http://cc.practices.tools/wiki/index.php?action=history&feed=atom&title=Content_Form%3AAPRJA_13_Bilyana_PalankasovaContent Form:APRJA 13 Bilyana Palankasova - Revision history2026-04-10T16:36:59ZRevision history for this page on the wikiMediaWiki 1.45.1http://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4506&oldid=prevGeoffcox at 16:47, 11 November 20242024-11-11T16:47:18Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Introduction ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Introduction ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>This article considers 21st century feminist performance and internet art practices against Boris Groys’ theory of innovation. The text proposes that such practices fulfil the principles of innovation theorised by Groys through a process of re-valuation of values and intra-cultural exchange occurring between online spaces (particularly social media) as 'the profane'<del style="font-weight: bold; text-decoration: none;">, </del>and the institution(s) of contemporary art as 'the archive'<del style="font-weight: bold; text-decoration: none;">.</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>This article considers 21st century feminist performance and internet art practices against Boris Groys’ theory of innovation. The text proposes that such practices fulfil the principles of innovation theorised by Groys through a process of re-valuation of values and intra-cultural exchange occurring between online spaces (particularly social media) as 'the profane<ins style="font-weight: bold; text-decoration: none;">,</ins>' and the institution(s) of contemporary art as 'the archive<ins style="font-weight: bold; text-decoration: none;">.</ins>'</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The article will discuss the practices of three multi-media artists who work with performance online, use self-documentation methods, and incorporate archival motifs in their work - Signe Pierce, Molly Soda, and Maya Man. Their practices will be framed as exemplifying artistic and cultural innovation following Groys’ conceptual framework of ‘the new’ by relying on intra-cultural exchange between feminist art histories and practices (the archive) and online content (the profane). The theoretical framework is applied to readings of the artworks constructed through digital ethnography. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The article will discuss the practices of three multi-media artists who work with performance online, use self-documentation methods, and incorporate archival motifs in their work - Signe Pierce, Molly Soda, and Maya Man. Their practices will be framed as exemplifying artistic and cultural innovation following Groys’ conceptual framework of ‘the new’ by relying on intra-cultural exchange between feminist art histories and practices (the archive) and online content (the profane). The theoretical framework is applied to readings of the artworks constructed through digital ethnography. </div></td></tr>
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</table>Geoffcoxhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4504&oldid=prevGeoffcox at 16:33, 11 November 20242024-11-11T16:33:38Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Introduction ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Introduction ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>This article considers feminist performance and internet art practices <del style="font-weight: bold; text-decoration: none;">from the twenty-first century </del>against Boris Groys’ theory of innovation<del style="font-weight: bold; text-decoration: none;">, proposing </del>that <del style="font-weight: bold; text-decoration: none;">these </del>practices fulfil the innovation <del style="font-weight: bold; text-decoration: none;">process </del>theorised by Groys through a re-valuation of values and intra-cultural exchange between online spaces (particularly social media)<del style="font-weight: bold; text-decoration: none;">, </del>as profane, and the institution(s) of contemporary art<del style="font-weight: bold; text-decoration: none;">, </del>as the archive. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>This article considers <ins style="font-weight: bold; text-decoration: none;">21st century </ins>feminist performance and internet art practices against Boris Groys’ theory of innovation<ins style="font-weight: bold; text-decoration: none;">. The text proposes </ins>that <ins style="font-weight: bold; text-decoration: none;">such </ins>practices fulfil the <ins style="font-weight: bold; text-decoration: none;">principles of </ins>innovation theorised by Groys through a <ins style="font-weight: bold; text-decoration: none;">process of </ins>re-valuation of values and intra-cultural exchange <ins style="font-weight: bold; text-decoration: none;">occurring </ins>between online spaces (particularly social media) as <ins style="font-weight: bold; text-decoration: none;">'the </ins>profane<ins style="font-weight: bold; text-decoration: none;">'</ins>, and the institution(s) of contemporary art as <ins style="font-weight: bold; text-decoration: none;">'</ins>the archive<ins style="font-weight: bold; text-decoration: none;">'</ins>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The article will discuss the practices of three multi-media artists who work with performance online, use self-documentation methods, and incorporate archival motifs in their work - Signe Pierce, Molly Soda, and Maya Man. Their practices will be framed as exemplifying artistic and cultural innovation following Groys’ conceptual framework of ‘the new’ by relying on intra-cultural exchange between feminist art histories and practices (the archive) and online content (the profane). The theoretical framework is applied to readings of the artworks constructed through digital ethnography. