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Which clippings match 'Reflexive Foregrounding' keyword pg.1 of 1
22 MARCH 2015

The digital positions the spectacle within circulations of power and authorship

"Mid- to late-20th century theories of the spectacle take little or no account of the creation of the spectacle, because they are so preoccupied with the effects of its consumption. As Dean (2010) has observed, this made sense at a time when most images were produced in a context of 'broadcast media', but offers no way to think about what she calls the 'reflexive circuit' of social media and user-generated content (pp.108-9). As Bayne (2008) points out, 'the incursions of the digital add a mutable new dimension to decades of theorising of the visible and visual in culture' (p.395). The digital positions the spectacle within circulations of power and authorship, and needs alternative perspectives through which to theorise the spectacle for spaces where people create, appropriate and consume."

(Jen Ross, p.261)

Proceedings of the 8th International Conference on Networked Learning 2012 , Edited by: Hodgson V, Jones C, de Laat M, McConnell D,. Ryberg T & Sloep P.

TAGS

20th centuryaesthetic spectacle • alternative perspectives • authorship • creation of the spectacle • Jodi Dean • power • power and authorship • reflexive circuit • reflexive foregrounding • Sian Bayne • social mediaspectacle • theorising the visible • user-generated content • visual in culture

CONTRIBUTOR

Simon Perkins
21 JUNE 2013

Photobombing: foregrounding the constructed reality of photographic scenes

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TAGS

breaking the fourth wallconstructed reality • diminish • distracting attentiondistracting behaviourdistraction • divert attention • extradiegeticfocus • foregrounding constructedness • grab our attentionhuman behaviourhumourintertextuality • non-diegetic • out of the spotlight • photobomb • photobombing • photographic portraitplayfulnessprankreflexive foregroundingreflexivitysnapshotssurprise • the space of the photograph • trivialisationundermine • upstage • upstagingworld of the image

CONTRIBUTOR

Simon Perkins
11 NOVEMBER 2011

The Greeting is a film which pretends to be a painting

Bill "Viola's The Greeting is pretending to be a picture, hanging on the wall of the National Gallery, as part of 'The Passions' exhibition in 2003. The context of the gallery space and the badging of The Greeting as a picture give the work something different, making it more than just a film. The significance is in the context of where it is shown and the pretence occurring that this is a picture. Indeed, when walking downstairs in the National Gallery towards 'The Passions' exhibition, it is seeing it hanging on the wall that strikes immediately; I am being invited to believe that this animated film is pretending to be a picture. The analogy is of the picture becoming an actor, pretending to be something else. In terms of form, The Greeting is a film. Therefore, what is it that makes it now defined as an exhibition, a part of Viola's 'The Passions' in 2003? It is only the fact that it's part of a gallery that makes it an exhibition, although in reality it is also actors directed by a video artist into this film, slowed down and with no sound, which is pretending to be a painting. Therefore, it is conceptual art, in that what the artist is doing is not just making a painting, or having the idea for a painting, but having the idea of where it should be staged. The inscribed text of the space in which it is viewed makes a difference to what the viewer or spectator sees, and what is going on."

(Alison Oddey, 2007, p.70)

3). Alison Oddey (2007). "Re–Framing". In: "Re–Framing the Theatrical", Palgrave Macmillan. 1–21.

Fig.1 Bill Viola (1995). "The Greeting".
Fig.2 Jacopo Carucci da Pontormo "The Visitation".

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TAGS

2003actorsallusionart historyartistartistic experience • Bill Viola • conceptual artcontextexhibitionfigurationfilmgallery • gallery space • hanging on the wall • homage • inscribed text of the space • interdisciplinaryliving picturesmetatheatricalityNational Gallerypainting • Passions (exhibition) • performancepicturepretence • pretending • pretending to be a painting • re-framing • reenactmentreflexive foregroundingremediationspacespectatorspectatorship • staged • stagingtableau vivant • The Greeting • The Passions • the role of the spectator • the viewer • theatre-art • theatricaltime slowed downvideo artvideo artistviewer

CONTRIBUTOR

Simon Perkins
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