applying extensive feedback, we deployed the Dashboard in real-world conditions to socially linked research participants for a period of five weeks. Participants were encouraged to devise, construct, place, and view various data feeds. The aim of our study was to test the assumption that participants, having control over their Dashboard configuration, would engage, and remain engaged, with their energy feedback throughout the trial. Our research points to a set of design issues surrounding the adoption and continued use of such tools. A novel finding of our study is the impact of social links between participants and their continued engagement with the Dashboard. Our results also illustrate the emergence of energy-voyeurism, a form of social energy monitoring by peers.

Panem et circenses : law, law and power in The Hunger Games

Like many cautionary tales, The Hunger Games takes as its major premise an observation about contemporary society, measuring its ballistic arc in order to present graphically its logical conclusions. The Hunger Games gazes back to the panem et circenses of Ancient Rome, staring equally cynically forward, following the trajectory of reality television to its unbearably barbaric end point – a sadistic voyeurism for an effete elite of consumers. At each end of the historical spectrum (and in the present), the prevailing social form is Arendt’s animal laborans. Consumer or consumed, Panem’s population is (with the exception of the inner circle) either deprived of the possibility of, or distracted from, political action. Within the confines of the Games themselves, Law is abandoned or de‐realised: Law – an elided Other in the pseudo‐Hobbesian nightmare that is the Arena. The Games are played out, as were gladiatorial combats and other diversions of the Roman Empire, against a background resonant of Juvenal’s concern for his contemporaries’ attachment to short term gratification at the expense the civic virtues of justice and caring which are (or would be) constitutive of a contemporary form of Arendt’s homo politicus. While the Games are, on their face, ‘reality’ they are (like the realities presented in contemporary reality television) a simulated reality, de‐realised in a Foucauldian set design constructed as a distraction for Capitol, and for the residents of the Districts, a constant reminder of their subservience to Capitol. Yet contemporary Western culture, for which manipulative reality TV is but a symptom of an underlying malaise, is inscribed at least as an incipient Panem, Its public/political space is diminished by the effective slavery of the poor, the pre‐occupation with and distractions of materiality and modern media, and the increasing concentration of power/wealth into a smaller proportion of the population.

Da perversão-polimorfa à estrutura perversa: um estudo sobre a possibilidade de haver mulheres estruturalmente perversas

Esta tese é um prolongamento de uma pesquisa em psicanálise sobre perversão e mulheres iniciada no curso de Especialização e estendida no Mestrado. A partir da constante afirmação no campo lacaniano sobre a inexistência de mulheres estruturalmente perversas, traçamos um percurso sobre o estudo da perversão em Freud e Lacan para interrogarmos a possibilidade de haver mulheres perversas. Para isso, no primeiro capítulo, aprofundamo-nos na teoria da sexualidade freudiana, diferenciando perversidade de perversão e delimitando a distinção entre perversão-polimorfa e estrutura perversa através dos conceitos de fixação e exclusividade, presentes em Freud desde 1905, e do mecanismo perverso (Verleugnung), proclamado por Lacan, mas presente na obra freudiana. Investigamos também neste capítulo a importância das fantasias de espancamento (FREUD, 1919) e da vivência edipiana para o entendimento acerca das perversões. A partir disso, analisamos o fetichismo e os pares de opostos, sadismo-masoquismo (esmiuçando as obras de Marquês de Sade e Sacher-Masoch, responsáveis pela origem dos termos), e voyeurismo-exibicionismo. O segundo capítulo foi dedicado, de maneira geral, à fantasia. De início percorremos o conceito em Freud e Lacan para, posteriormente, através do entendimento sobre fantasia, pensarmos sobre os atos. Em seguida, examinamos a definição de homem e mulher para a psicanálise, diferente daquela utilizada pela biologia, para interrogarmos a possibilidade de uma mulher ser perversa. Na terceira parte desta pesquisa, utilizamos a história de duas mulheres, Gertrude Bainszewski e Suzane von Richthofen, avaliamos o caso Violette de André (1995) e ponderamos sobre a personagem Erika Kohut de A professora de piano (2001) para pensarmos sobre a teoria até então apresentada

Reality Shows in Chile, origin and road map. Historical-Communication Dialogues

Reality shows are TV programs which represent a format used in television nowadays; however, the observation practices of individual and/or group intimacy dates from thousands years ago. Sometimes this was driven by voyeurism or morbid fascination, some others, by the purpose of guarding, supervising and maintaining status quo. This work offers an alternative answer to the explanation of this type of TV program emergence and relates this appearance to a government procedure bound up with modern State terrorism which began at the end of the eighteenth century and has been recalled by different regimes until present days.

