Theorizing vision and power at the intersections of the histories
of psychoanalysis, media, scientific method, and colonization,
"Scenes of Projection" poaches the prized instruments at the heart
of the so-called scientific revolution: the projecting telescope,
camera obscura, magic lantern, solar microscope, and prism. From
the beginnings of what is retrospectively enshrined as the origins
of the Enlightenment and in the wake of colonization, the scene of
projection has functioned as a contraption for creating a fantasy
subject of discarnate vision for the exercise of "reason."
Jill H. Casid demonstrates across a range of sites that the
scene of projection is neither a static diagram of power nor a
fixed architecture but rather a pedagogical setup that operates as
an influencing machine of persistent training. Thinking with queer
and feminist art projects that take up old devices for casting an
image to reorient this apparatus of power that produces its
subject, "Scenes of Projection" offers a set of theses on the
possibilities for felt embodiment out of the damaged and difficult
pasts that haunt our present.
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