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The article will discuss the practices of three multi-media artists who work with performance online, use self-documentation methods, and incorporate archival motifs in their work - Signe Pierce, Molly Soda, and Maya Man. Their practices will be framed as exemplifying artistic and cultural innovation following Groys’ conceptual framework of ‘the new’ by relying on intra-cultural exchange between feminist art histories and practices (the archive) and online content (the profane). The theoretical framework is applied to readings of the artworks constructed through digital ethnography. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Signe Pierce is a multi-media artist who uses her body, the camera, and the surrounding environments to produce performances, films, and digital images with a flashy, neon, LA-inspired ‘Instagram’ aesthetic. In her work she interrogates questions about gender, identity, sexuality, and reality in an increasingly digital world and identifies herself as a <del style="font-weight: bold; text-decoration: none;">‘Reality Artist’ </del>("Signe Pierce"). </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Signe Pierce is a multi-media artist who uses her body, the camera, and the surrounding environments to produce performances, films, and digital images with a flashy, neon, LA-inspired ‘Instagram’ aesthetic. In her work she interrogates questions about gender, identity, sexuality, and reality in an increasingly digital world and identifies herself as a <ins style="font-weight: bold; text-decoration: none;">'Reality Artist' </ins>("Signe Pierce"). </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Moly Soda is a performance artist and a “girl on the internet” since early 2000s when as a teen she started blogging on Xanga and LiveJournal and in 2009 she started Molly Soda Tumblr (''Virtual Studio Visit: Molly Soda''). Her work explores the technological mediation of self-concept, contemporary feminism, cyberfeminism, mass media and popular social media culture.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Moly Soda is a performance artist and a “girl on the internet” since early 2000s when as a teen she started blogging on Xanga and LiveJournal and in 2009 she started Molly Soda Tumblr (''Virtual Studio Visit: Molly Soda''). Her work explores the technological mediation of self-concept, contemporary feminism, cyberfeminism, mass media and popular social media culture.</div></td></tr>
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</table>Geoffcoxhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4448&oldid=prevSimoon at 11:03, 29 October 20242024-10-29T11:03:16Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_10_Maya_Man.jpg|thumb|480px|Figure 10: Maya Man, ''Dress Code'' (2023), Instagram post, 24 July 2023.]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_10_Maya_Man.jpg|thumb|480px|Figure 10: Maya Man, ''Dress Code'' (2023), Instagram post, 24 July 2023.]]</div></td></tr>
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</table>Simoonhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4447&oldid=prevSimoon at 11:00, 29 October 20242024-10-29T11:00:39Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Bilyana Palankasova '''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Bilyana Palankasova '''</div></td></tr>
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</table>Simoonhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4270&oldid=prevSimoon at 12:20, 19 September 20242024-09-19T12:20:30Z<p></p>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Bilyana Palankasova '''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>__NOTOC__</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>__NOTOC__</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">'''Bilyana Palankasova '''</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><span class="running-header">Between the Archive and the Feed</span></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><span class="running-header">Between the Archive and the Feed</span></div></td></tr>
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</table>Simoonhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4269&oldid=prevSimoon at 12:18, 19 September 20242024-09-19T12:18:38Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:18, 19 September 2024</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l126">Line 126:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Man’s work is deeply concerned with self-representation, self-surveillance, documentation, reflection, archive, collection (Figure 8). Online, the boundary between art and content is obviously blurred and posting is a form of self-actualisation (Johnston and Man). ''Glance Back'' is about the artist’s relationship with her computer, but also how with time it has become an archive of herself of small moments that she wouldn’t otherwise document. “Usually I’m so plugged into the portal of my desktop that I can’t consciously conjure whatever I’m thinking about, but it’s really nice to have an interruption that forces me to archive it” (Johnston and Man). Here, we’re faced with a confrontation between the logics of the archive and the platform – the documentation of random moments is a symptom of the different logic of archiving online, and therefore of the different value orientation in an online environment of continuous and pervasive content generation. