And here we are again.
Un-kissed since the last posting.
In my being, I would like to have less time, shorter absences between kisses so that I might not be reminded or feel that kiss as being so significant in my life. Surely, that is not too much to ask?
Some new viewers who were touched by the essence (or other) of DK.com even this far down the line.
Same Q's: why? where? what was it like?
"The choice of material, both images and script, were selected to entice a viewer further into DK.com without being seen as advocating voyeurism. Laura Mulvey writes “as soon as festishistic representation of the female image threatens to break the spell of illusion, and the erotic image on the screen appears directly to the spectator, the fact of festishisation, concealing as it does castration fear, freezes the look, fixates the spectator and prevents him from achieving any distance from the image in front of him.”
Statistics collected from DK.com would reinstate this opinion as many of the visitors would frequent the site on a daily basis with a ratio of 1 to 3 unique visitors to visits. Even when the auction had closed the statistics were comparable to those throughout the entire bidding time demonstrating the perpetuation of the captivated gaze."
Mulvey, L., (1989) Visual and Other Pleasures, Macmillan Press Ltd, Hampshire, UK. p.26
During the week I was asked by a man whether I am looked at by men. When I answered "I don't know" he commented that for the type of person I am - open and honest - that I probably attract just as many women, straight or gay as I do men.
"...specifically pertaining to the male spectator “nothing can protect him from direct confrontation with the woman who returns his gaze and demands freedom of speech and equality of communication.” As author of DK.com, ADZ is supported by Elwes theory that performance art is not only an important vehicle for critique of presentation of the female but it also serves as a method of identifying the female as more than just an object of sexual spectacle and allows the subject to equate the balance of power. Sturken/Cartwright offer a further insight to the desire behind the gaze with regard to the spectator/object power relationship. “A potentially objectifying gaze can be deflected in an image, if the subject refuses to acknowledge it.” Attention to detail was paramount throughout the selection of data presented, and the series of (unedited) images that established ADZ as the object (commodity owner) was vital that in addition to the offering a truthful and unbiased portrayal of the artist they should also portray an element of narrative, in order to support the commercial aspect and of theatre, as a means of sparking the imagination."
Elwes, C. (1990) Floating Femininity: A Look at Performance Art by Women. Women’s Images of Men, ed. Kent, S and Morreau, J. Pandora, London. p.173
I will try and pay more attention to what happens to me this week with regard to who and how often I am viewed in the flesh. However, in my world, to be blissfully unaware is such a saving grace. Everything has a uniformity coated in apprehension and positivity.
Amanda.
