1- Cannibalistic, Social Dynamics of Power: We Are All Out at Sea - Emmalia Bortolon-Vettor, University of Guelph
Quand:
4:00 PM, Vendredi 24 Mai 2019
(2 heures)
Où:
Université du Québec à Montréal (UQAM) -
DS-1540
Comment:
Written during the
post-WWII period, Slavomir Mrozek’s Out
At Sea is
an absurdist one-act play about three shipwrecked men named Fat, Medium, and
Thin, who employ socio-political debate in deciding which man to eat. Fat is an
unruly leader who, with the blind support of Medium, manipulates Thin into
sacrificing himself. Thus, Out At Sea
uses cannibalism and consumption as a means of establishing power. Mrozek’s
work has recently been revisited by the Canadian experimental pop group Bonnie
Trash whose newest release is an exploration of oppression in the context of
consumption wherein they reinterpret Out
At Seain a goth-rock context. Making use of McLuhan and Fiore’s (1968) theory of
technology serving as amputations and extensions of the self, I
argue that social media acts as a means of fragmenting the self into digital
voices. One’s online presence is processed and then published onto forums where
people consume one other in much the same way that entertainment and technology
are consumed. In reinterpreting Mrozek’s play, Bonnie Trash incorporated
contemporary critiques of established power dynamics, particularly the #MeToo
movement into the script and embodied this examination within their song, Goodnight My Dear.
Bonnie Trash’s project of reinterpretation invokes
varied compositional elements, one of which is the constant use of an
underlying sound of a sea reinterpreted in different sonic contexts. For Goodnight, My Dear,the sea was a
collection of voices from identified #MeToo victims performing Pauline
Oliveros’ Tuning Meditation.Oliveros’
use of collective attentions serve as a model of response mechanisms in social
media. #MeToo greatly amplified when a person logged on, saw the hashtag,
understood the hashtag, and then participated by echoing the hashtag. This
amplification of attention was simple and effectively overwhelming. Overall,
this paper aims to explore how the digital voice is shared, digested, and acted
upon.