國立虎尾科技大學 |

You are What You Read : = Participation and Emancipation Problematized in Habacuc's "Exposicion #1".

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	You are What You Read :/
Reminder of title:	Participation and Emancipation Problematized in Habacuc's "Exposicion #1".
Author:	Kluck, Marielos C.
Description:	1 online resource (143 pages)
Notes:	Source: Masters Abstracts International, Volume: 56-06.
Contained By:	Masters Abstracts International56-06(E).
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9780355219227

You are What You Read : = Participation and Emancipation Problematized in Habacuc's "Exposicion #1".
Kluck, Marielos C.

You are What You Read :Participation and Emancipation Problematized in Habacuc's "Exposicion #1". - 1 online resource (143 pages)

Source: Masters Abstracts International, Volume: 56-06.

Thesis (M.A.)

Includes bibliographical references

Conceptualized by Costa Rican artist Guillermo Vargas Jimenez (known as Habacuc), Exposicion #1 [Exposition #1](or its more infamous moniker "starving dog art")(2007) operates as a multifarious transgressive work of art. A main point of contention within the artwork is the rumored starvation of a dog during the course of artwork's exhibition. This thesis analyzes Habacuc's proposition within contemporaneous debates around participatory practices and Internet art. This examination is provided in order to present an alternative interpretation of the work relative to the divisive practices of the artist. Similar to other artists working with the period known as postinternet, Habacuc engages in a form of art that is counter-cultural, utilizing misinformation as a catalyst for his viral proposition. While Habacuc employs a strategy of critique throughout his varied oeuvre, Exposicion #1, arguably his most complex work to date, wholly demonstrates his approach to the Internet as an intrinsically hybridized, political, and oppositional medium. Within the following chapters I focus on the types of participatory relations being produced within Exposicion #1 and Habacuc's authorial intent to challenge the principles of emancipation promised in the discourses around participation in art and the Internet as "global village."

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355219227Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

You are What You Read : = Participation and Emancipation Problematized in Habacuc's "Exposicion #1".
LDR:02648ntm a2200361Ki 4500 001 911704
005 20180531091028.5
006 m o u
007 cr mn||||a|a||
008 190606s2017 xx obm 000 0 eng d
020 $a 9780355219227
035 $a (MiAaPQ)AAI10604666
035 $a (MiAaPQ)csulb:12024
035 $a AAI10604666
040 $a MiAaPQ $b eng $c MiAaPQ
099 $a TUL $f hyy $c available through World Wide Web
100 1 $a Kluck, Marielos C. $3 1183703
245 1 0 $a You are What You Read : $b Participation and Emancipation Problematized in Habacuc's "Exposicion #1".
264 0 $c 2017
300 $a 1 online resource (143 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Masters Abstracts International, Volume: 56-06.
500 $a Adviser: Nizan Shaked.
502 $a Thesis (M.A.) $c California State University, Long Beach $d 2017.
504 $a Includes bibliographical references
520 $a Conceptualized by Costa Rican artist Guillermo Vargas Jimenez (known as Habacuc), Exposicion #1 [Exposition #1](or its more infamous moniker "starving dog art")(2007) operates as a multifarious transgressive work of art. A main point of contention within the artwork is the rumored starvation of a dog during the course of artwork's exhibition. This thesis analyzes Habacuc's proposition within contemporaneous debates around participatory practices and Internet art. This examination is provided in order to present an alternative interpretation of the work relative to the divisive practices of the artist. Similar to other artists working with the period known as postinternet, Habacuc engages in a form of art that is counter-cultural, utilizing misinformation as a catalyst for his viral proposition. While Habacuc employs a strategy of critique throughout his varied oeuvre, Exposicion #1, arguably his most complex work to date, wholly demonstrates his approach to the Internet as an intrinsically hybridized, political, and oppositional medium. Within the following chapters I focus on the types of participatory relations being produced within Exposicion #1 and Habacuc's authorial intent to challenge the principles of emancipation promised in the discourses around participation in art and the Internet as "global village."
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
650 4 $a Art criticism. $3 576960
650 4 $a Latin American studies. $3 1181249
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
690 $a 0365
690 $a 0550
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a California State University, Long Beach. $b Art History. $3 1183704
773 0 $t Masters Abstracts International $g 56-06(E).
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10604666 $z click for full text (PQDT)