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Performances of The Self

Angeliki Avgitidou presents an eclectic historical introduction to self-portraiture from Renaissance painting onwards with an empasis on the performances of the self by artists.

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Performances of The Self

Angeliki Avgitidou presents an eclectic historical introduction to self-portraiture from Renaissance painting onwards with an empasis on the performances of the self by artists.

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Volume 14 Number 3 ISSN 1462-6268 Coden DICRFL DRG ITAL CREATIVITY Special issue on The artist in digital art: self-portraiture and subjectivity edited by Angeliki Avgtidou plus The Digital Bauhaus Colin Beardon Avatar Body Collision Karla Pracek NIE ARG “ontine SWETS & ZEITLINGER “puBLisHeRs DIGITAL CREATIVITY Editors Colin Beardon 2 Rosebarn Avenue, Exeter EX4 6DY, UK. Lone Malmborg — Malmé University College, School of Art and Communication, Beijerskajen 8, 205 06 Malm, Sweden Editorial Advisory Board Espen Aarseth University of Bergen, Norway Mark Palmer Staffrdshire University. UK Roy Ascott University of Wales College Newport, UK Mike Phillips University of Phmowth, UK Paul Brown Fine Art Forum, Australia Richard Povall halfingel, UK Diana Domingues Universidade de Caxias do Sul, Brasil Jay Rutherford Bauhaus University. Germany Sue Gollifer University of Brighton, UK ‘Stephen Scrivener Coventry University. UK Joan Greenbaum City University of New York, USA Lucy Suchman Xernx PARC, USA Erica Matlow University of Westminster, UK Maureen Thomas University of Cambridge, UK Stuart Mealing University of Phrmouth, UK Mika Tuomola UIAH MediaLab, Finkand Simon Niedenthal Malmo University College, Sweden Ina Wagner Vienna Univesity of Technology. Austria Janni Nielsen Copenhagen Busines School, Denmark Subscription prices and ordering information Institutions: € 235.00 / US$ 260.00 including postage and handling. Subscriptions, orders and requests for specimen copies and back issues should be sent to Swets & Zeitlinger Publish- ers, clo Turpin Distribution Services, Ltd., Blackhorse Road, Letchworth, Hertfordshire, SG6 THIN, UK. Tel: +44- 1462-672-555. Fax: +44-1462-480-947. E-mail: [email protected] Individuals (no schools or libraries): € 79.00 / USS 85.00. Members of Computers in Art & Design Education (CADE) receive the journal as part of their membership. See hetp://wwwcade.ac.uk. Members of Inter Society for the Electronic Arts (ISEA) can subscribe to the journal at a special price. For more information, please contact the publisher's distribution agent at subscriptions @rurpinltd.com. Members as well as individuals must declare that the subscription is for their own personal use, that it will not replace any institutional subscription and that it will not be put at the disposal of any library. Digital Creativity is included in the following abstracting, citation, and information retrieval systems: ARTibliographies Modern, Ergonomics Abstracts, INSPEC. For advertisements, back volumes, and other information, please write to Swets &¢ Zeitlinger, PO. Box 825, 2160 SZ Lisse, the Netherlands. Fax: +31-252-415888. Digital Creativity is published four times a year (March, June, September, December) by Swets & Zeitlinger Publishers. Subscription price is USS 260 = Periodicals Class Postage. Photocopying In the USA: This journal is registered atthe Copyright Clearance Center (CCO), 222 Rosewood Drive, Danvers, MA 01923. Authorisation to photocopy items for internal or personal use, or the internal or personal use of specific cients, is granted by Swers & Zeitlinger Publishers for users registered with the CCC, provided that the base fee of US$ 16.00 is paid directly o the CCC. For those organisations that have been granted a photocopy licence by the CCC, a separate system of payment has been arranged. The fee code for users of the Transactional Reporting Service is 1462-6268/03 $16.00. Authorisation does not extend to other kinds of photocopying, such as for general distribution, for resale, for new publications, for advertising, or for promotion. For all countries outside of the USA, permission to photocopy must be obtained from the copyright owner. Please apply to Swets & Zeitlinger Publishers. For further information about Digital Creativity, please contact the editors, or Marc Weide at Swets 8& Zeitlinger Publishers. E-mail You can also find information on Digital Creativity a hexp:/hwwwsep.swets.nl/sep/journals/de.hem [email protected] Printed on acid-free paper in the Netherlands. © Copyright 2003 by Swets & Zeitlinger. Digital Creativity 2003, Vol. 14, No. 3, pp. 131-138 1462-62681001403-0131$16.00 © wets & Zeitinger Performances of the self Angeliki Avgitidou Central Saint Martins College of Art and Design, UK angelki@arealatst com Abstract This article is an eclectic presentation ofthe set portrait in its different forms and functions through- Cut the history of art with an emphasis on the per- formances of the self. The term self-portrait fist appeared alongside the bith of Humanism in West- fem Europe and was a result of the artists ‘recog- rising themselves’ as