Seeing the Queerness of Ec-Static Images
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Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication Fall 12-2013 Oblique Optics: Seeing the Queerness of Ec-static Images Kristopher L. Cannon Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Cannon, Kristopher L., "Oblique Optics: Seeing the Queerness of Ec-static Images." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_diss/48 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. OBLIQUE OPTICS: SEEING THE QUEERNESS OF EC-STATIC IMAGES by KRISTOPHER L. CANNON Under the Direction of Alessandra Raengo ABSTRACT Oblique Optics contends that studies of visual culture must account for the queerness of images. This argument posits images as queer residents within visual culture by asking how and where the queerness of images becomes visible. These questions are interrogated by utilizing queer theories and methods to refigure how the image is conceptualized within traditional approaches to visual culture studies and media studies. Each chapter offers different approaches to see the queerness of images by torquing our vision to see "obliquely," whereby images are located beyond visible surfaces (like pictures or photographs) through ec-static movements within thresholds between bodies and beings. Chapter One rethinks how images are conceptualized through metaphorical language by exploring how images emerge from fantasies about will-be-born bodies in fetal photographs. This chapter turns to figures of queer children for insight about oblique approaches to visual culture and foregrounds later engagements with aesthetics of failure. Chapter Two considers how aesthetics of failure extend to the visible forms of lacking bodies. The visibility of lack is explored by considering how pixelated vision provides alternative ways to image mastectomy scars in the film The Body Beautiful (1991) and the advertising campaign "Obsessed with Breasts." Chapter Three addresses the visible form and function of cutting within images about Michael Jackson and these images are shown cutting the body toward non-human forms of visibility. Chapter Four expands on this discussion about the non-human by contemplating how the film Air Doll (2009) reveals a visual culture of things, where we not only see things but also see how things see. Finally, Chapter Five turns to digital glitches as a visible form to explore how non-human bodies like the computer produce images beyond human-centric concerns and reveals how the digital is shown to image itself. INDEX WORDS: Aesthetics, Air doll, Avisual, Avisuality, Blackness, The body beautiful, Breast cancer, Children, Cut, Failure, Gender studies, Glitch, Images, Mastectomy, Media studies, Michael Jackson, New media studies, Noise, Non- human, Photographs, Pictures, Pimp my ultrasound, Pixel, Pixelation, Pixelization, Post-human, Queer theory, Race, Sexuality, Thing theory, Oblique optics, Object-oriented ontology, Sonogram, Ultrasound, Visual culture OBLIQUE OPTICS: SEEING THE QUEERNESS OF EC-STATIC IMAGES by KRISTOPHER L. CANNON A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2013 Copyright by Kristopher LeVoy Cannon 2013 OBLIQUE OPTICS: SEEING THE QUEERNESS OF EC-STATIC IMAGES by KRISTOPHER L. CANNON Committee Chair: Alessandra Raengo Committee: Jennifer M. Barker Ted Friedman Angelo Restivo Steven Shaviro Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University December 2013 iv DEDICATION For those things that help us find beauty in failure. v ACKNOWLEDGEMENTS I would not have had the time, strength, or patience to see things the way they have been written about here if it were not for many people who offered support, encouragement, and love. I met many amazing people at Georgia State University, but my cohort made my experiences and education (in and out of the classroom) a sight to behold. Many thanks to Drew, Karen, Melanie, Michele, Oriana, and Steve for your brilliant insights about work and the world, and your willingness to relax and socialize over the occasional libation. To Drew and Steve: thanks for your willingness to catch a drag show or two, and bigger thanks for staying the whole night. To Melanie: you were a brilliant confidante at school and at home and I only hope I can offer an adequate return on the generosity and care you offered me. To Karen: I cannot even begin to express how much I cherish our friendship or my deep gratitude about your constant cheerleading for my work and well-being. Many thanks are also due to my department chair, David Cheshier, who was an unwavering source of support and an unparalleled advocate for graduate students. To my committee, to Angelo, Jennifer, Ted, and Steven: thank you for your insights about my work, feedback and advice about moments of success and failure, and for your continued friendships. To my wonderful friends in Atlanta: To Phil: thank you for your support and your willingness to pry me away from the keyboard when I desperately needed to breathe air outside of Starbucks. To Eldon: your friendship and affection were surprises near the end of this academic journey at GSU. Thank you for sharing your wisdom and intellect with me, and for your selfless acts of kindness and love. To Timothy, the nerdy boy I was desperate to meet after hearing him spout off about Judith Butler and vi performativity at Caribou Coffee: I could not have chosen a better day to eavesdrop, because you were a wonderful friend to catch. Thank you for continuing to offer me intellectual intimacy and an animated friendship. To my family, who helped me to pave much of the path leading to where I am today. To my grandmother, Bonnie: thank you for your love and encouragement while I've been in school (and for advising me to stop pursuing law school). I want to thank my beautiful sisters, especially for spending so much time with my parents when I was unable to visit. And, to my parents, Tambra, Terry, Chava, and Mark: thank you for always encouraging me to push forward, to pursue my dreams, and for endless amounts of love and support. Finally, to my advisor, Alessandra: I'm left without words to describe your stunning and spectacular impact on my intellectual and personal growth. You opened my eyes to new and exciting paths of intellectual exploration, were steadfast in your willingness to facilitate my journey into strange and uncertain territory, and turned my ideas into words I would not have been able to compose alone. Thank you for a brilliant introduction to visual culture, and for demonstrating the study of visual culture with such elegance and eloquence that it puts my work to shame. Most importantly, I thank you for being an indefatigable friend. With all of the support you have given me as a friend and mentor, I hope to one day offer you the same unspeakable feeling: the feeling of being beside yourself with gratitude. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ v LIST OF FIGURES ........................................................................................................... x PREFACE ........................................................................................................................ 1 1. SEEING OBLIQUELY: THE UN-SEEABLE SI(GH)TES BETWEEN PICTURES AND IMAGES ..................................................................................................................... 6 1.1 From Picture to Image through Si(gh)tes Unseen ...................................... 10 1.2 Approaching the Strangeness of Images through the Queerness of Children ........................................................................................................... 20 1.3 Seeing Queerly with a Child-Like Eye .......................................................... 27 1.4 Naive Sight and the Child Queered by Freud .............................................. 30 1.5 The Failure to See Queerly and the Ghostly Gay Child ............................... 34 1.6 The Child Queered by Innocence and by Color .......................................... 40 1.7 Aesthetics of Failure ...................................................................................... 49 2. EMBRACING THE SHAME OF VISIBLE ABSENCE: STARING AT PIXELATED PICTURES TO WONDER ABOUT DEBASED, LACKING BODIES ....................... 51 2.1 Disfiguring Distance: the Scarred Gap Between Present and Absent ...... 57 2.2 Staring at the Shame of (Virtual) Visibility .................................................... 63 2.3 Digital Shame; or, Wondering About the Shame of Pixels ......................... 77 3. CUTTING VISUAL AESTHETICS: OBLIQUELY ORIENTATING THE BODY THROUGH MICHAEL JACKSON ........................................................................... 96 3.1 Cutting Queer Orientations: Aesthetic Cuts and Visible Disorientation ... 98 viii 3.2 Picturing Jackson: Look! He was a Black Man ......................................... 103 3.3 Not Quite the Right White