'Vision, Control, Power: Identity and Optical Technologies' (working title)

Research output: Chapter in Book/Report/Published conference proceedingChapter

Abstract

This chapter would be a development of a paper given at the 'Identity and the Creative Act' symposium organised by Steven Lannin who is communicating with publishers about developing a book from the symposium. My abstract was 'The term ‘identity’ implies a visibility and recognition formed through a position in which some
-
one can be identified. However, under what conditions might ‘invisibility’ be an identity strate
-
gy; disappearance rather than appearance? The figurative representation of a radically different
conception of ‘self’ was of profound concern to modernist avant-garde artists. In contrast to
established representational conventions, new visual forms of articulating the subject were pro
-
duced that instead reimagined it as a temporal, fluxive being – one continuous with its environ
-
ment. Yet, whilst modernist artists were rethinking – and re-presenting – classical figuration, its
experiments with object, space and identity were instrumentalised by the military. For example,
cubism was harnessed as a strategy for camouflage. Indeed, the twentieth and twenty-first
centuries have been characterised by the technological development of increasingly sophisticat
-
ed strategies to ‘unconceal’ (referring to Martin Heidegger’s notion) identity.'
Original languageEnglish
Title of host publicationTBC
Publication statusIn preparation - 2020

Fingerprint

Optical
Symposium
Artist
Modernist
Figuration
Experiment
Visibility
Figurative
Cubism
Camouflage
Disappearance
Conception
Avant Garde
Military
Invisibility

Cite this

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title = "'Vision, Control, Power: Identity and Optical Technologies' (working title)",
abstract = "This chapter would be a development of a paper given at the 'Identity and the Creative Act' symposium organised by Steven Lannin who is communicating with publishers about developing a book from the symposium. My abstract was 'The term ‘identity’ implies a visibility and recognition formed through a position in which some-one can be identified. However, under what conditions might ‘invisibility’ be an identity strate-gy; disappearance rather than appearance? The figurative representation of a radically different conception of ‘self’ was of profound concern to modernist avant-garde artists. In contrast to established representational conventions, new visual forms of articulating the subject were pro-duced that instead reimagined it as a temporal, fluxive being – one continuous with its environ-ment. Yet, whilst modernist artists were rethinking – and re-presenting – classical figuration, its experiments with object, space and identity were instrumentalised by the military. For example, cubism was harnessed as a strategy for camouflage. Indeed, the twentieth and twenty-first centuries have been characterised by the technological development of increasingly sophisticat-ed strategies to ‘unconceal’ (referring to Martin Heidegger’s notion) identity.'",
author = "Thomas Slevin",
year = "2020",
language = "English",
booktitle = "TBC",

}

'Vision, Control, Power: Identity and Optical Technologies' (working title). / Slevin, Thomas.

TBC. 2020.

Research output: Chapter in Book/Report/Published conference proceedingChapter

TY - CHAP

T1 - 'Vision, Control, Power: Identity and Optical Technologies' (working title)

AU - Slevin, Thomas

PY - 2020

Y1 - 2020

N2 - This chapter would be a development of a paper given at the 'Identity and the Creative Act' symposium organised by Steven Lannin who is communicating with publishers about developing a book from the symposium. My abstract was 'The term ‘identity’ implies a visibility and recognition formed through a position in which some-one can be identified. However, under what conditions might ‘invisibility’ be an identity strate-gy; disappearance rather than appearance? The figurative representation of a radically different conception of ‘self’ was of profound concern to modernist avant-garde artists. In contrast to established representational conventions, new visual forms of articulating the subject were pro-duced that instead reimagined it as a temporal, fluxive being – one continuous with its environ-ment. Yet, whilst modernist artists were rethinking – and re-presenting – classical figuration, its experiments with object, space and identity were instrumentalised by the military. For example, cubism was harnessed as a strategy for camouflage. Indeed, the twentieth and twenty-first centuries have been characterised by the technological development of increasingly sophisticat-ed strategies to ‘unconceal’ (referring to Martin Heidegger’s notion) identity.'

AB - This chapter would be a development of a paper given at the 'Identity and the Creative Act' symposium organised by Steven Lannin who is communicating with publishers about developing a book from the symposium. My abstract was 'The term ‘identity’ implies a visibility and recognition formed through a position in which some-one can be identified. However, under what conditions might ‘invisibility’ be an identity strate-gy; disappearance rather than appearance? The figurative representation of a radically different conception of ‘self’ was of profound concern to modernist avant-garde artists. In contrast to established representational conventions, new visual forms of articulating the subject were pro-duced that instead reimagined it as a temporal, fluxive being – one continuous with its environ-ment. Yet, whilst modernist artists were rethinking – and re-presenting – classical figuration, its experiments with object, space and identity were instrumentalised by the military. For example, cubism was harnessed as a strategy for camouflage. Indeed, the twentieth and twenty-first centuries have been characterised by the technological development of increasingly sophisticat-ed strategies to ‘unconceal’ (referring to Martin Heidegger’s notion) identity.'

M3 - Chapter

BT - TBC

ER -