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Man’s work is deeply concerned with self-representation, self-surveillance, documentation, reflection, archive, collection (Figure 8). Online, the boundary between art and content is obviously blurred and posting is a form of self-actualisation (Johnston and Man). ''Glance Back'' is about the artist’s relationship with her computer, but also how with time it has become an archive of herself of small moments that she wouldn’t otherwise document. “Usually I’m so plugged into the portal of my desktop that I can’t consciously conjure whatever I’m thinking about, but it’s really nice to have an interruption that forces me to archive it” (Johnston and Man). Here, we’re faced with a confrontation between the logics of the archive and the platform – the documentation of random moments is a symptom of the different logic of archiving online, and therefore of the different value orientation in an online environment of continuous and pervasive content generation. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_8_Maya_Man.jpg|thumb|<del style="font-weight: bold; text-decoration: none;">480px</del>|Figure 8: Maya Man, ''Glance Back'' Instagram post, moments in browser software 4 self documentation reflection archive collection, 14 July 2023.]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_8_Maya_Man.jpg|thumb|<ins style="font-weight: bold; text-decoration: none;">460px</ins>|Figure 8: Maya Man, ''Glance Back'' Instagram post, moments in browser software 4 self documentation reflection archive collection, 14 July 2023.]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In Man’s work, content has fully assumed its value and power. The documentary strategies of self-recording and self-surveillance are only one method, as the photographic document is no longer the key to transcend the profane into the cultural archives. In earlier works discussed, photographic documentation was the vehicle crossing the value boundary and positively adapting the new to the art historical tradition before it. In this later stage, content in artistic context is emancipated from the documentary to surface as an indicator of value. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In Man’s work, content has fully assumed its value and power. The documentary strategies of self-recording and self-surveillance are only one method, as the photographic document is no longer the key to transcend the profane into the cultural archives. In earlier works discussed, photographic documentation was the vehicle crossing the value boundary and positively adapting the new to the art historical tradition before it. In this later stage, content in artistic context is emancipated from the documentary to surface as an indicator of value. </div></td></tr>
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</table>Simoonhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4268&oldid=prevSimoon at 12:18, 19 September 20242024-09-19T12:18:23Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:18, 19 September 2024</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l118">Line 118:</td>
<td colspan="2" class="diff-lineno">Line 118:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In this framework of art-as-content and content-as-art, I’d like to consider the practice of Maya Man, whose work is often performative and text-based and exists at the boundary between art and content, while engaging with themes of girlhood through an online lens. In July 2022, Man was featured on Instagram’s Instagram (Figure 6).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In this framework of art-as-content and content-as-art, I’d like to consider the practice of Maya Man, whose work is often performative and text-based and exists at the boundary between art and content, while engaging with themes of girlhood through an online lens. In July 2022, Man was featured on Instagram’s Instagram (Figure 6).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_6_Maya_Man.jpg|thumb|<del style="font-weight: bold; text-decoration: none;">600px</del>|Figure 6: ''Maya Man'' featured on Instagram’s Instagram, 11 July 2022.]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_6_Maya_Man.jpg|thumb|<ins style="font-weight: bold; text-decoration: none;">460px</ins>|Figure 6: ''Maya Man'' featured on Instagram’s Instagram, 11 July 2022.]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In online performance, there’s often intentional confusion of the identity of the artist and the artwork itself. “The asynchronicity of social media forces us to watch ourselves. Logging on, we are confronted with versions of us that we have broadcast in bits and pieces of imagery, video, and quippy snippets of text. As social media platforms began infiltrating into our everyday lives in the late 2000s to mid-2010s, artists pushed things one step further, forcing an audience to watch them watch themselves” (Man, "The Artist Is Online"). Akin to the work of Pierce and Soda, Man’s permeates the space of both content and art while dwelling on issues of self-surveillance, self-documentation, and self-archiving via the performance of an anti-authentic versions of self. The artist complicates the idea of ‘a real self’ or ‘be yourself’ by embracing almost anti-curatorial approaches to documenting her selves online. With an emphasis on chance or randomness online, Man looks to archive the mundane but also intimate vernacular of the desktop and the user looking at it. This is the principal achievement of the generative browser extension work ''Glance Back'' (2018) – a daily photo diary, capturing the moments shared between you and your computer (Figure 7). Once a day at random when you open a new tab, ''Glance Back'' will quickly snap a picture of the user and prompt you to label it by answering the question ‘What are you thinking about?’ Once answered, the photo will be saved creating an archive of moments shared between you and your screen. Here, the practice of self-documentation has moved on from experiments with emerging technology to rather focus on the banality and day-to-day intimacy between us and our computers in the mundane ordinary online motions and interactions we engage in. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In online performance, there’s often intentional confusion of the identity of the artist and the artwork itself. “The asynchronicity of social media forces us to watch ourselves. Logging on, we are confronted with versions of us that we have broadcast in bits and pieces of imagery, video, and quippy snippets of text. As social media platforms began infiltrating into our everyday lives in the late 2000s to mid-2010s, artists pushed things one step further, forcing an audience to watch them watch themselves” (Man, "The Artist Is Online"). Akin to the work of Pierce and Soda, Man’s permeates the space of both content and art while dwelling on issues of self-surveillance, self-documentation, and self-archiving via the performance of an anti-authentic versions of self. The artist complicates the idea of ‘a real self’ or ‘be yourself’ by embracing almost anti-curatorial approaches to documenting her selves online. With an emphasis on chance or randomness online, Man looks to archive the mundane but also intimate vernacular of the desktop and the user looking at it. This is the principal achievement of the generative browser extension work ''Glance Back'' (2018) – a daily photo diary, capturing the moments shared between you and your computer (Figure 7). Once a day at random when you open a new tab, ''Glance Back'' will quickly snap a picture of the user and prompt you to label it by answering the question ‘What are you thinking about?’ Once answered, the photo will be saved creating an archive of moments shared between you and your screen. Here, the practice of self-documentation has moved on from experiments with emerging technology to rather focus on the banality and day-to-day intimacy between us and our computers in the mundane ordinary online motions and interactions we engage in. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_7_Maya_Man.png|thumb|<del style="font-weight: bold; text-decoration: none;">480px</del>|Figure 7: Maya Man, ''Glance Back'' (2018), Instagram post, 20 July 2019.]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_7_Maya_Man.png|thumb|<ins style="font-weight: bold; text-decoration: none;">460px</ins>|Figure 7: Maya Man, ''Glance Back'' (2018), Instagram post, 20 July 2019.]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Man’s work is deeply concerned with self-representation, self-surveillance, documentation, reflection, archive, collection (Figure 8). Online, the boundary between art and content is obviously blurred and posting is a form of self-actualisation (Johnston and Man). ''Glance Back'' is about the artist’s relationship with her computer, but also how with time it has become an archive of herself of small moments that she wouldn’t otherwise document. “Usually I’m so plugged into the portal of my desktop that I can’t consciously conjure whatever I’m thinking about, but it’s really nice to have an interruption that forces me to archive it” (Johnston and Man). Here, we’re faced with a confrontation between the logics of the archive and the platform – the documentation of random moments is a symptom of the different logic of archiving online, and therefore of the different value orientation in an online environment of continuous and pervasive content generation. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Man’s work is deeply concerned with self-representation, self-surveillance, documentation, reflection, archive, collection (Figure 8). Online, the boundary between art and content is obviously blurred and posting is a form of self-actualisation (Johnston and Man). ''Glance Back'' is about the artist’s relationship with her computer, but also how with time it has become an archive of herself of small moments that she wouldn’t otherwise document. “Usually I’m so plugged into the portal of my desktop that I can’t consciously conjure whatever I’m thinking about, but it’s really nice to have an interruption that forces me to archive it” (Johnston and Man). Here, we’re faced with a confrontation between the logics of the archive and the platform – the documentation of random moments is a symptom of the different logic of archiving online, and therefore of the different value orientation in an online environment of continuous and pervasive content generation. </div></td></tr>
