Theresa Hak Kyung Cha’s Dictée

2018 ◽  
pp. 144-168
Author(s):  
Hertha D. Sweet Wong
Keyword(s):  
United States ◽  
Conceptual Art ◽  
The United States ◽  
Female Voice ◽  
Experimental Film ◽  
Transgenerational Trauma ◽  
Japanese Occupation ◽  
Correspondence Art

Theresa Hak Kyung Cha’s Dictee is an experimental visual autobiography in which she thematizes her parents’ experience of the Japanese Occupation of Korea, their immigration to the United States, as well as her own sense of being in perpetual exile and grappling with the transgenerational trauma that threatens to overwhelm her. This chapter argues that Dictee’s cinematic style arises from Cha’s work in experimental film, correspondence art, and conceptual art. It depicts Cha as a disembodied female voice struggling to visualize embodied speech on the page, all the while offering a self-reflexive commentary on the autobiographical process and her struggle to find a suitable conclusion to her narrative of trauma. Finally, the chapter discusses Dictee’s serial conclusions and Cha’s endlessly deferred return. Rather than narrate a romantic, nostalgic return, Cha visually and textually performs its impossibility in the pages of Dictee

Asco, Chris Burden, and the Politics of the Misfire

2018 ◽  
Vol 17 (3) ◽  
pp. 312-331 ◽  
Author(s):  
Faye Gleisser
Keyword(s):  
United States ◽  
Visual Culture ◽  
Conceptual Art ◽  
The United States ◽  
People Of Color ◽  
Access To Resources ◽  
Systemic Racism ◽  
White Masculinity ◽  
Visual Narratives

This article draws out the ‘politics of the misfire’ as a process constituted in part by discursive articulations of the ‘misuse’ of guns, and in part by mediated visual narratives of criminality cultivated in American visual culture. Specifically, the author examines how the decades-long historiography of artist Chris Burden’s iconic artwork, Shoot (1971), relies upon and perpetuates spatially racialized and gendered notions of innocence and safety. She argues that the conceptual art collective Asco’s theorizing of misfires in response to their vulnerability as Chicanos in America provides a vital framework for recognizing how the neutralized archetype of white masculinity, simultaneously innocent and lawless, animates and sustains the legacy of Shoot. Through consideration of geographies of cumulative vulnerability, access to resources, and systemic racism this article links processes of art historical canonization to discriminatory practices that structurally oppress people of color in the United States.

The Music and Sound of Experimental Film

2017 ◽  
Keyword(s):  
United States ◽  
Digital Technology ◽  
The United States ◽  
Critical Discourse ◽  
Experimental Film ◽  
Found Footage ◽  
Sound Image ◽  
Experimental Cinema ◽  
Stan Brakhage

This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walter Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.

Conceptualizing Artists’ Rights

2018 ◽  
Author(s):  
Lauren van Haaften-Schick
Keyword(s):  
United States ◽  
Conceptual Art ◽  
Political Influence ◽  
The United States ◽  
Private Law ◽  
Art Industry ◽  
Rights Transfer

The Artist’s Reserved Rights Transfer and Sale Agreement (Siegelaub-Projansky Agreement) of 1971 and the certificates of early Conceptual art have been considered contradictory for enabling so-called “dematerialized” artworks to be exchanged as any other commodifiable work, thus negating Conceptual artists’ claims of challenging market and institutional conventions. However, an expanded lens on the life of the Siegelaub-Projansky Agreement in law yields another legacy for these endeavors, where the Agreement is instead evidenced as influencing artists’ rights laws in the United States, and where its rhetoric of collectivity can be viewed as a radical appropriation of private law in an effort to establish more equitable art industry norms. This reclaimed narrative of political influence emerges only when we recognize the capacity of these artistic documents as legal instruments, and consider how they have circulated through and challenged the limits of both fields they are cross-classified between: art and law.

Notes from the Editors, May 2015

2015 ◽  
Vol 67 (1) ◽  
pp. 2
Author(s):  
The Editors
Keyword(s):  
United States ◽  
Vietnam War ◽  
The United States ◽  
Back Issue ◽  
Japanese Occupation ◽  
Monthly Review ◽  
Office Of Strategic Services ◽  
The Cost ◽  
Indochina War ◽  
The U.S

<div class="buynow"><a title="Back issue of Monthly Review, May 2015 (Volume 67, Number 1)" href="http://monthlyreview.org/back-issues/mr-067-01-2015-05/">buy this issue</a></div>As we write these notes in March 2015, the Pentagon's official Vietnam War Commemoration, conducted in cooperation with the U.S. media, is highlighting the fiftieth anniversary of the beginning of the U.S. ground war in Vietnam, marked by the arrival of two Marine battalions in De Nang on March 8, 1965. This date, however, was far from constituting the beginning of the war. The first American to die of military causes in Vietnam, killed in 1945, was a member of the Office of Strategic Services (a precursor of the CIA). U.S. intelligence officers were there in support of the French war to recolonize Vietnam, following the end of the Japanese occupation in the Second World War and Vietnam's declaration of national independence as the Democratic Republic of Vietnam. The French recolonization effort is sometimes called the First Indochina War in order to distinguish it from the Second Indochina War, initiated by the United States. In reality, it was all one war against the Viet Minh (Vietnamese Independence League). By the time that the Vietnamese defeated the French at Dien Bien Phu in 1954, the United States was paying for 80&ndash;90 percent of the cost of the war.<p class="mrlink"><p class="mrpurchaselink"><a href="http://monthlyreview.org/index/volume-67-number-1" title="Vol. 67, No. 1: May 2015" target="_self">Click here to purchase a PDF version of this article at the <em>Monthly Review</em> website.</a></p>

