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Queer Wordplay: The Queer Subversion of Language in Locked-In and Blackbar
This paper looks at two interactive digital works where female-centred/lesbian desire provides an implicit logic and motivation to the works’ interactivity, which focusses on the control and transgression of language. This wordplay is aimed at resisting dominant regimes of phobic categorization and erasure that pathologize queer desire. In Lucky Special Games’ visual novel Locked-In, the interactor experiences the story through the perspective of Jacqueline Brown, who, as the result of a car crash, has locked-in syndrome, which is characterized by consciousness paired with the complete paralysis of the voluntary muscles. Each of the women who visit Jacqueline's hospital room has a motive for wanting Jacqueline incapacitated or dead, so when Jacqueline discovers that she can slightly move the little finger on one hand, she must decide to which of these women she should reveal that she is conscious. Perhaps the most striking characteristic of Locked-In is its casual indication of Jacqueline’s lesbianism (inferred via her relationship with her spouse Delilah).
Vian Rasheed - 12.11.2019 - 01:22
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Sound and queer affirmative space in augmented reality
Despite the burgeoning interest in the creation of imaginative spaces in AR and VR, very little focus has been given to sound. This paper borrows aspects of cinema studies and cultural geography to argue that sound can create a discursive environment and a queer space in Augmented Reality (AR). Referring to Michel Chion’s Audio-vision (1990), and Steven Shaviro’s Post-cinematic affect (2010), I explore how the assemblage of aural, visual and haptic in AR pieces, such as Caitlin Fisher’s ‘Chez moi’ (2014), create what Lev Manovich (2001) calls ‘hybrid spaces’, spaces visually disjointed but semantically connected. In ‘Chez moi’, Fisher invites the viewer to put on their headphones and watch the video on their smartphone while walking down Hayden street in Toronto, where the lesbian bar Chez moi was located when Fisher was a teenager. The audiovisual piece augment the physical reality of the viewer through a montage of various media forms, such as Fisher’s voice over, images of news reports, and fictitious audio and images.
Vian Rasheed - 12.11.2019 - 03:21