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</table>Simoonhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4267&oldid=prevSimoon at 12:15, 19 September 20242024-09-19T12:15:55Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:15, 19 September 2024</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l118">Line 118:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In this framework of art-as-content and content-as-art, I’d like to consider the practice of Maya Man, whose work is often performative and text-based and exists at the boundary between art and content, while engaging with themes of girlhood through an online lens. In July 2022, Man was featured on Instagram’s Instagram (Figure 6).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In this framework of art-as-content and content-as-art, I’d like to consider the practice of Maya Man, whose work is often performative and text-based and exists at the boundary between art and content, while engaging with themes of girlhood through an online lens. In July 2022, Man was featured on Instagram’s Instagram (Figure 6).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_6_Maya_Man.jpg|thumb|<del style="font-weight: bold; text-decoration: none;">500px</del>|Figure 6: ''Maya Man'' featured on Instagram’s Instagram, 11 July 2022.]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_6_Maya_Man.jpg|thumb|<ins style="font-weight: bold; text-decoration: none;">600px</ins>|Figure 6: ''Maya Man'' featured on Instagram’s Instagram, 11 July 2022.]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In online performance, there’s often intentional confusion of the identity of the artist and the artwork itself. “The asynchronicity of social media forces us to watch ourselves. Logging on, we are confronted with versions of us that we have broadcast in bits and pieces of imagery, video, and quippy snippets of text. As social media platforms began infiltrating into our everyday lives in the late 2000s to mid-2010s, artists pushed things one step further, forcing an audience to watch them watch themselves” (Man, "The Artist Is Online"). Akin to the work of Pierce and Soda, Man’s permeates the space of both content and art while dwelling on issues of self-surveillance, self-documentation, and self-archiving via the performance of an anti-authentic versions of self. The artist complicates the idea of ‘a real self’ or ‘be yourself’ by embracing almost anti-curatorial approaches to documenting her selves online. With an emphasis on chance or randomness online, Man looks to archive the mundane but also intimate vernacular of the desktop and the user looking at it. This is the principal achievement of the generative browser extension work ''Glance Back'' (2018) – a daily photo diary, capturing the moments shared between you and your computer (Figure 7). Once a day at random when you open a new tab, ''Glance Back'' will quickly snap a picture of the user and prompt you to label it by answering the question ‘What are you thinking about?’ Once answered, the photo will be saved creating an archive of moments shared between you and your screen. Here, the practice of self-documentation has moved on from experiments with emerging technology to rather focus on the banality and day-to-day intimacy between us and our computers in the mundane ordinary online motions and interactions we engage in. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In online performance, there’s often intentional confusion of the identity of the artist and the artwork itself. “The asynchronicity of social media forces us to watch ourselves. Logging on, we are confronted with versions of us that we have broadcast in bits and pieces of imagery, video, and quippy snippets of text. As social media platforms began infiltrating into our everyday lives in the late 2000s to mid-2010s, artists pushed things one step further, forcing an audience to watch them watch themselves” (Man, "The Artist Is Online"). Akin to the work of Pierce and Soda, Man’s permeates the space of both content and art while dwelling on issues of self-surveillance, self-documentation, and self-archiving via the performance of an anti-authentic versions of self. The artist complicates the idea of ‘a real self’ or ‘be yourself’ by embracing almost anti-curatorial approaches to documenting her selves online. With an emphasis on chance or randomness online, Man looks to archive the mundane but also intimate vernacular of the desktop and the user looking at it. This is the principal achievement of the generative browser extension work ''Glance Back'' (2018) – a daily photo diary, capturing the moments shared between you and your computer (Figure 7). Once a day at random when you open a new tab, ''Glance Back'' will quickly snap a picture of the user and prompt you to label it by answering the question ‘What are you thinking about?’ Once answered, the photo will be saved creating an archive of moments shared between you and your screen. Here, the practice of self-documentation has moved on from experiments with emerging technology to rather focus on the banality and day-to-day intimacy between us and our computers in the mundane ordinary online motions and interactions we engage in. </div></td></tr>