Introduction

2020 ◽  
pp. 1-26
Author(s):  
Hsuan L. Hsu
Keyword(s):  
United States ◽  
Conceptual Art ◽  
The United States ◽  
Material Ecocriticism ◽  
Race Studies ◽  
Sense Of Smell ◽  
Sensory Studies

The introduction argues that modernization in the United States has been sustained by processes of differential deodorization that relocate undesirable airborne materials to vulnerable places and populations, and that the sense of smell has played an important role in sensing and staging how noxious air affects bodies, minds, and moods. Building on work in material ecocriticism, geography, race studies, and sensory studies, it develops an environmental framework for studying olfactory aesthetics in works of literature and conceptual art.

Correlative microscopy in distrubuted (client/server) computing environments: tools for catalyzing the rapid dissemination of information about the cell biology of the human prostate

1995 ◽  
Vol 53 ◽  
pp. 682-683
Author(s):  
A. Hakam ◽  
J.T. Gau ◽  
M.L. Grove ◽  
B.A. Evans ◽  
M. Shuman ◽  
...  
Keyword(s):  
United States ◽  
Cell Biology ◽  
Tissue Bank ◽  
The United States ◽  
Prostate Adenocarcinoma ◽  
Correlative Microscopy ◽  
Client Server ◽  
Critical Elements ◽  
Transplant Organ

Prostate adenocarcinoma is the most common malignant tumor of men in the United States and is the third leading cause of death in men. Despite attempts at early detection, there will be 244,000 new cases and 44,000 deaths from the disease in the United States in 1995. Therapeutic progress against this disease is hindered by an incomplete understanding of prostate epithelial cell biology, the availability of human tissues for in vitro experimentation, slow dissemination of information between prostate cancer research teams and the increasing pressure to “ stretch” research dollars at the same time staff reductions are occurring.To meet these challenges, we have used the correlative microscopy (CM) and client/server (C/S) computing to increase productivity while decreasing costs. Critical elements of our program are as follows:1) Establishing the Western Pennsylvania Genitourinary (GU) Tissue Bank which includes >100 prostates from patients with prostate adenocarcinoma as well as >20 normal prostates from transplant organ donors.

Digital image acquisition, processing, and analysis in a polymer microscopy laboratory

1994 ◽  
Vol 52 ◽  
pp. 454-455
Author(s):  
Vinod K. Berry ◽  
Xiao Zhang
Keyword(s):  
United States ◽  
Image Analysis ◽  
Digital Image ◽  
Image Acquisition ◽  
Image Transmission ◽  
The United States ◽  
Quantitative Image Analysis ◽  
Quantitative Image

In recent years it became apparent that we needed to improve productivity and efficiency in the Microscopy Laboratories in GE Plastics. It was realized that digital image acquisition, archiving, processing, analysis, and transmission over a network would be the best way to achieve this goal. Also, the capabilities of quantitative image analysis, image transmission etc. available with this approach would help us to increase our efficiency. Although the advantages of digital image acquisition, processing, archiving, etc. have been described and are being practiced in many SEM, laboratories, they have not been generally applied in microscopy laboratories (TEM, Optical, SEM and others) and impact on increased productivity has not been yet exploited as well.In order to attain our objective we have acquired a SEMICAPS imaging workstation for each of the GE Plastic sites in the United States. We have integrated the workstation with the microscopes and their peripherals as shown in Figure 1.

Silence of the Land: On the Historical Irrelevance of Territory to Congressional Districting and Political Representation in the United States

2001 ◽  
Vol 15 (01) ◽  
pp. 53-87 ◽  
Author(s):  
Andrew Rehfeld
Keyword(s):  
United States ◽  
House Of Representatives ◽  
Political Representation ◽  
The United States ◽  
Representative Government ◽  
Congressional District ◽  
Congressional Districts ◽  
Communities Of Interest

Every ten years, the United States “constructs” itself politically. On a decennial basis, U.S. Congressional districts are quite literally drawn, physically constructing political representation in the House of Representatives on the basis of where one lives. Why does the United States do it this way? What justifies domicile as the sole criteria of constituency construction? These are the questions raised in this article. Contrary to many contemporary understandings of representation at the founding, I argue that there were no principled reasons for using domicile as the method of organizing for political representation. Even in 1787, the Congressional district was expected to be far too large to map onto existing communities of interest. Instead, territory should be understood as forming a habit of mind for the founders, even while it was necessary to achieve other democratic aims of representative government.

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