Ritualizando su resistencia, el grupo mantuvo el sentimiento de solidaridad entre sus participantes, atrajo espectadores y aseguró visibilidad pública. Al organizar semanalmente sentadas silenciosas en protesta desde mediados de los 1990s, las familias de los desaparecidos crearon el movimiento de más larga duración de desobediencia social en Turquía, conocido como las Madres del Sábado. The productive tension between ritualized protest and its spectacularized lives suggests a need to revise anthropological theories about progressive social movements that juxtapose the hidden versus public, the individual versus collective, and the institutionalized versus spontaneous forms of resistance. Rather than solely focusing on material and spiritual resources of the movement, activists’ meaning‐making processes, or the state's tactics to end the movement, this article introduces the analytics of ritual and spectacle to highlight the ongoing negotiations between protestors’ subjectivity, collective action, popular representations of the protest, and state violence. Thus, they often found themselves grappling with the tension between their desire to become visible and their refusal to be represented as a public spectacle of mothers’ suffering. Yet, as this protest form became popular, the participants felt uncomfortable with how they were represented in the wider public, especially how they were reduced to the spectacle of suffering in official and popular discourses. Ritualizing their resistance, the group maintained the feeling of solidarity among its participants, attracted spectators, and ensured public visibility. Organizing weekly silent sit‐in protests since the mid‐1990s, the families of the disappeared created Turkey's longest‐lasting civil disobedience movement, known as the Saturday Mothers. Ancient drama was a major pillar of Ancient Democracy and served the need to educate citizens with empathy in order to participate as responsible actors in decision making processes. Important ethical and anthropological concerns are framed on the same philosophical ground as ancient drama. When, on the other side, they are used to promote a false reality experience, they should be rectified. A dramatic framework can explain the power of ICT and help us work towards the development of an equilibrium both personally and collectively: When used to enrich our experiences and extend our agencies, ICT can be considered as an enhancement of reality. By promoting deep experiences, the hyper-connected environment in which we live in, changes our metaphysics and self-conception. They imply that we all participate as “interactors” on the “onlife stage” where other agents (either humans or computer-controlled) are also present. These concepts transcend the prevailing technical mentality when addressing ICT. This framework offers a wider perspective that demonstrates a deep connection between the qualities of our hyper-connected era and drama as an art of representing action. An important aspect of ICT, identified 25 years ago within the user interface design community, is dramatic interaction: The deep engagement promoted by digital technologies that can be better explored by adopting a conceptual framework traditionally used to describe and study theater.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |