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Journal articles on the topic 'Parafiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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Lambert-Beatty, Carrie. "Make-Believe: Parafiction and Plausibility." October 129 (August 2009): 51–84. http://dx.doi.org/10.1162/octo.2009.129.1.51.

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Robertson, Kirsty. "The Disappearance of Arthur Nestor: Parafiction, Cryptozoology, Curation." Museum and Society 18, no. 2 (July 4, 2020): 98–114. http://dx.doi.org/10.29311/mas.v18i2.3083.

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This paper considers Beneath the Surface: The Archives of Arthur Nestor, a parafictional exhibition that I curated in 2014 with 16 undergraduate students at Western University, Canada. The exhibition depicted the life of Dr. Arthur Nestor, a professor of Biology who had disappeared from London (ON) in 1975, seemingly without trace. Over the summer of 2014, some of Nestor’s files and artefacts had been discovered during university renovations, and this archive was given to students in Museum Studies to organize and catalogue. As we sorted through the files, it became clear that Dr. Nestor was something of a controversial figure, a man who became an environmental activist in Southwestern Ontario because of his belief that cryptids (lake monsters) lived in Lakes Huron and Erie, and were in need of protection from human-made pollution. As the documents in his file overlapped with our research in the wider sphere, the evidence seemed to suggest that Nestor had left London to join Dr. Roy Mackal, a University of Chicago professor of cryptozoology searching for the Loch Ness Monster. This paper weaves together the tale of Arthur Nestor and the curating of Beneath the Surface with a history of the relationship between natural history museums and cryptozoology, ultimately questioning what parafiction can do in both art galleries and museums.

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Sushynskyi, Oleksandr. "Austro-Greece: Parafiction and Myth-Making Mechanisms of Hyperstition." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 118–27. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235231.

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The paper analizes the phenomenon of “Austro-Greek Empire” — a collective art-research project that includes ethno-cultural, social-political, and artistic frames. The fictional dimension of this “work-in-progress” project becomes its substantial part due to the topical issue of the post-truth phenomenon and conspiracy theories that are prevailing the media space. The importance of fictionalization methods in post-conceptual art is analyzed and demonstrated, given the possibility of constructing a metaposition in a situation of historical and political uncertainty. The “Austro-Greek Empire” is an emblematic project for the contemporary Ukrainian art process, as it aggregates a series of key issues, one of which is still the problem of identity. The article uses various methodological approaches, in particular, the optics of “parafiction” by C. Lambert-Beatty, psychoanalysis of J. Lacan, post-structuralist analysis of the mythology by R. Barthes and fictionalization of P. Osborne.

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Goldberg, Keren. "The melting pot: Parafiction Art in Israel and Palestine." Journal of Arts Writing by Students 1, no. 1 (January 1, 2015): 103–13. http://dx.doi.org/10.1386/jaws.1.1.103_1.

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Halwani, Fuad. "Narratives of Enfoldment: Multi-linear and Parafictional Storytelling in Media Art." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 98–109. http://dx.doi.org/10.24140/ijfma.v7.n2.05.

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Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at disseminating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the theoretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.

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Magnone, Lena. "„Księgi Justynine”. O biografii Justine Frank." Poznańskie Studia Polonistyczne. Seria Literacka, no. 35 (November 5, 2019): 237–51. http://dx.doi.org/10.14746/pspsl.2019.35.11.

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The article is devoted to the biography of Justine Frank (1900-1943), a marginalized member of the surrealist movement, a painter and writer who combined Judaism with pornography, a critic of the Zionist project who tragically died in Palestine. Written by an Israeli artist and an expert on the interwar avant-garde, Roee Rosen, it is not only an artistic provocation – a part of a larger experiment in the field of the so-called parafiction also including editions of Frank’s novel Sweet Sweat and exhibitions of her paintings – but also an interesting statement in the discussion on the possibilities and limitations of feminist criticism, as it points out the problem of fabrication of the indispensable precursors.

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Smith, Rebecca. "Parafictions: UBERMORGEN.COM as a case study of parafictive practice conducted between 1998 and 2018." Journal of Arts Writing by Students 5, no. 1 (March 1, 2019): 29–42. http://dx.doi.org/10.1386/jaws.5.1.29_1.

