OB-scene , a Live Audio/Visual Performance for Photoplethysmograph and Female Body.
OB-scene is a performance centred on a live sonification of biological data gathered in real-time with a medical vaginal probe (photoplethysmograph), made by the author. The use of the photoplethysmograph, which takes inspiration from the first medical vaginal probes used for diagnostic purposes by...
| Publicado en: | Organised Sound Vol. 23; no. 3; pp. 270 - 277 |
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| Formato: | Artículo |
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Cambridge University Press
Dec2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=133688548&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 133688548 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Dec2018 vid: 23 iid: 3 pid: 15979 pub: Cambridge University Press artinfo: ui: 133688548 10.1017/S1355771818000171 ppf: 270 ppct: 7 formats: tig: atl: OB-scene , a Live Audio/Visual Performance for Photoplethysmograph and Female Body. aug: au: Troisi, Anna affil: EMERGE, Experimental Media Research Centre, Bournemouth University, Weymouth House W211, Talbot Campus, Fern Barrow, Poole, BH12 5BB, UK su: Photoplethysmography Computer sound processing Sound art Electronic data processing Audiovisual materials sug: subj: Photoplethysmography Computer sound processing Sound art Electronic data processing Audiovisual materials ab: OB-scene is a performance centred on a live sonification of biological data gathered in real-time with a medical vaginal probe (photoplethysmograph), made by the author. The use of the photoplethysmograph, which takes inspiration from the first medical vaginal probes used for diagnostic purposes by Masters and Johnson (1966) introduces a media-archaeological aspect to this work. Data gathered through the probe is processed and transformed into sound and visuals projected in the exhibition space. OB-scene takes inspiration from Jane Bennett's Vibrant Matter (2010) in which she argues that human agency has echoes in non-human nature and vice versa, shifting away from anthropocentrism towards the concept of 'vital materiality' that runs across bodies, both humans and unhuman. Furthermore, OB-scene is affiliated with an emerging movement of women and technology called 'XenoFeminism' (XF). It introduces the idea of techno-alienation and focuses on the concept of other/diverse desires, new forms of desiring, experiencing something other (Laboria Cuboniks 2015). In this specific work, this takes the form of a technofeminism incorporating the fluid, the non-human and the diverse. In this performance, the body is fused with the technology, rather than empowered or enhanced by technology itself, body and technology become a unique actant (Latour 2009) enabling the audience to experience the sensorial assemblage as a space for communal experience with political implications. OB-scene is as an immersive environmental work where the senses, affect and memory were key features of ' assemblage thinking ' (Hamilakis 2017). pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2018 holdings: @attributes: islocal: N |
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