Seeing yourself strangely: Media mirroring in Takehito Etani’s The Third Eye Project

Pasek, Anne

doi:10.1386/mvcr.4.2.121_1

Cited by 3 publications

(3 citation statements)

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“…Technology in postmodern discourses veers beyond an external reality, where the body can be reordered and re-presented through technology. The conceptualisations of the posthuman and the cyborg are then part of this imagination, where technology infiltrates the body and mind through its pervasiveness and ubiquity (Pasek 2014).…”

Section: Self and Presence Onlinementioning

confidence: 99%

“…When we normalise the self in the virtual, there is danger of not being critical about the critiques of mediated self-perception. Pasek (2014) concurs that seeing oneself is a destabilizing affair as "looking at ourselves through technology also seems to run the risk of cyborgic transformation-of bodies made alien or broken through the inorganic logic of visual media" (Pasek 2014). Pasek (2014) argues that embodied experiences can be understood as continuously incomplete, enactive, and contingent upon technological supports and extensions to the body"s sensory world.…”

Section: Self and Presence Onlinementioning

confidence: 99%

“…Pasek (2014) concurs that seeing oneself is a destabilizing affair as "looking at ourselves through technology also seems to run the risk of cyborgic transformation-of bodies made alien or broken through the inorganic logic of visual media" (Pasek 2014). Pasek (2014) argues that embodied experiences can be understood as continuously incomplete, enactive, and contingent upon technological supports and extensions to the body"s sensory world. She nevertheless argues that instead of viewing this as a form of domination or dehumanisation, it should be understood as a technology of perceptual introspection.…”

Section: Self and Presence Onlinementioning

confidence: 99%

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Coalescing the mirror and the screen: consuming the ‘self’ online

Ibrahim

2016

Continuum

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While humanity has always found means to represent itself through material artefacts, the digital age and its attendant screen culture offer interesting ways to ubiquitously capture and to produce the self as a digital artefact online for personal and public consumption. The nonstop capture of ourselves and our specular double are distinctive to digital living where the self can be objectified and consumed relentlessly, and where others can partake in consuming us. This chapter argues that the self remains a primal subject of interest online sustaining our "mirror moment" of self-discovery and recognition. Our fascination with the self is elevated further through our social and historical valorisation of the screen, which has over time stood for public spectacle and voyeurism. The screen, once the preserve of newsmakers, the celebrity or the morbid, has been disaggregated into a theatre for the consumption of the self. This ubiquitous consumption of the screen is premised through the concepts of the mirror and the screen in Chapter.

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Section: Self and Presence Onlinementioning

confidence: 99%