Science is Magic: practical aesthetics and vernacular creativity in social media

“To engage in practical aesthetics … is to conceive of an aesthetics informed by and derived from practical, real world encounters, an aesthetics that is in turn capable of being used or put into effect in a real situation.  In other words, it is to orient aesthetics – with its specific qualities and capacities – towards actual events or problems (much as practical ethics is shaped around particular problems).

~ Bennet, J (2012). Practical Aesthetics. New York: I.B. Taurus

Framing the selfie as an instance of practical aesthetics allows us to conceive of it as an intervention that both responds to a particular event or problem, and seeks to amplify, redirect, or intensify the impact of that event/problem.

“An object for practical aesthetics might be said to arise from an encounter with an event”

~ Bennet, J (2012). Practical Aesthetics. New York: I.B. Taurus

The selfie imbues the event with personal meanings and associations and sends these associations and affective intensities into (more or less) public circulation – and in ways that often exceed the intention of the creator.

The selfie does not provide a definitive solution to the problem it addresses so much as a situated response to the event with which it is concerned, assembling a platform in the process for the expression of new meanings, objects, responses and affective relations.

In this sense, the creator is participating in the process of eventuation by mobilising the selfie as an affective and aesthetic repository/transmitter of their particular way of feeling an event.

To reformulate the selfie in this way raises practical/ethical/aesthetic questions for the selfie-maker: what style might one devise to become worthy of the event?

Example: Gay Science selfie

science is Magic profile

Image-Affect-Glossary   

* The t-shirt says Detroit and the upraised spanner symbolises the power of workers in solidarity

*I’m having a cuppa in my Science is Magic mug. I love how Beaker embodies the anxiety and clumsiness and the pervasive imminence of catastrophe implicit in modern Scientific projects: Beaker is a Muppet, but fear not citizens! Because haven’t you heard? Science is Magic!

*You know what else is Magic? A nice cuppa tea.

*I’m wearing my Stephani ring, which I always wear to remember my love for Stephan

*Behind me is artwork by Daniel Joshua Goldstein that I bought after I met him, quite by chance, a few days after watching We Were Here, a documentary about the impacts of the AIDS crisis in San Francisco, to which Goldstein, as one of the film’s participants, bears moving testimony.  I saw the film in a tiny theatre in the West Village In New York, 2011, and got to meet Daniel himself a week later, when I bumped into him and his partner completely randomly on the sidewalk of 8th Avenue. Daniel was in town to show his For Redon exhibition. His work, and this work in particular, spoke to me.  I’m so lucky to be able to enjoy it every day.

*As FB Cover Art, I’ve used an iphone pic of some beautiful chrisanthemums, which graced a vase at home during the weekend of Club Kooky September 2017.  A wonderful instantiation of queer chemistry if ever there was one.

1 Comment

Filed under Affect, Books, Devices and technology, Erogenous zones, Eroticism and fantasy, Medicine and science, Random thoughts, Self-medication, Sexual Sociability, Theory, Vernacular Digital Creativity

One response to “Science is Magic: practical aesthetics and vernacular creativity in social media

  1. Pingback: Care of the Selfie: Towards an Aesthetics of Digital Existence | homotectonic

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