| 1. |
-
Citations
- 2023
-
Ingår i: PARSE Journal. - 2002-0953. ; :17
-
Annan publikation (övrigt vetenskapligt/konstnärligt)
|
|
| 2. |
- Klasto, Cathryn, 19900919
(författare)
-
Architectural Openings: Becoming Archive
- 2022
-
Ingår i: L'Internationale Online. - : L'Internationale Online. - 9789152713426
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 3. |
- Klasto, Cathryn, 19900919
(författare)
-
Dancing in your Brain! Interiority, Affective Witnessing, and Xenoethics
- 2022
-
Ingår i: Idea Journal. ; 19:1, s. 109-127
-
Tidskriftsartikel (refereegranskat)abstract
- This text-based essay examines the corporeal interiority and ethical spatiality of Braindancing. Braindancing can be defined as a source of entertainment as well as a form of psychological treatment within Night City, the urban centre of CD Projekt Red’s 2020 video game Cyberpunk 2077. Commonly known as BD, the Braindance manifests as an interactive technological interior, allowing participants to relive the hyper multisensorial and emotional memory of someone else. There exist both legal and illegal markets for BDs, both alluding to its role as a normalised and intimate form of everyday surveillance. Within the context of the year 2077 and the fictionalised game setting, Braindancing operates across the blurred boundary of physical reality and digital fantasy. It offers an escape from the systemic violent and ultra-capitalist conditions that govern the physical urban environment of Night City, while also reinforcing those conditions through the addictive lure of personalised fantasy. By analysing the interior world of the BD, this essay reflects on our current reality. It begins by applying philosopher Johnny Søraker’s construction of intravirtual (inside the game space) and extravirtual (outside the game space) in order to examine how the BD generates multiple interiors that collapse thresholds between player, character, and game space. It then turns to look at the role of ethics that underpin the BD, considering how, through the collapse of thresholds and extra-intra identities, particular ethical atmospheres are produced. In doing so, the essay puts forward the argument that intravirtual ethics has the capacity to shift how ethics is understood and mobilised extravirtually. This frames a conclusory consideration of xenoethics as a lens that could affect how ethics is understood and practised today. In analysing this fictional context, the essay questions how we define and categorise ethics and considers what can be learnt from future-oriented spatialities currently contained to fantasy.
|
|
| 4. |
- Klasto, Cathryn, 19900919, et al.
(författare)
-
Editorial
- 2023
-
Ingår i: PARSE Journal. - 2002-0953. ; :17
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
|
|
| 5. |
- Klasto, Cathryn, 19900919, et al.
(författare)
-
Open Letter as Reparative Interior: Expanding, Making, Participating
- 2021
-
Ingår i: Idea Journal. - 2208-9217. ; 18:no.01, s. 223-236
-
Tidskriftsartikel (refereegranskat)abstract
- Framing the open letter as an expanded interior-in-the-making, this visual essay documents a participatory experiment that took place between the cities of Sheffield (UK) and Gothenburg (SE). The experiment, as one of critical spatial practice, attempted to foster a temporal atmosphere of reparation which aims to counter the global condition of paranoia produced by the COVID-19 pandemic. This essay articulates the visual design of the experiment, the theoretical principles which underpin it, and the significance of critical reflection in the process. The experiment is intentionally left inconclusive, establishing an open networked approach towards publishing as a way of making public, and subsequently allowing the authors to invite readers to contribute to future iterations. As a way of rethinking the visual essay form, the essay deliberately blurs the line between image and text and their relation with the spatial structure of the page.
|
|
| 6. |
- Klasto, Cathryn, 19900919
(författare)
-
Spatializing an Expanded Field of Citational Practice: (Learning from the Anthrenus Verbasci and the Tinea Pellionella)
- 2023
-
Ingår i: PARSE Journal. - 2002-0953. ; :17
-
Tidskriftsartikel (refereegranskat)abstract
- Written with two citational figures, the carpet beetle (anthrenus verbasci) and the clothes moth (tinea pellionella), this essay investigates the role of space in citational practice. Using art historian Rosalind Krauss’s 1979 structuralist diagram of the expanded field of sculpture as a model, I seek to articulate an expanded field of citational practice as a way of making tangible the emotional and political dimension of citation. Through spatial analysis, the essay tests the viability of Krauss’s diagram and subsequently puts forward theoretical extensions to reveal the emo-political negotiations that can take shape within the shifting conflictual space of the expanded field. The spatial analysis supports the conclusion, which puts forward a proposition for a citational practice methodology of hyperillegibility as a mode of practicing citation otherwise.
|
|
| 7. |
- Klasto, Cathryn, 19900919
(författare)
-
The Atmospheric Thresholds of Black Meme
- 2022
-
Ingår i: The Comparative Media Arts Journal. ; :12
-
Tidskriftsartikel (refereegranskat)abstract
- This is a visual response to Legacy Russell's 2020 video essay, Black Meme. It seeks to draw attention to Russell's editing approach, in particular how it has produced a simultaneously tender, stark and blurry threshold between joy and pain. Russell portrays this threshold as one which not only reflects the liminal position of the African American experience, but also the contemporary usage of the meme as a mode of intergenerational communication. The threshold produces an atmosphere made up of visual flows, repetitions, and cultural memories which this response amplifies. By refolding the various visual and sonic threshold configurations present in the video essay, this visual response adopts a methodology of remixing. Underpinning this approach is the critical question of what is means for a white author to remix this context? What marks the threshold between artistic appreciation and appropriation? These questions linger in the following pages, allowing the visual response to operate as a pedagogical tool to enter this discussion. All text uses the typeface Dapifer which was created by Joshua Darden, the first known African American typographer, in 2012. 2012 is also the year Trayvon Martin was murdered by George Zimmerman.
|
|
| 8. |
|
|
| 9. |
- Leach, Maddie, 1970, et al.
(författare)
-
Fountains Failures Futures: The afterlives of public art
- 2023
-
Ingår i: Fountains Failures Futures: The afterlives of public art. - Lund : Skissernas Museum - Museum of Artistic Process and Public Art.
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Research and discussion about public art frequently focuses on conditions of emergence and production for public works. Fountains Failures Futures starts at the other end – thinking about the afterlives of public art in relation to processes of decline, decay, acts of reparation and re-imagination, transformation, and change. We are interested in questions of sustainability,custodianship, and whether “failed” public artworks can be revitalised and thought anew. What are the implications for their authorship and ownership, and what challenges does this present for commissioners, artists, architects, and urban planners?How can producers, owners and custodians of public artworks, and the communities living with these works, anticipate and accommodate complex afterlives of public art?
|
|
| 10. |
|
|