O valor da privacidade: o caso das audiências da Casa dos Segredos

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

Postures et mutations du plan-séquence fixe, du cinéma des premiers temps à YouTube

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Edgar Degas et le traitement moderne de la figure féminine : un terrain propice à l'éclosion des approches critiques féministes en art du XXe siècle

Edgar Degas, observateur réputé de la vie parisienne du XIXe siècle, réserve tout au long de sa carrière un traitement particulier à la figure féminine. Dès les premières tentatives de tableaux d’histoire et les portraits des débuts, dont un grand nombre concerne des couples et des membres de sa famille, Degas introduit une forme de tension dans les rapports entre les hommes et les femmes. Cette tension se manifeste à la fois dans la structure des œuvres et dans le registre expressif des figures représentées. Elle perdure dans les tableaux de genre qui marquent un intérêt accru de Degas pour les scènes de la vie contemporaine. Ces dernières suggèrent une trame narrative encore aujourd’hui difficile à déchiffrer mais où continue de se manifester une forme d’opposition entre les pôles masculin et féminin de l’image. Ce sont surtout les œuvres représentant des femmes au travail ou à leur toilette, réalisées dans la période de la maturité de l’artiste, qui manifestent cette tension à son maximum et lui confèrent un supplément de résonnance personnelle et sociale. Un pivotement du dispositif figuratif maintient le pôle féminin dans l’espace de représentation alors que le pôle masculin se situe désormais du côté du spectateur. Ces figures de femmes dont la gestuelle, le positionnement dans l’espace et le mode d’adresse suggèrent qu’elles font l’objet d’une effraction du regard qui s’énonce au masculin, résistent par plusieurs aspects au scénario érotique voyeuriste qui se développe à l’époque dans beaucoup de tableaux académiques et dans les illustrations populaires.

Représenter et construire la psychiatrie en France, 1801-1863 : l'art des premiers aliénistes

