Chapter 12. Informationalized Affect The Body In Taiwanese Digital Video Puppetry And Cosplay

Silvio, Teri

doi:10.1515/9780824862329-013

Cited by 5 publications

(7 citation statements)

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“…Silvio thus highlights the hybrid nature of the animated figure, whose existence is both enabled by others and in excess of them. In her discussion of cosplay (Silvio ), she suggests that it is not solely the cosplayer who is animating the character but also the character who is animating the cosplayer (see also Manning and Gershon ; Manning ).…”

Section: Animationmentioning

confidence: 99%

Animating Relations: Digitally Mediated Intimacies between the Living and the Dead

Hales

2019

Cult. Anthropol.

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Recent theorizations of animation offer intriguing possibilities for recognizing and attending to the sociality of a range of entities, including the dead. Today, diverse digital media are being used to maintain and even deepen intimate relationships with deceased loved ones. These media bring the dead to presence through forms of animation, understood not only in the narrow technical sense as a media genre but more broadly as a mode of mediation that vivifies in particular ways. This mode of mediation is iterative, bringing forth the multiplicity of the dead. Their materializations are partial and fragmentary, cohering around a database of elements rather than a cohesive, narrative identity. They are sparsely outlined, evoked rather than depicted. When the dead are animated by digital media, they invite their loved ones to fill them, expanding into many versions to which shifting attachments can form. Those who answer their call extend their ambivalent hospitality, maintaining mutually constitutive relationships through which both the living and the dead are carried forth.

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Section: Animationmentioning

confidence: 99%

Animating Relations: Digitally Mediated Intimacies between the Living and the Dead

Hales

2019

Cult. Anthropol.

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“…Like puppets—composites of design, movement, and voice—spirit characters are “striated” beings (Silvio , 201–209; , 428–429), assemblages of different kinds of materialization phenomena drawn into an organic whole. As Nozawa () points out, Goffman chose the term “figure” over “character” because the latter “carries a bias for the human form” (Goffman 1974, 523).…”

Section: Animating Spiritsmentioning

confidence: 99%

Spiritualist Signal and Theosophical Noise

Manning

2018

J Linguistic Anthropol

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Recent media studies research on 19th‐century Spiritualism has foregrounded the technological metaphors that suffuse Spiritualist models of the séance. However, this article shows that the actual phatic channels proposed by Spiritualism consisted almost entirely of mediating chains of human spirits who stood between the bereaved séance guests and the spirits of the dear departed called “strangers.” While the “strangers” were, like the séance guests, departed white people, the authoritative “control spirits” were frequently exotic others such as “Indians” from the American imaginary of the Frontier. Beginning in 1875, the apparent transparency of the Spiritualist séance became the object of critique of an emerging occultist movement of Theosophy, which sought to undermine the authoritative human spirits of Spiritualism by turning the human spirits of the Spiritualist séance wholesale into disruptive non‐human mediators called “Diakkas,” “Bhuts,” and “Elementals,” and replacing Spiritualism's authoritative “Indian” control spirits drawn from the imaginary of the American frontier with Tibetan “Mahatmas” drawn from the orientalist imaginary of the Empire. These elementals initially represented noisy non‐human “parasites” of Spiritualist channels, but later these parasites take over the channel and become the channel themselves in the form of what came to be called the “elemental essence.”

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“…What does this distance allow writers and publishers to do? In Taiwan, fandom practices that involve animation, such as cosplaying (dressing up as a character at fan events) as puppets from a popular series, are prevalent because they allow fans to experience distance between parts of the self that must remain together in everyday experiences of affective labor (Silvio ). Likewise, romance writers’ pen names allowed writers to create distance between parts of the self, in this case to use them in affective labor and to aid the industry.…”

Section: Animated Assets: Authors and Businessesmentioning

confidence: 99%

Animating creative selves: Pen names as property in the careers of Canadian and American romance writers

TAYLOR

2018

American Ethnologist

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Most romance writers in Canada and the United States in the first decade of the 21st century wrote under at least one, and as many as three or four, pen names. In doing so, they typified the ideal of a middle‐class worker who is both a business and a brand. Yet writers went beyond the singular branded self to develop multiple brand names. Prompted by publishers, writers developed pen names as forms of property that, like brands, could be used to mediate between producer and consumer. These newly developed properties were created according to specifications that reflected the gendered and racialized structure of mass‐market publishing. This process of property creation and animation was imagined to create value for writers and publishers in an uncertain, recession‐era economy. [authors, branding, gender, labor, romance, United States, Canada]

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Chapter 12. Informationalized Affect The Body In Taiwanese Digital Video Puppetry And Cosplay

Cited by 5 publications

References 0 publications

Animating Relations: Digitally Mediated Intimacies between the Living and the Dead

Animating Relations: Digitally Mediated Intimacies between the Living and the Dead

Spiritualist Signal and Theosophical Noise

Animating creative selves: Pen names as property in the careers of Canadian and American romance writers

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