Presenting: SAA (Shakespeare Association of America),March 23-27, New Orleans 2016, Digital Salon on multimodal chapter "Cavendish's Observations Upon a Blazing World"
I will be participating in a roundtable at Geroge Washington University, GW Medieval and Early Modern Studies Institute (MEMSI), on "Crip Ecologies," "Biopolitics: Law, Life, Land, Love"
Jen Boyle, "Is There Love in The (Queer) Telematic Embrace?”
- Julia Watts Belser, Georgetown University
- George Edmondson, Dartmouth College
- Randy Schiff, SUNY Buffalo
- Sharon O'Dair, University of Alabama
- Jen Boyle. Coastal Carolina University
Panel presentations, MLA 2017:
"Digital Critical Practice Beyond Quantification" (Chair: Ellen MacKay,Director, IU Institute for the Digital Arts and Humanities, Associate Professor, English, Indiana University Department of English)
Telematic Traces (and Embraces): Moving Ontologies of Form across the Early Modern and the Digital
This presentation explores the potential in thinking across ontologies of scale and form as a model for re-casting critical questions related to both contemporary digital aesthetics and early modern mediation. Earlier 20th-century interventions into digital aesthetics, like Roy Ascott’s “telematic embrace,” offer us alternative perspectives on form and mediation that challenge the positivism and quantification of later theories. How do such framings re-tune our digital channels away from more ethereal imaginings and toward the scalar materialities and hybrid mediations of early modern polymaths (Bacon; M. Cavendish).
"Early Modern Digital Embodiment" (Chair: Gina Bloom,Associate Professor of English, Univ. of California, Davis [website]; Project Director, Play the Knave, a video game about Shakespeare performance)
Scalar Bodies: the Early Modern Hybrid Text and the Digital “Stack"
This presentation explores scalar hybridities in texts like Francis Bacon’s exemplars in The Advancement in Learning and Margaret Cavendish’s The Description of the New World Called the Blazing-World… as experiments in re-scaling and re-materializing modes of embodiment — an alternative construct to what Hobbes and Shakespeare (differently) would come to identify as the “multitudes.” Some transhistorical comparisons are made with modes of embodiment in the contemporary rendering of the digital “stack,” a fascinating recalibration of emerging vertical-horizontal scales of performed interfacing that reorders the body of the sovereign “user” (Bratton). The early modern context offers a creative imagining of mediated embodiment that cathects “cloud” and scaled terrain.
Sunday, 8 January
729. Digital Embodiment
10:15–11:30 a.m., 112B, Pennsylvania Convention Center
Program arranged by the forum LLC Shakespeare
Presiding: Gina Bloom, Univ. of California, Davis
1. "Scalar Bodies: The Early Modern Hybrid Text and the Digital 'Stack,'" Jen Boyle, Coastal Carolina Univ.
2. "Digital Labor in Renaissance Texts," Whitney Trettien, Univ. of North Carolina, Chapel Hill
3. "(Dis)Embodied Activation: Theatrical Phenomenologies in Digital Shakespeares," Jennifer Roberts-Smith, Univ. of Waterloo
Respondent: Sarah Werner, independent scholar
We will accommodate the following audiovisual request(s) for your session: Projection equipment for a computer
keywords: digital humanities, theater, early modern, embodiment, labor
Session 24. The Retro-Futurism of Cuteness
Co-Organizers: Jen Boyle, Coastal Carolina University + Wan-Chuan Kao (Washington & Lee University)
Flâneurs: Una Chaudhuri + Marina Zurkow
2:00 – 3:00 pm
University Center: State Street Room
*this session is cross-listed with Session 20. Cute Shakespeare
Cute cues: infancy, youth, helplessness, vulnerability, harmlessness, play, enjoyment, awkwardness, needs, intimacy, homeliness, and simplicity. At other times, cuteness is cheapness, manipulation, delay, repetition, hierarchy, immaturity, frivolity, refusal, tantrum, and dependence. Cuteness is a threshold: “too cute” is a backhanded compliment. Or, cuteness is a beach where forces congregate. A dolphin breaching in the ocean may be cute, but not a beached one. And more than the pop cultural kawaii (literally, “acceptable love”), “cute” — the aphetic form of “acute” — also carries the sense of “clever, keen-witted, sharp.” The Latin acutus embraces the sharpened, the pointed, the nimble, the discriminating, and the piercing. To be cute is to be in pain. Cuteness is therefore a figure of Roland Barthes’s punctum or Georges Bataille’s point of ecstasy. As we gather at the Pacific Rim, let us, à la Takashi Murakami, recast the premodern in cuteness. The OED cites the first reference to “cute” in the sense of “attractive, pretty, charming” as 1834. Sianne Ngai, in 2005, offered a critical study of the cuteness of the twentieth-century avant-garde. But was there ever a medieval or early modern history or historiography of cuteness? Is it possible to conceive of a Hello Kitty Middle Ages, or a Tickle Me Elmo Renaissance? Has the humanities, or the university, ever been cute? Cuteness is the cheap bastard child of beauty: what’s beautiful may not be cute, but what’s ugly and monstrous may be. This panel will feature curated materials (images, videos, texts, essays, sound bytes, trinkets, texts, objects and artifacts from the premodern and present) as a pre-session, submitted 2 to 3 months in advance of the conference and made available online; and a 40-minute dialogue during the conference, preceded by 5-minute “flash talk” show-and-tells where participants re-introduce their curated pieces. Pre-session curated materials will also be part of a media exhibit space associated with the conference (University Center: Flying A Room). We plan to cover a diverse range of approaches (including but not limited to): aesthetics, material culture, affect, gender, queerness, childhood, youth, disability, camp, Sado-Cute, and Superflat.
Curated online materials available HERE.
- Kelly Lloyd (School of the Art Institute of Chicago): Katie Sokoler — Your Construction Paper Tears Can’t Hide Your Yayoi Kusama Grade Neurotic Underbelly
- Michael O’Rourke (Independent Colleges Dublin): Cuturity
- Tripthi Pallai (Coastal Carolina University): ‘Itemizing’ Violence in Marlowe and Bollywood
- Rebekah Sheldon (Indiana University): Pleading, Hurt, and Incredibly Cute: The Child, Environmental Crisis, and the Regime of Faciality
- Devin Toohey (University of Southern California): It’s a Cute Old-World After All: the Kawaii Renaissance of Tokyo DisneySea
- Eileen Joy (BABEL Working Group): Response