Lu Yang (陆扬, 1984) is a critically acclaimed new media artist and rising star based in Shanghai, China, who works across film, games, performance, and installation. His work has been exhibited at numerous biennales and exhibitions in China and around the world, including the 59th Venice Biennale in 2022. He has collaborated on videos with high-profile rock bands like The 1975, and one of his videos featured in a 2020 fashion show of the Chinese sportswear company Li-Ning.1 Lu Yang has also won prestigious awards, including the BMW Art Journey Culture award in 2019, and Deutsche Bank’s Artist of the Year award in 2022, and the artist was anthologized in Barbara London’s critical history of video and the digital arts, Video Art: The First Fifty Years (2020), as well as in Dominique Moulon’s Chefs d’oeuvre du 21e siècle : l’art à l’ère digitale (Masterworks of the 21st Century: Art in the Digital Era, 2021). In contemporary art and popular culture, Lu Yang is clearly a force to be reckoned with.
An Artist in Transformation
Ari Heinrich, Livia Monnet, and Gabriel Remy-Handfield
Andrew J. Ball
The final issue of Screen Bodies Volume 6 offers readers an ideal combination of the diverse kinds of work we feature, from a macroscopic theory that proposes a new discipline, to a set of articles that rigorously examine a small number of artworks with respect to a shared topic, to a piece of curatorial criticism on a recent media arts exhibition. The articles collected here offer a fitting cross section of the topics and media we cover, discussing such varied subjects as prehistoric art, Pink Film, artificial intelligence, and video art.
Andrew J. Ball and Aleksandr Rybin
The cover of this issue of Screen Bodies features the digital work “Crypto Queen” by restlessperson (Aleksandr Rybin), which the artist has minted as an NFT. We spoke with Rybin about the subject matter of his work, connections between digital and analog art, and the future of NFTs. His work is available on KnownOrigin.
The Affective Modalities of Media and Technology
Andrew J. Ball
The six essays in this in this issue of Screen Bodies explore what we might call the affective modalities of media, that is, each author examines the potential of emerging and traditional media to transform individual and collective relations through the strategic use of embodied affective experience. Three essays in the issue focus on new and emerging technology. In, “The iAnimal Film Series: Activating Empathy Through Virtual Reality,” Holly Cecil examines the potential power of virtual reality to generate empathy in users. In particular, she looks at the way animal advocacy organizations combine documentary film and virtual reality to communicate the embodied experience of living and dying in a factory farm to provoke feeling and widespread opposition to the industry.
Andrew J. Ball
I am pleased to begin the final issue of the year with a very special announcement. Screen Bodies is modifying its editorial direction and the kind of work it will feature. Many of our readers will already have a sense of these changes, made evident by the new Aims and Scope section we made available online earlier this summer, and by the journal's new subtitle, The Journal of Embodiment, Media Arts, and Technology. As these indicate, the foundational commitments of the journal remain unchanged; however, moving forward will we intensify our focus on new media art, technology studies, and the interface of the sciences and the humanities. We will continue to examine the cultural, aesthetic, ethical, and political dimensions of emerging technologies, but with a renewed attention to such areas as intermediality, human–machine interface, virtual and augmented reality, artificial intelligence, generative art, smart environments, immersive and interactive installations, machine learning, biotechnology, computer science, digital culture, and digital humanities. The journal will continue to prioritize matters of the body and screen media, both in terms of representation and engagement, but will emphasize research that critically reexamines those very concepts, as, for example, in the case of object-oriented feminism's nonanthropocentric approach, which asks us to rethink what we mean by bodies and embodiment.
Toward a Queer Sinofuturism
Ari Heinrich, Howard Chiang, and Ta-wei Chi
This special issue on “Queer Sinofuturisms” aims to explore how artists and writers working across various media in Sinophone contexts use science to envision—and indeed to fabulate—non-normative gender and erotic expressions in relation to the corporeal future of humanity. By investigating visions of the future that incorporate queerness and creative applications of computer and biotechnology, “Queer Sinofuturisms” aims to counter pervasive techno-Orientalist discourses, such as those discourses in the Blade Runner movies (Ridley Scott, 1982; and Denis Villeneuve, 2017) that frame “Asian” futures as strictly dystopian—and heteronormative by default. What happens, this issue of Screen Bodies asks, if we simultaneously destabilize techno-Orientalist narratives of the future while queering assumptions about the heteronormativity so often inscribed upon that future in mainstream iterations and embodiments? What kinds of fabulous fabulations might emerge?
Andrew J. Ball
Visibility and Screen Politics after the Transgender Tipping Point
This is a special issue on surveilled bodies, with five articles guest edited by Ira Allen, Assistant Professor of Rhetoric, Writing, and Digital Media Studies at Northern Arizona University and Assistant Editor of Screen Bodies. The question here is one of how screens and bodies are brought together through surveillance (visual and otherwise), how surveillance hails the body to attend to it (beckons us to catch a glimpse of here or there) even as it hides itself from the body, working to be noticed yet remaining unnoticed, in order to keep us “on our toes.” In this light, surveillance is not only about investigating, examining, logging, and controlling the body but also about bringing the body into being as a body-to-be-surveilled, about interpolating the body into becoming evermore surveillable in ever-more granular ways.
An Account from the 13th Asian Cinema Studies Society Conference
Tito R. Quiling Jr.
It’s just past 10:00 am on a humid Monday in Singapore, and the streets seemed to have settled after a workday rush. My walk from Arab Street to McNally Street was rather placid, punctuated by moments at intersections, and surrounded by people heading somewhere. Minutes later, I was looking up at the postmodern buildings of LASALLE College of the Arts—a panorama of reinforced concrete, glass, tiles, and steel gleaming under the morning sun. In cinema, spaces and landscapes are primary features. At times, the setting goes beyond the overarching narrative, as it conveys its own story. Given their impact, Stephen Heath (2016) infers that a process occurs in identifying spatial connections to the characters, since “organizing, guiding, sustaining and reestablishing the space are the factors that reveal this process.” The audience absorbs the familiar images or experiences onscreen. However, embodied objects of varying iterations contribute to how environments in films are concretized. On this note, one can ask: in what ways do filmic environments thus project narratives and discourses?