Depuis les quatre dernières décennies, des publications célèbres analysent l’histoire, l’art et l’architecture de la psychiatrie de la fin du dix-neuvième siècle afin de dénoncer les aspects négatifs de la science psychiatrique : voyeurisme sur la personne du fou, déshumanisation de l’asile, autoglorification du psychiatre, abus de pouvoir. C’est ce regard à sens unique que j’ai voulu déjouer dans cette thèse en consacrant ma recherche aux œuvres produites en amont de cette période. Leur analyse a permis de prendre conscience de l’autre versant de la science psychiatrique, celui qui est philanthropique, bienveillant et animé d’un réel espoir de guérison. Mon objectif a été de construire, par l’analyse de ce domaine iconographique inédit ou négligé, une nouvelle histoire de la naissance de la psychiatrie, celle de sa culture visuelle. Une histoire qui révèle ses idéaux du début du siècle et les écarts à ses propres aspirations par son besoin de légitimation et de professionnalisation. Ma thèse propose une enquête épistémologique de l’histoire de l’aliénisme français, par le biais du discours porté par les œuvres d’art commandées par ses fondateurs. Le premier chapitre est consacré aux premiers asiles conçus comme le prolongement du corps du psychiatre et ils sont analysés selon les valeurs de la nouvelle science. Je me suis appliquée à y démontrer que le concept même d’asile, agissant sur nos sensations et sur notre cognition, relève autant des théories architecturales des Lumières que des besoins spécifiques de l’aliénisme. Le deuxième chapitre identifie, pour la première fois, un ensemble de portraits de la première génération d’aliénistes et de leurs disciples. J’argumente que ce corpus voulait imposer l’image de l’aliéniste comme modèle de raison et établir sa profession. Pour ce faire, il s’éloigne des premières représentations des aliénistes, paternalistes, et philanthropiques. Le troisième chapitre analyse les représentations des aliénés produites pour les traités fondateurs de la psychiatrie publiés en France. Le vecteur de mon analyse et le grand défi pour l’art et la science viennent de l’éthique des premiers psychiatres : comment représenter la maladie mentale sans réduire le malade à un être essentiellement autre ? Une première phase de production accorde à l’aliéné autonomie et subjectivité. Mais la nécessité d’objectiver le malade pour répondre aux besoins scientifiques de l’aliénisme a, à nouveau, relégué l’aliéné à l’altérité. Le sujet du quatrième et dernier chapitre est le cycle décoratif de la chapelle de l’hospice de Charenton (1844-1846), principal asile parisien de l’époque. J’y interroge comment l’art religieux a pu avoir un rôle face à la psychiatrie, en empruntant à l’iconographie religieuse sa force et sa puissance pour manifester l’autorité de l’aliéniste jusque dans la chapelle de l’asile. Le dix-neuvième siècle a été porteur d’espoirs en la reconnaissance de la liberté des êtres et de l’égalité des droits entre les personnes. Ces espoirs ont pourtant été déçus et les œuvres de l’aliénisme montrent un nouvel aspect de ces promesses non tenues envers les groupes fragilisés de la société, promesses de reconnaissance de leur subjectivité, de leur autonomie et de leur dignité.

Um toque de voyeurismo

Por muito tempo, duvidou–se da possibilidade de se penetrar na história íntima dos brasileiros de séculos passados através da leitura de seus diários, tidos como inexistentes. Entretanto, pesquisas mais recentes têm demonstrado que essa vontade de se revelar aos outros através da escrita de diários e de outros registros íntimos também existiu no Brasil do século XIX. Neste artigo, consideramos que a insuficiência ou a falta de visibilidade dos diários íntimos no Brasil é, em grande parte, resultado de escolhas efetuadas por nossos antepassados, que muitas vezes optaram por destruir seus registros íntimos para não correrem o risco de ter sua vida devassada pela curiosidade alheia. Ou ainda escolhas de arquivistas e pesquisadores, que por muito tempo se recusaram a conferir a esse tipo de documentação o status de fonte histórica. Mais especificamente, analisamos o diário de José Vieira Couto de Magalhães (1837–1898), importante político e intelectual do Brasil do século XIX, procurando perceber até que ponto, ao comunicar–se para si mesmo, o autor também comunica um pouco do mundo em que vivia ou como se relacionava com esse mundo. Referente ao período de permanência do autor em Londres (1880–1887), o diário registra seu menoscabo pelas mulheres, seus sonhos eróticos homossexuais, seus cuidados com o corpo, seu pavor diante da possibilidade de adoecer, entre outros temas, o que constitui excelente oportunidade para evidenciarmos a legitimidade da sexualidade enquanto objeto de pesquisa e reflexão das ciências sociais.

Introducción

Este dossier sobre la narrativa y la poesía de Pedro Juan Gutiérrez incluye diversos trabajos que abordan núcleos centrales de su obra, en especial, los vínculos de sus novelas y de su poesía con el mercado editorial en Cuba y fuera de Cuba, la representación de los sectores marginales de Centro Habana durante el periodo especial de los años 90, la dialéctica entre el voyeurismo y el exhibicionismo, y la configuración de una "escritura sucia"

Introducción

Este dossier sobre la narrativa y la poesía de Pedro Juan Gutiérrez incluye diversos trabajos que abordan núcleos centrales de su obra, en especial, los vínculos de sus novelas y de su poesía con el mercado editorial en Cuba y fuera de Cuba, la representación de los sectores marginales de Centro Habana durante el periodo especial de los años 90, la dialéctica entre el voyeurismo y el exhibicionismo, y la configuración de una "escritura sucia"