By Michele White
ISBN-10: 0262232499
ISBN-13: 9780262232494
ISBN-10: 026228605X
ISBN-13: 9780262286053
Web and laptop clients are frequently represented onscreen as energetic and empowered—as in AOL's striding yellow determine and the interface hand that looks to control software program and hypertext hyperlinks. In The physique and the Screen Michele White means that clients can extra effectively be understood as spectators rendered and controlled by means of applied sciences and representations, for whom having a look and the mediation of the monitor are major facets of engagement. Drawing on gear and feminist psychoanalytic movie theories, artwork historical past, gender stories, queer idea, serious race and postcolonial stories, and different theories of cultural creation, White conceptualizes net and machine spectatorship and gives theoretical types that may be hired in different analyses. She bargains case reviews and shut visible and textual research of the development of spectatorship in several settings.
White indicates that regardless of the onscreen promise of empowerment and coherence (through depictions of materiality that constitution the experience), fragmentation and confusion are consistent elements of net spectatorship. She analyzes spectatorship in multi-user object-oriented settings (MOOs) by means of reading the textual means of taking a look and watching, contrasts the stories of the women's webcam spectator and operator, describes intentional technological mess ups in web paintings, and considers ways that conventional conceptions of artistry, authorship, and construction innovations persist in net and computing device settings (as obvious within the construction of digital atmosphere avatars and in electronic imaging art). ultimately, she analyzes the actual and psychic discomfort defined by way of male programmers in web boards as one other counternarrative to the typical story of the empowered consumer. Spectatorship, White argues, not just impacts the best way particular interfaces are understood but in addition is helping form greater conceptions of self and society.
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Extra resources for The body and the screen: theories of Internet spectatorship
Sample text
Will try to provide more relevant content and advertising based on the information collected on this page and on the Yahoo! ”73 Commercial sites use the information from registration forms in order to attract advertisers interested in reaching particular populations. They also sell it to aggregators who use the data to understand Internet trends and continue to resell this information for profit. However, artists and other noncommercial sites also employ gender questions on their forms. 75 However, the ways spectators are addressed and explanations of how demographic information is used indicate that Internet sites produce differences.
Browser names transform the spectator into an “explorer” and “navigator” who is guided with Netscape’s animated lighthouse logo, star strewn sky, and ship’s wheel. ”32 The spectator seems to be positioned in the setting because the reading experiences and textual aspects of hypertexts are displaced. 34 The Internet and computer spectator is situated in front of the screen. However, the concept of Internet travel displaces the chair 22 Chapter 1 and sitting. 35 Internet “movement” makes it seem as though the spectator has a high level of agency when engaging with Internet settings.
The concept of the gaze is used in feminist film theory to describe looking relationships in which voyeurism, an empowered scopophilic stare, and erotic perusals are sometimes employed. The gaze is also utilized in other considerations of power relationships. 36 In his discussion of the panopticon, which was designed by Jeremy Bentham, the architectural layout of the prison or other building allows guards, officials, or citizens to surreptitiously watch. Prisoners know that they can be watched but they do not know when this observation occurs, who is looking at them, or when punishment might happen.
The body and the screen: theories of Internet spectatorship by Michele White
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