عنوان

Protest Beyond Representation: The Vitalism of Digital Protest Art's Political Aesthetics

Number

TL49600

.Language of Text, Soundtrack etc

انگلیسی

Title Proper

Protest Beyond Representation: The Vitalism of Digital Protest Art's Political Aesthetics

General Material Designation

[Thesis]

First Statement of Responsibility

Kate Drazner Hoyt

Subsequent Statement of Responsibility

Hick, Darrin K.

Name of Publisher, Distributor, etc.

University of Denver

Date of Publication, Distribution, etc.

2017

Specific Material Designation and Extent of Item

253

Text of Note

Committee members: Foust, Christina R.; Hanan, Joshua; Reddell, Trace; Willink, Kate

Text of Note

Place of publication: United States, Ann Arbor; ISBN=978-0-355-33667-2

Dissertation or thesis details and type of degree

Ph.D.

Discipline of degree

Human Communications

Body granting the degree

University of Denver

Text preceding or following the note

2017

Text of Note

The complexities of post-modernity tend to dissolve any facile model of direct cause-and-effect in politics, and yet as a democratic polity, we look for the comfort in knowing that political expression can enact change. Protest art, or acts of creative expression intended to resist dominant powers, forces, and structures, models the potential for political expression to create change that is not immediate, direct, or obvious, but rather "moves the social" through expressivity and aesthetics. While these features lend themselves to an analysis guided by affect theory, this sub-discipline within communication studies has tended to lack the methodological specificity to reproduce or expand applications. Daniel Stern's vitality pentad acts as a heuristic by which to study rhetorical objects; these objects are studied due to their expressivity, rather than their appeal to reason. Stern excludes "still" media forms such as photographs and illustrations; however, by looking at the way in which digital artifacts are imbued with movement in its networked path, we can understand that all digital media are time-based. The objects of study speak to the temporal, vital dimensions of digital protest art: Turkey's Vandalina art collective, which places protest stickers on transit cars, demonstrates how force and scale engender feeling of intimacy in public spaces. Iran's Zahra's Paradise, a webcomic-turned-graphic novel, offers differing temporal environments for the reader and weaves its aesthetics into the narrative to create a sense of space and place. Finally, the images of #HandsUpDontShoot, through their directional pull across digital networks, illustrates social media's tendency to remix aesthetic features of older media forms. Major insights drawn from this research speak to the political importance of subject formation-or interventions therein-and vitality forms as a method for rhetorical criticism, which allows the rhetorical critic to be more specific and methodical in applying affect theory to rhetoric. It also challenges the positivist notion that political expression must result in measurable change in order to be validated. Finally, this project addresses the virtual potentiality of digital data and offers a perspective that sees all digital media as time-based.

Art Criticism; Communication; Mass communications

Subject Term

Communication and the arts;Aesthetics;Affect;Digital media;Media criticsm;Media studies;Protest art

Rezai, Shabnam

Hick, Darrin K.

Subdivision

Human Communications

University of Denver

Call Number

1964266667; 10618834

Electronic name

p

[Thesis]

276903

a

Y