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Recanati, François. "II—Fictional, Metafictional, Parafictional." Proceedings of the Aristotelian Society 118, no. 1 (February 21, 2018): 25–54. http://dx.doi.org/10.1093/arisoc/aoy001.

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Warren, Kate. "Double Trouble: Parafictional Personas and Contemporary Art." Persona Studies 2, no. 1 (May 17, 2016): 55–69. http://dx.doi.org/10.21153/ps2016vol2no1art536.

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Across the news and entertainment media there is an increasingly prevalent phenomenon: actors, performers and artists who play “versions of themselves”. This paper explores the entertaining and critical potentials of this strategy, which I term “parafictional personas”. I draw upon Carrie Lambert-Beatty’s theorisation of the parafictional as a critical mode that has developed out of (and in tension with) the “historiographic turn”. Parafictional personas are a specific iteration, characterised by two key components: they compulsively imbue every opportunity with layers of interconnections and self-reflexive moments; and they involve artists and performers appropriating their own “proper name”, constructing fictionalised doubles of themselves. While found widely across media, my central focus is contemporary visual art, analysing two key examples, Israeli–American artist Omer Fast and Lebanese artist Walid Raad.These artists are significant because their personas are not simply means of performing themselves as individuals; they are integrated into the ways the artists approach contentious, still unfolding events of contemporary history. Parafictional personas have the potential to thoroughly embed fictional constructs within reality, because of the difficulties in separating elements represented by the same proper name. Their critical potential lies in the ways that they make visible the difficulties of maintaining clear distinctions between historical and fictional, social and individual narratives. Parafictional personas confound cultural desires to order, categorise and “make sense” of historical narratives. They reveal how much we as viewers (and societies) search for ideas of truth and resolution, even if such truths are presented as incomplete, questionable, or irresolvable.

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Brasó, Emma. "Exhibiting Parafictional Artists: Curatorial Approaches to Fiction and Authorship." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 50–71. http://dx.doi.org/10.1386/jcs_00031_1.

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This article identifies and analyses parafictional strategies in artistic and curatorial practice. By examining exhibitions that have included artists working under fictitious identities from the mid-1990s to the present, I argue that they emerged in response to the conflictual demands of the art world. These case studies have been organized into three categories according to their main curatorial approach: projects in which artists remained anonymous or were asked to produce work under a purposely invented personality; exhibitions that turned the intersection of fiction and authorship into a theme to be researched; and curatorial initiatives that embraced the working logic of fiction in their own methodology. These strategies investigate how authorship, agency, style and self-promotion function in the contemporary art world.

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Hendrickx, Sarah. "The (Bureau)Creative Age. Een parafictie over de nasleep van de creatie industrie." Forum+ 28, no. 1 (February 1, 2021): 4–11. http://dx.doi.org/10.5117/forum2021.1.hend.

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Abstract De tekst ‘The (Bureau)Creative Age’ is onderdeel van het doctoraatsonderzoek van beeldend kunstenaar Sarah Hendrickx. Het is een voorbereidende tekst op de documentairefilm die de fictionaliteit van het onderzoekscentrum meandmywork weergeeft binnen een verdraaiing van tijd en ruimte. Het onderzoek vormt een parafictie over de identiteit van creativiteit, die onze toekomstige wereld in verbinding brengt met hoe deze op dit moment geleefd wordt. Of het onderzoekscentrum en zijn verhaal als waarheid beschouwd worden, is daarbij niet zo belangrijk. Wel het creëren van inzicht in hoeverre we de condities waarin creativiteit gebruikt wordt reeds geaccepteerd hebben, en om ons te realiseren hoe dit onze manier van denken en werken kan beïnvloeden.

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Korola, Katerina. "Blue like the Mediterranean: the work of the monochrome in the Atlas Group Archive." Journal of Visual Culture 20, no. 2 (August 2021): 455–77. http://dx.doi.org/10.1177/1470412921995222.

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In the prologue to Walid Raad’s Hostage: The Bachar Tapes (2001), the speaker asks that his words appear against a grey background. Or, he continues after a pause, ‘use a blue background . . . blue just like the Mediterranean’. Beginning with this colourful riddle, this article investigates the work of the monochrome in the Atlas Group Archive. With this attention to the monochrome as a format, the author’s goal is to move away from the categories of documentary and fiction that dominate discussions of Raad and parafictional work more generally, towards the formal infrastructure through which such works command belief and emotion. This attention to the aesthetic form of the archive not only brings into focus the constituent role of design in the construction of knowledge, but it also reveals the transformation of the monochrome in its encounters with the archive, technical media, and the chromatics of affective capitalism.

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Oosterom, Sander. "Walid Raad: The Art of Fiction in a Post-Truth World." Istanbul Bilgi University, June 1, 2022. http://dx.doi.org/10.47613/reflektif.2022.69.

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Son yıllarda çağdaş sanatta kurgusal stratejilerde bir artış görülmektedir. Genellikle “parafiction” olarak adlandırılan bu sanat eserleri, gerçek hayattaki varlıklar olarak algılanan ve işlev gören hayalî kişiler ve olaylardan oluşan bir kurgu sunar. Çağdaş sanatın önde gelen temsilcilerinden biri olan Lübnanlı sanatçı Walid Raad, bilginin inşasında çeşitli medyaların epistemolojik istikrarsızlığını sorgulamak için uzun süredir kurgusal stratejilere yönelmektedir. “Tarafsız” medyanın katıldığı söylemsel çerçevelere özellikle dikkat çeken sanatının amacı, hakikati yapıbozuma uğratmak değil, yerelleştirmektir. Bu makalede, gerçek ile kurgu arasındaki ayrımı bilinçli olarak bulanıklaştırarak, Raad’ın sanatının hakikat sonrası dönemin estetik ve epistemolojik yapısını yansıttığını savunuyorum. Aynı zamanda, onun çalışmasında kurgunun epistemolojik rolünün bir değerlendirmesini sunuyor ve gerçek-sonrası bir dünyada paraficti-on’ın politik önemini araştırıyorum.

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Nyman, Louisa. "The Parafiction as Counterpoint to the Gimmick." tba: Journal of Art, Media, and Visual Culture 1, no. 1 (November 5, 2020). http://dx.doi.org/10.5206/tba.v1i1.8015.

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In her article “The Theory of the Gimmick,” Sianne Ngai makes the argument that the gimmick is found in every object bought and sold in a capitalist economy and, therefore, the aesthetic of the gimmick is a phenomenon specific to that of capitalism. In an attempt to understand this aesthetic category, Ngai proposes it may be due to the way in which the gimmick transforms idea into thing. This paper looks at the transformation of concept into object as exemplified by Duchamp’s readymade, and suggests how the increasingly gimmicky nature of conceptual art has resulted in an aesthetic condition wherein there is a collapse of the boundary between “art” and “nonart”—fiction and reality. The parafiction, an art practice that performs a deceptive act through use of stylistic mimicry, does not necessarily re-establish this boundary between the real and the fictive, but promotes a necessary awareness of this collapse; and insodoing distrupts the confused condition caused by the predominance of the gimmick.

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Dyer, Mark. "Scribe: Machine Learning, Parafiction and the Perversion of Practice." Leonardo, January 17, 2023, 1–11. http://dx.doi.org/10.1162/leon_a_02363.

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Abstract Scribe (2022) is a choral work for three voices. It is a multidisciplinary project that encompasses palaeography, machine learning, transcription and performance. Furthermore, Scribe is a work of parafictional art in which fact and fiction overlap, conventional practices of palaeography and edition-making are playfully reconfigured and supposed historical authenticity is employed as a compositional material. This paper describes the creative processes in the making of Scribe before evaluating aspects of the uncanny and material agency. It draws upon autoethnographic analysis before contextualising this within the psychoanalytical criticism of philosopher Slavoj Žižek.

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"Mixing fiction and reality: the parafictional history of Dora Longo Bahia’s ‘Do Campo a Cidade’ (2010)." Burlington Contemporary Journal, no. 4 (June 14, 2021). http://dx.doi.org/10.31452/bcj4.parafiction.dzenko.

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