Digital Arts and Culture 2009

How does engagement with internationally produced pornography function to underscore or to undermine the full human subjectivity of ethnic, racial, national Others? I argue that contemporary global sociopolitics and the changing structure of the distribution of video pornography online (specifically the emergence of free “sex tube” video hosting sites), create a moment with particular potential for resistance to the forces disciplining Western engagement with unmediated cultural products from outside the U.S.

When people meet they apologize for their bodies: their bodies are never perfect, never adequate, and never quite behave exactly how people want them to. Today it seems that the virtual reality of cyberspace offers itself as an effective medium that can transport its users into a different universe, freed from the burden of the body and from the necessity of any such apology. The quickly growing number of the networking users demonstrates the rising demand for a new kind of symbolic realm, whether it be in the form of the user-friendly layout of a website or the appealing architecture of a simulated space, where one can easily inscribe oneself by obtaining a two-dimensional profile or a threedimensional digital body.

This paper addresses one of today’s myths about cyberspace that pictures it as a realm where users can discover their “true selves” or acquire new identities (and especially sexual identities), and by performing them, users may eventually become what they have created on-line. Today we inquire about the role of digital media in shaping and channeling sexual desires, dynamics and identifications attached to encounters with and through media technologies. I use Jacques Lacan’s theory of a subject and his theory of the three orders of the imaginary, symbolic and real to interpret the logic of sexuation (or taking on a gender identity regardless of biological sex) in virtual reality. Drawing on Lacan’s concept of “extimacy” that helps to escape a bipartition between interior and exterior, my paper focuses on a series of displacements occurring in and through cyberspace, exploring the dynamics of sexuation as it occurs in the 3D world of Second Life (www.secondlife.com).

This paper investigates web users and their sexual behaviors and pornographic self-representations as observed on the sex and dating site http://www.adultfrienfinder.com. The website is a social network and encourages members to find real-life partners for sex whether it be casual sex affairs between singles, swinging couples, or polyamorous extra-marital affairs between “aba” (“attached but available”) individuals and their lovers. The analysis is based on theories of ethnography and social networking and analyzes the effects of corporate networks and homogenizing “sex scripts” on sex lives and Internet culture in Hong Kong.

This paper explores correlations between restrictive interfaces in computational systems and restrictive interfaces in BDSM (Bondage & Discipline/Dominance & Submission/Sadism & Masochism) culture. Novel technologies often serve as pet fetish objects, but how do technologies perform as subjects in fetish culture? When digital technologies appear to us as objects, they present us with an illusion of mastery. In reality, technologies are active subjects and we, their "users," must bend to their requirements. In gaming scholarship, the process by which users must first internalize machinic logic in order to win mastery over a machine is termed learning the algorithm. Indeed, in cybernetics command and control through communication has much in common with sexual power dynamics. Both involve getting a partner to do what one wants and to not do what one doesn't want. The dominant consumerist relationship with technologies is already sexually charged. But in order to imagine an alternative, it becomes crucial to ask where power accumulates and how power functions in our interactions with devices. In a given moment of Human-Computer Interaction, who or what is a master and who or what is a slave?

From the mid-1990s onward, the internet has stimulated the unprecedented development and growing tension between cultural values and identity. This is evidenced in the relationship between the dissemination of cultural values and the formation of identities on national and individual levels. The growing tension in this relationship is most particularly overt in societies that have a history of well-developed moral mechanisms of cultural protectionism.

This paper looks at the effects of internet culture on Turkish sexual identities, and its role in changing socially acceptable sexual codes and norms. It explores the developmental process of Turkish internet culture through a comparative analysis between two distinct framings of sexual identify: 1) as a product of historical and religious suppression and, 2) as a reflection of cultural rendering in electronic environments. When vectors of sexual behaviour, both explicit and implicit, are translated across cultural boundaries they begin to alter the conglomerate of religious values and socially experiential knowledge of participants. This is particularly apparent within the terrain of new media with its instant and widely available access, and its impact on the cognitive and emotional experiences it supports. This change in values manifests itself in dissonant sexual codes which form a new system of sexual awareness. In most Western societies, expanding perspectives of human sexuality emerged in the 60’s and 70’s evidencing a change in social values linked to the prosperity of modernity. In the case of the Muslim world, and in particular Turkey, this process was largely triggered with the appearance of the internet. The electronic environment provided an instant access to an open source of sexual perspectives which played upon stigmatized ethics and sexual taboos. The focus of this paper is to examine this particular breaking of sexually related religious stereotypes after the appearance of new media in Turkey and the changes it caused that resulted in new sexual self-definitions.

This paper seeks out a new queer viral aesthetic configuration that binds, interconnects, extends, and reproduces the biosocialities of homosexuality. The digital art and activist organization Queer Technologies presents their project “GRID” as viral methodologies for reconstructing the dominant GRID of homosexuality, working from Alan Liu’s call for destructive creativity—a creativity that goes “beyond the new picturesque of mutation and mixing to [. . .] the new sublime of ‘destruction.’ [. . . a] viral aesthetics.” Such an aesthetic tactic would be a viral exploitation of the homosexual’s self.