Technoetic Arts

ISSN: 1477-965X

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  1.  4
    Negotiating patriarchal hegemony: Female agency in Christina Dalcher’s Vox.Sana Altaf - 2023 - Technoetic Arts 21 (1):125-133.
    Contemporary critics have opined that the vision of dystopian texts has come true about the present situation rather than about the future. In today’s technologically driven world, where the gulf between speculative fiction and political reality seems to have narrowed, feminist dystopian fiction has gained immense popularity. These texts address gender ideologies and issues and often use current social conditions to demonstrate the sexism inherent in patriarchal societies. This article aims to analyse the novel Vox (2018) by American writer Christina (...)
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  2.  3
    The Last Recreational Land VR experience: A non-naturalistic artistic visualization practice with emerging technologies.Hin Nam Fong - 2023 - Technoetic Arts 21 (1):15-33.
    This article introduces a novel use of technologies to visualize space and temporary structures in public space as a critical and speculative method for artistic research. Imitation and iconification have been vital in visual culture since civilization began. Science has become proficient in picturing invisible matter and numerical data. However, we are limited to visualizing these data in an iconic, ‘understandable’ way, that is, to some extent, reductionist. A non-naturalistic artistic visualization (NNAVi) method is proposed to discover and present the (...)
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  3.  3
    ‘Shadowy objects in test tubes’: A biopolitical critique of Kazuo Ishiguro’s Never Let Me Go.Dona George - 2023 - Technoetic Arts 21 (1):107-115.
    This article aims to explore Kazuo Ishiguro’s Never Let Me Go within the Foucauldian theoretical framework in order to analyse the manifold biopolitical issues, namely cloning, by stretching the discourse to a speculative, dystopian posthuman scenario wherein the dominant, privileged, affluent human society replenishes them by incorporating bio-matter from the clones. The article also proposes to unfold the myriad ways the institutions, namely Hailsham and recovery centres in the novel, exercise power and execute power relations with the clones. It describes (...)
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  4.  3
    More than human: Analysing Edward Weyland as a post-human self-humanizing vehicle in Suzy McKee Charnas’s The Vampire Tapestry.Angadbir Singh Kakkar - 2023 - Technoetic Arts 21 (1):91-98.
    Vampires are portrayed opposite to humans, depicted as the dichotomy between predator and prey. Being ever so near to their prey, vampires develop a proclivity for imbibing or emulating characteristics that are considered to be in the sole charge of humans. This text employed is The Vampire Tapestry by Suzy McKee Charnas. The article will analyse Edward Weyland as a post-human symbol, positing himself as an ever-evolving entity that is both human as well as a threshold to gauge humanity of (...)
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  5.  3
    Re-conceptualizing the villain: Todd Phillips’s Joker through the lens of Vedic hermeneutics.Lalit Aditya Kaushal & Nipun Kalia - 2023 - Technoetic Arts 21 (1):135-145.
    This article attempts to examine the portrayal of the character of Arthur Fleck in Todd Phillips’s Joker (2019). In the initial part of the film, Arthur exhibits signs that reveal he is headed towards committing a violent crime. Arthur displays signs of psychopathy and a lack of empathy. This article links criminal behaviour analysis to the Bible of the Arya Samaj, an Indian text, to find out how ancient Indian literature’s empirical theories, which are intertwined with philosophical and religious content, (...)
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  6.  3
    Disgusting desire: The Windup Girl as both object of desire and abject body.Mahesh Krishna & Nagendra Kumar - 2023 - Technoetic Arts 21 (1):117-124.
    The primary question this article deals with is one of ontology. In a dystopian world populated with genetically engineered windups and hybrids, what constitutes ‘the human’? This article looks at how the posthuman body in a dystopian novel like The Windup Girl, set in a world where geographical, political, social, economic and religious norms and boundaries are erased and reconfigured, can in no way simply remain a mere body, but transmutes into a highly complex political and social site from whence (...)
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  7.  4
    Beyond markets: The DADA case for NFTs in art.Tara Merk - 2023 - Technoetic Arts 21 (1):73-89.
    The rise of non-fungible tokens (NFTs) has been astonishing, in particular for the arts and creative industries. The dominant discourse both in mainstream media and in academia today focuses predominantly on what this new technology can do for the art market rather than art itself. However, framing NFTs in art in the context of money and markets draws attention away from the more subtle and creative role of NFTs. Consequently, this article asks: What is the role of NFTs in art, (...)
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  8.  8
    Disability and silver screening: Comparative analyses of Deaf Culture in Sound of Metal and CODA.Astha Singh - 2023 - Technoetic Arts 21 (1):99-106.
    Cinema serves as a mirror, reflecting the development or state of society. It plays an important function in entertainment and education and can bring about a shift in our perspectives and attitudes. The article includes a descriptive analysis of Deaf Culture as a prominent subject in the movies Sound of Metal () and CODA () and clarifies the most prevalent misconceptions about disability in both films. In recent years, filmmakers have made an effort to create true and authentic representations of (...)
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  9.  6
    Applying machine learning methods to quantify emotional experience in installation art.Sofia Vlachou & Michail Panagopoulos - 2023 - Technoetic Arts 21 (1):53-72.
    Aesthetic experience is original, dynamic and ever-changing. This article covers three research questions (RQs) concerning how immersive installation artworks can elicit emotions that may contribute to their popularity. Based on Yayoi Kusama’s and Peter Kogler’s kaleidoscopic rooms, this study aims to predict the emotions of visitors of immersive installation art based on their Twitter activity. As indicators, we employed the total number of likes, comments, retweets, followers, followings, the average of tweets per user, and emotional response. According to our evaluation (...)
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  10.  65
    Turning queries into questions: For a plurality of perspectives in the age of AI and other frameworks with limited (mind)sets.Claudia Westermann & Tanu Gupta - 2023 - Technoetic Arts 21 (1):3-13.
    The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that the recent calls for slowing the development of AI propagated by the technology industry do not represent a shift towards reason and considerate economics. Instead, as these calls are firmly embedded in narratives of human inferiority, they are indicative of a relentless pursuit of (...)
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  11.  2
    A neuroarchitectural perspective to immersive architectural environments.Esen Gökçe Zdamar - 2023 - Technoetic Arts 21 (1):35-51.
    As digital and immersive architectural installations and augmented reality applications generate new sensations, new digital dimensions and boundaries create new perceptions of our built environment. Digital architectural installations as immersive environments make data visible and tangible and give access to data as an experiential flow. Like the works of Refik Anadol, TeamLab or Universal Everything, digital architectural installations point to a neuroarchitectural and neurophenomenological atmosphere that refers to the understanding and measurement of embodied human experience, and how spaces affect people (...)
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