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</table>Simoonhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4266&oldid=prevSimoon: /* Innovation as Re-valuation of Values */2024-09-19T12:14:07Z<p><span class="autocomment">Innovation as Re-valuation of Values</span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:14, 19 September 2024</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In this framework of art-as-content and content-as-art, I’d like to consider the practice of Maya Man, whose work is often performative and text-based and exists at the boundary between art and content, while engaging with themes of girlhood through an online lens. In July 2022, Man was featured on Instagram’s Instagram (Figure 6).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In this framework of art-as-content and content-as-art, I’d like to consider the practice of Maya Man, whose work is often performative and text-based and exists at the boundary between art and content, while engaging with themes of girlhood through an online lens. In July 2022, Man was featured on Instagram’s Instagram (Figure 6).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_6_Maya_Man.jpg|thumb|<del style="font-weight: bold; text-decoration: none;">480px</del>|Figure 6: ''Maya Man'' featured on Instagram’s Instagram, 11 July 2022.]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bilyana_Fig_6_Maya_Man.jpg|thumb|<ins style="font-weight: bold; text-decoration: none;">500px</ins>|Figure 6: ''Maya Man'' featured on Instagram’s Instagram, 11 July 2022.]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In online performance, there’s often intentional confusion of the identity of the artist and the artwork itself. “The asynchronicity of social media forces us to watch ourselves. Logging on, we are confronted with versions of us that we have broadcast in bits and pieces of imagery, video, and quippy snippets of text. As social media platforms began infiltrating into our everyday lives in the late 2000s to mid-2010s, artists pushed things one step further, forcing an audience to watch them watch themselves” (Man, "The Artist Is Online"). Akin to the work of Pierce and Soda, Man’s permeates the space of both content and art while dwelling on issues of self-surveillance, self-documentation, and self-archiving via the performance of an anti-authentic versions of self. The artist complicates the idea of ‘a real self’ or ‘be yourself’ by embracing almost anti-curatorial approaches to documenting her selves online. With an emphasis on chance or randomness online, Man looks to archive the mundane but also intimate vernacular of the desktop and the user looking at it. This is the principal achievement of the generative browser extension work ''Glance Back'' (2018) – a daily photo diary, capturing the moments shared between you and your computer (Figure 7). Once a day at random when you open a new tab, ''Glance Back'' will quickly snap a picture of the user and prompt you to label it by answering the question ‘What are you thinking about?’ Once answered, the photo will be saved creating an archive of moments shared between you and your screen. Here, the practice of self-documentation has moved on from experiments with emerging technology to rather focus on the banality and day-to-day intimacy between us and our computers in the mundane ordinary online motions and interactions we engage in. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In online performance, there’s often intentional confusion of the identity of the artist and the artwork itself. “The asynchronicity of social media forces us to watch ourselves. Logging on, we are confronted with versions of us that we have broadcast in bits and pieces of imagery, video, and quippy snippets of text. As social media platforms began infiltrating into our everyday lives in the late 2000s to mid-2010s, artists pushed things one step further, forcing an audience to watch them watch themselves” (Man, "The Artist Is Online"). Akin to the work of Pierce and Soda, Man’s permeates the space of both content and art while dwelling on issues of self-surveillance, self-documentation, and self-archiving via the performance of an anti-authentic versions of self. The artist complicates the idea of ‘a real self’ or ‘be yourself’ by embracing almost anti-curatorial approaches to documenting her selves online. With an emphasis on chance or randomness online, Man looks to archive the mundane but also intimate vernacular of the desktop and the user looking at it. This is the principal achievement of the generative browser extension work ''Glance Back'' (2018) – a daily photo diary, capturing the moments shared between you and your computer (Figure 7). Once a day at random when you open a new tab, ''Glance Back'' will quickly snap a picture of the user and prompt you to label it by answering the question ‘What are you thinking about?’ Once answered, the photo will be saved creating an archive of moments shared between you and your screen. Here, the practice of self-documentation has moved on from experiments with emerging technology to rather focus on the banality and day-to-day intimacy between us and our computers in the mundane ordinary online motions and interactions we engage in. </div></td></tr>
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</table>Simoonhttp://cc.practices.tools/wiki/index.php?title=Content_Form:APRJA_13_Bilyana_Palankasova&diff=4234&oldid=prevGeoffcox at 12:54, 7 September 20242024-09-07T12:54:15Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:54, 7 September 2024</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Bilyana Palankasova '''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Bilyana Palankasova '''</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><span class="running-header">Between the Archive and the Feed<del style="font-weight: bold; text-decoration: none;">: Feminist Digital Art Practices and the Emergence of Content Value</del></span></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><span class="running-header">Between the Archive and the Feed</span></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>= Between the Archive and the Feed =</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>= Between the Archive and the Feed =</div></td></tr>
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</table>Geoffcox