Bodies under glass gay dating apps and the affect-image
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Tom Penney. The exchange of digital images depicting partial bodies is an iconic part of the Grindr experience. In this article I discuss how such images function as "affection-images. In approaching this question I uncover how gay men have produced their own norms and standards of representation online.
This is further considered through the structure of faciality as an algorithmic phenomenon. The satire of how affection images and faciality encourage norms to be produced by gay men online is key to my practice as a satirical artist.
Bodies under Glass: Gay Dating APPS and the Affect-Image
Infamous too are the torso shots, dick-pics and belfies displayed during sexualised online chatting. Fingers press, swipe, pinch and zoom into these images for more detail. Brains engage, get turned on, and off, and judge these images of bodies in rapid succession. Penises rise and fall. We might assume that in their digital multiplicity and sexual openness, such images constitute a freedom of sexual representation, but what has become increasingly clear is that, en masse, gay men are producing their own standards of participation that exclude differences from within their own community, and that it is through user participation that such standards occur.
This is unlike the standards handed down to the public by mainstream culture and is fertile ground for satirical artists. Content uploaded by Tom Penney. Author content All content in this area was uploaded by Tom Penney on Feb 12, The following article is a draft. Gay online dating, grindr, se xuality, affection, masculinity. The exchange of digital images depicting p artial bodies is an iconi c part of the G rindr. This is further considered through the struc ture of facial ity as an. The satire of how affection images and faciality encourage norms to be.
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Bodies under glass gay dating apps and the affect-image | Psychic Horizons Boulder
For gay men using online dating apps li ke Grindr or Hor net static faces catching our eyes. Infamous too are the. Fingers press,. Brains engage, get turned on, and off,. We might assume. This is unlike the standards. In my studies and practice I consider how fascisms are arrived at through the deceptively. Faces within borders are displayed to users as if they w ere objects of choice through a personal.
The re is always another opt ion , we might think to ours elves. There is a sense of entitlement and command over these images. Here we find through the interface that multiplicity exists i n terms of the singular: With subconscious awareness that others wi ll judge us in the. When enough people together make demands p ublicly for. The promise of Grindr is that some sort of affection, sexual or otherwise, will be gleaned. From my perspective informed by reading Gilles. Affection-images are a language through which h umans read the interior state.
I wrote about this in a past publication titled Bodies Under Glass , 2 where I made the. Torsos become.
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Given this language, why do Grindr users rout inely behave i n the fascistic ways I have. One effect of this affection-image saturation is that users have to adopt.
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This extends to profile. If we are to read partial p hotographs of the body as faces, then. Here, this refers to users rapidly processing and judging the masses of Grindr images. They are then applying these. I a rrived at this concept aft er. Thi s. Faces are recognised in terms of their deviation from a standard arrangement of these darker.
Machines learn to interpret faces by parsing as many images of faces as they can. A f ace-recognising machine can. Through Gilles Deleuze's concept of affectionimage, I think through how images of bodies on these apps are transmitting or receiving affect. I then discuss some of my own artwork in light of this inquiry, in which I particularly consider the role of judgemental swipe-gestures and how they parallel the treatment of individuals' bodies as objects: Through this artwork and its discussion, I aim to extend critical discourse concerning the treatment and reception of other subjects in gay online communities, as well as the examination of bodies, fetish and sexuality by artists of contemporary media more generally.
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