Graduate Theses & Dissertations

Rethinking Subjectivity
The following thesis problematizes different theories of subject formation in relation to morality, accountability, and consciousness raising. Focusing on the conditions subjects emerge in, I argue that socially transformative subjectivities emerge in movement through spaces. The theoretical discussion departs from the premise that morally accountable subjectivities drive social change. The politics of positionality that anchor the subject in a particular social location conceptualize morality as the result of critical consciousness raising. The causal nature of the relationship between the subject’s ability to reflect back on itself and its moral capacity is problematic for it leaves the reflective subject in a position of epistemic and moral authority. Rather, a subject who does not fully know itself nor the conditions of its being has the ability to engage in moral inquiry. Grounding subject formation in epistemic uncertainty construes the subject as inherently accountable to other unknowing subjects. Transformative subjectivities emerge out of epistemic resistance and uncertainty. The particular understanding of morality that underlies the rethinking of my moral subject emanates from its relational constitution. A morality of care prioritizes the responsibilities a subject has to others. In the context of Covid-19, relational subjects act in accordance with a morality of care that leads them to intervene in the lives of others who are threatened by the virus and left unprotected by institutional structures. The desire to interfere is cultivated when subjects emerge in ontological fields generated through epistemic intervention. One way to create such interventions is through counter-hegemonic cultural production such as works of art. Author Keywords:
Untitled (dissertation 4.2)
Untitled (dissertation 4.2) offers a performative take on the political implications of digital archives. I argue that technological developments and their increasing ubiquity has not resulted in more reliable archives; it has facilitated the exacerbation of what Jacques Derrida calls mal d’archive—or archive fever—which refers to the institutionally supported passion to preserve that is perpetually threatened by the inevitably of loss. A performative perspective, specifically derived from the work of contemporary performance theorists and artists, affords a contemporary archival practice that not only accepts, but is informed by mal d’archive because it shifts the focus from what is preserved to how it has become and continues to be preservable through archival acts. This is important in our contemporary moment because the ubiquity of digital technologies has exacerbated the symptoms of mal d’archive: a rapid increase in both the formal and informal production of preservable content, and consequently, as Derrida reminds us, archival violence. Untitled (dissertation 4.2) also includes a performative engagement with mal d’archive through two interludes. The first interlude features what I am calling “glitch-utterances,” which refers to the visual representations of technological mishaps. The documents in the second interlude—an iteration of the exhibition catalogue that resulted from my 2020 artist residency at the Art Gallery of Peterborough—engage with the productive function of the archive because they performatively constitute the exhibition as having happened regardless of whether or not it actually occurred, which, significantly, it did not. I conclude Untitled (dissertation 4.2) with a look at the ecological impact of digital archives—perhaps an “ecological fever.” It is not my intention to offer a solution for this “ecological fever,” nor address its full impact. My aim is to conclude this dissertation with a supplement of sorts: a look at the ecological impact of digital archives because I feel it is irresponsible not to given their increasing ubiquity. With this in mind, the glitch-utterances featured in both interludes can perform an important role in calling attention to the technological materialities and computational processes that are rendered invisible by Big Tech companies via metaphors—the ethereal Cloud metaphor, for example. These glitch-utterances point to the very material substrates that support the virtual, and can thus act as an important reminder of the ecological consequences of digital archives, which, like archival practices, are tied to institutional agendas. Author Keywords: Archive , Curation , Digital Archive, Documentation, Multimedia performance, Performativity
Socioloegal Mediation of Rave Sound System Technologies
The central scholarly contribution of this dissertation develops through bringing the theories of Michel Foucault to bear in a sociolegal study of rave culture's criminalization by the United Kingdom's 1994 Criminal Justice and Public Order Act. My methodology develops rave as a cultural keyword. This keyword navigates through a quasi-materialist definition of rave as a cultural codification of sound system technologies. I theorize the way in which sociocultural discourse indexes aestheticized representations and the cultural mythologies that rave sound system's technical mediation generate. These ideas trace the facticity of the legal documentation of rave’s criminalization. I inform this sociolegal history by situating Foucault's work on the genealogy of liberalism as a practical toolkit for associating the legal discourse on rave culture with the genealogy of festival. This opens up a dialogue with the work of Mikhail Bakhtin's theorizing of the festival’s ambivalent political climate. Such ideas are useful in documenting rave as an enduring mimicry of the tension between State and civil society. Pieter Bruegel the Elder’s 1559 painting, “The Fight Between Carnival and Lent”, captures this tension beautifully. The aptness of reading rave's criminalization in relation to Bruegel’s portrayal of landscape is accomplished by returning to Foucault, who defines liberalism's political technologies in relation to Judaeo-Christian precedents. I explore how these political technologies, pastoral power in particular, are helpful in tracing rave's genealogical relation to the festival's sociotechnical cartography. Author Keywords: Bakhtin, Carnival, Christianity, Festival, Liberalism, Materialism

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2014 - 2024
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