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The Play in the System : The Art of Parasitical Resistance /
"In THE PLAY IN THE SYSTEM Anna Watkins Fisher asks what kind of room for maneuver remains in a system from which there appears to be no way out. Arguing that traditional leftist modes of opposition and refusal, which presuppose an autonomous or emancipatory subject, have proven ill-adapted to...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Durham :
Duke University Press,
2020.
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 008 | 200706s2020 ncu o 00 0 eng d | ||
| 010 | |z 2019054723 | ||
| 020 | |a 9781478012320 | ||
| 020 | |z 9781478091660 | ||
| 020 | |z 9781478009702 | ||
| 020 | |z 9781478008842 | ||
| 035 | |a (OCoLC)1164825665 | ||
| 040 | |a MdBmJHUP |c MdBmJHUP | ||
| 050 | 0 | 4 | |a NX180.P64 |b F57 2020 |
| 082 | 0 | |a 700.1/03 |2 23 | |
| 100 | 1 | |a Fisher, Anna Watkins, |e author. | |
| 245 | 1 | 4 | |a The Play in the System : |b The Art of Parasitical Resistance / |c Anna Watkins Fisher. |
| 264 | 1 | |a Durham : |b Duke University Press, |c 2020. | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2020 | |
| 264 | 4 | |c ©2020. | |
| 300 | |a 1 online resource (304 pages). | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a User be used : leveraging the coercive hospitality of corporate platforms -- An opening in the structure : Núria Güell and Kenneth Pietrobono's legal loopholes -- Hangers-on : Chris Kraus' parasitical feminism -- A seat at the table : feminist art's institutional absorption, millennial precarity, and ambivalent legacies -- Coda. It's not you, it's me : Roisin Byrne and the parasite's shifting ethics and politics. | |
| 520 | |a "In THE PLAY IN THE SYSTEM Anna Watkins Fisher asks what kind of room for maneuver remains in a system from which there appears to be no way out. Arguing that traditional leftist modes of opposition and refusal, which presuppose an autonomous or emancipatory subject, have proven ill-adapted to today's murky political terrain, Fisher focuses on new media artists and activists who embrace what she calls parasitism. Fisher defines parasitism as a tactical mode through which precarious subjects (at least, those with enough capital to get a foot in the door) can leverage the minor advantages of appearing familiar and non-threatening to those who hold power over them. Using powerful entities' pretense of benevolence to gain access, parasitical artists are then (like Trojan horses) able to disrupt the smooth functioning of these entities. In acknowledging our inevitable entanglement in the oppressive systems and institutions we most need to resist, Fisher's parasites create space to relinquish investments in purity and weaponize complicity. The first half of the book focuses on works that target large corporations-major "hosts"-whose appropriation of transparency and facilitation masks their proprietary gatekeeping and monetization of public goods. But Fisher's book does not only laud parasitical activists like the collective Ubermorgen, whose Amazon Noir project exploited Amazon's "search inside the book" feature to produce open access versions of over 3,000 books. The book's second half considers what happens when the boundary between host and parasite becomes blurrier, grappling with the more messy contradictions posed by parasitical works that share a genealogy with feminist performance art. Here, works like Chris Kraus' I Love Dick and Sophie Calle's Take Care of Yourself play on the intimacy of the author/artist's relationship with a privileged man. In the book's coda, Fisher considers her own parasitic relationship with feminist performance artist Roisin Byrne, reflecting on the shifting parasitical relationships between artists and critics. This book will be of interest to readers in media studies, especially new media studies, as well as those in contemporary art and performance studies, feminist studies, political and social theory, and cultural studies, as well as those interested in neoliberalism and anti-capitalist activism"-- |c Provided by publisher. | ||
| 588 | |a Description based on print version record. | ||
| 650 | 0 | |a Arts, Modern |y 21st century. | |
| 650 | 0 | |a Politics and culture. | |
| 650 | 0 | |a Artists and community. | |
| 650 | 0 | |a Feminism in art. | |
| 650 | 0 | |a Feminism and the arts. | |
| 650 | 0 | |a Artists |x Political activity. | |
| 650 | 0 | |a Arts and society |x History |y 21st century. | |
| 650 | 0 | |a Arts |x Political aspects |x History |y 21st century. | |
| 655 | 7 | |a Electronic books. |2 local | |
| 776 | 1 | 8 | |i Online version: |a Fisher, Anna Watkins. |t The play in the system. |d Durham : Duke University Press, 2020. |z 9781478012320 |w (DLC) 2019054724 |
| 710 | 2 | |a Project Muse. |e distributor | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/77989/ |
| 945 | |a Project MUSE - Custom Collection | ||