Moving Beyond Ocularcentrism in Media Associations of Identity by Casey Robertson Pt. 1 скачать в хорошем качестве

Moving Beyond Ocularcentrism in Media Associations of Identity by Casey Robertson Pt. 1

Moving Beyond Ocularcentrism in Media Associations of Identity: Locating Agency in Sonic Acts for Transgender Artists The following video was submitted to our annual 2020 Humanities Graduate Student Association (HUGSA) at York University. About the Humanities Graduate Student Association: The Humanities Graduate Student Association (HUGSA) is a student-run club that represents the Humanities Graduate Students. HUGSA aims to provide a space for our students to engage in discussions regarding topics within humanities and other disciplines. We also hope to help create a friendly social space for you to meet others in the program. About the Speaker: Casey Robertson is a PhD student in the Graduate Program in Humanities at York University (BA Carleton, MA California State University - Dominguez Hills). As a Graduate Associate of York’s Sensorium and Centre for Feminist Research, Casey’s interdisciplinary research spans across continental philosophy, gender studies, and musicology/sound studies. Abstract: This paper interrogates the relationship between the constructions of media formation and the identities of trans artists with the rise of digital technologies. In particular, this discussion explores the problematic depictions of transgender individuals in film and television, which have been until relatively recently largely confined to unrealistic and/or negative stereotypes. Through a critique of these ocularcentric depictions of identities which instill various long-held cultural prejudices, alternative avenues of media are then explored. The primary focus for such alternate expressive formation is through acts of sonic expression. In an attempt to move beyond such shortcomings of the audiovisual litany (as articulated by Sterne), this paper illuminates examples of music and/or sonic acts which work to move beyond such visual-auditory dualisms to reveal that while often subordinated by visual media forms, sound has consistently been a powerful force for identity, embodiment, and agency throughout the past fifty years. With this stated, it is important to step back to note that such activity has not emerged alone, and is thus frequently coupled with the rise of new media technologies. Such phenomena often work through unexpected yet novels means of circuitry not always readily intelligible. Following this trajectory, this discussion then moves forward to illuminate the works of trans artists whose identities were frequently omitted or dismissed from the dominant media formats of the visual, but managed to create sonic spaces beyond the surrounding hegemonic structures of neoliberalism.