individuals. The function of the self-portrait as affirmation of professional sta- tus forthe artist was first employed by Renaissance painters buts also the case for photojournalists of the 1980s. Sel-portrait as autobiography was used in connection with visibility politics to explore iden- tities socially and culturally stereotyped. In digital photography artists acted as ‘masters of disguise’ ina campaign of collage mastering. Finally, the selt- portrait in the case of the anew-constructed sub- jectivity wandered of visual representation, towards networked constitution. In the networked self-por- trait, the textual manifestation of the self is based (on process rather than final product and the ‘rue seff loses relevance. Keywords: autobiography, disguise, face, perform- ance 1. Recognising the self ‘What we call self portrait is based on the idea of the autonomous self-portrait as conceived by researchers inthe study of Renaissance art. In Renaissance painting, according to Woods- Marsden, the autonomous self portrait isa representation that includes the artist as central figure, in contrast to the incorporation of the artist as side character in religious or war scenes, frequent before or during the 16th century (Woods-Marsden 1998). Marsden believes that the autonomous self-portrait emerged only when artists no longer fet the need to suppress evidence of their professional identity by assuming a role; in Quattrocento, for example, artists depicted themselves as Roman heroes while in the 16th century they portrayed themselves as imperial knights. The actual term self portrait, though, is recent. In Rembrandt's era, the seventeenth ‘century, one would speak of his self portraits as ‘Rembrandt’ likeness done by himself” (Van de Werering 1999 17). Self portrait replaces the descriptive ‘likeness by oneself” in the historical point of the ‘discovery’ of the individual: the birth of Humanism in Europe. Self portrait reflects the notion of the self present since the 19th century. ‘Another explanation, according to ‘Manuth, for the emergence of the autonomous self portrait is the admiration, in Renaissance, of ancient Greece and the notion of individual glory (Manuth 1999). The birth of the self portrait can furthermore be perceived as an ‘extreme materialistic expression of the ancient Greek idea of the caring of oneself (cpimeleia eautou) as explained by Foucault in The history of sexuality (Foucault 1986). Digital Cretvity, Vol. 14, No. 3 Avgitidou This ‘cultivation of the self” The self-portrait Jirgen Schlaeger speaks can be briefly characterised by of this self-fashioning in the fat that in this ese the, English literature texts. artofexisence—theechne IN the case Of in iwo ofthe carly English tou biow in it different examples, Thomas Whytborne form is dominated by he the eve’ T-NEWLY= fautbiography of 1575 and principle that ays one mst Constructed Kenelm Dighys Loose Fantasies ‘ake care of oneself. It is this principle ofthe care of the self that establishes its necessity, presides over it asa develop- ‘ment, and organises its practice. But one has to be precise here; the idea that one ‘ought to attend to oneself (heautou epimeleisthai) was actually a very ancient theme in Greek culture. (Foucault 1986 43) ‘The self-portrait can be ‘justified’ as an attempr to care for the self, a kind of self- exercise and self-examination, a duty to the exploration and advancement of the self. The following sections present a choice of different approaches to how ‘the care of the self” was experienced and interpreted in different histori- cal moments by artists. 2 Promoting the self Self-portraits as promotional tools were used by Renaissance painters from the 15th century. ‘They appeared alongside literary accounts of self-fashioning (such as The book of the courtier by Castiglione, published in 1528). Sel fashioning the shaping of the self co an ideal persona is extensively discussed by Burckhardt (1860) and Greenblatt. The latter attests that Perhaps the simplest observation we can make is that in the sixteenth century there appears tobe aan increased self-consciousness about the {fashioning of human identity as a manipulable artful process. (Greenblatt 1984 2) 132 subjectivity has wandered off visual representation and towards networked constitution (€.1628), we can observe a close interaction between their wish to shape their own lives and their determination that the text should only show what they considered to be their presentable sides. (Schlaeger 1999 27) Self-fashioning was adopted by Rennaisance artists, in a time that they did not enjoy the professional status they may hold today. Painting and sculpture were considered as closer to craft than art, in contrast to, for example, poetry (Woods- Marsden 1998). Painters were naturally keen to promote themselves as artists and not craftsmen, placing themselves in an elevated social and professional status. Their carefully constructed self portraits were one of the ways they em- ployed for achieving this status (Woods- Marsden 1998). Shusterman reminds us that “To fashion oneself implies having some image of what one is and what one wants to become” (Shusterman 2002 61). The image of the ‘artist was performed by the Renaissance painter in the constructed self portrait through posture, props, costume and carefully chosen surroundings. Artists were often presenting themselves in action, painting a religious scene or their own self portraits. Lucia Fontana and her predecessor Sofonisba Anguisola would also include in their self portraits musical organs 50 as to grant themselves the aura of the multitalented individual. Renaissance artists would almost exclusively offer their self portraits to prospec- Figure 1. Yong Soon Min, ‘Make me’ (1989), sequence of photographs. Yong Soon Min tive employers in expectation of a commission ora place in court. The self-portrait was appreciated as a gift for it held within the same painting an expression of the artist's mastery and. a likeness of himself (Manuth 1999). An exceptional case was Sofonisba Anguisola—one of the best known female artists of this period — who produced numerous self-portraits prior to her securing a position the court of Spain and discontinued painting them thereafter. ‘The promotion/fashioning of the professional self is by no means a case for Rennaissance painting only. As Rosenblum notes, reviewing photographs reproduced in American journals such as Life and Look from 1936 The peripatetic photojournalist, pictured in a self portrait by Andreas Feininger' as an odd ooking creature of indeterminate sex, age, and nationality with camera lenses for eyes, roamed widely during the mid-century flowering of print journalism. (Rosenblum 1997 483) The self-portrait, in this case as wel, is a means of communicating the idea of the self that the artist wants us to fall for, but is also proud of. Meskimmon adds that the idea that the self portrait is somehow the essence of the artistic idiosyncrasy, the visual representation of the artist’ identity, was an idea that was invested in by a society that favoured the myth of the ‘artistas marginalised creative genius’ (Meskimmon 1996 241). Performances ofthe self 3 Self-portrait as autobiography The connection between self-portraiture and autobiography has been made in the past with reference to individual artists or artist's groups Phelan notes that “within the diverse genre of autobiography the real is considered the motiva- tion for self-representation’ (Phelan 1993 3). In this search for the rea, sel portraiture in the context of autobiography, is a sefexploration as much as i is a self-representation. Gallop describes in Thinking through the body how she is thinking through autobiography (Gallop 1988) Self-portraiture becomes the visual equivalent of thinking through, the search for the ‘real me’: I see/show myself in order to find out who/how I am. The key to this exploration of the self is that, actually, there is not one fixed self to find! Artists adopted this idea and went on t0 produce self-portraits that explored, acted out, or performed the self It cannot be unexpected that artists who embraced this genre of self- portraiture initially came from ‘marginalised’ Self- portraiture was a primary tool in the groups: women, gays, and lesb sibility politics, a visual statement of ‘Texist.’ Self- portrait proved the perfect medium for the exploration of an identity socially and culturally stereotyped, a declaration and a celebration of the self. Artists appropriated their stereotypical image and used it in artworks in order to subvert its meanings‘. Meskimmon summons 133 ON pL 20N fanneog HBG Digital Creativity. Vol, 14, No. 3 Avgitidou the role of self-portraiture For women artists ‘within the course of the 20th century as a way of exploring an ever-changing self. Women artists over the course of the twentieth century have challenged simple psychobiography in the form of eral self portraiture, subverted easy historical’ or ‘biographical’ accuracy queried the significance of mimesis and revealed the ways in which their ‘elves were the products of shifting social constructs and definitions of (Meskimmon 1996 73) Examples of the examination of stere- ‘orypical identities through self portraiture in contemporary art are Mark Wallingers Passport control (1998)° in which he draws stereotypical characteristics of race over passport photos of himself; Yong Soon Min's Make me (Figure 1) in which she presents photographs of herself with overlapping writings such as ‘Assimilated Other’ and Alex Bag’s 6th semester Art School girl (1995)°, a fictional video diary in which she performs a female student at the School of Visual Arts in different stages in her study, but also in her mentality and the language she adopts. 4. Sampling the self: the disappearance of (one) self and portrait [Artists cagerly adopted computer-based technol- ‘ogy in order to ‘put themselves in the picture’ in the form of digitally manipulated photographs. The seamless-ness of the technology” and the opportunity of ‘unprecedented control" lured artists into a regeneration of the genre of the collage. Digital collages were not the first computer based artworks made? but they were some of the first digitally produced works that explored the subjectivity of the artist in the self portrait. Interesting examples are photographs in which artists assume a subjectivity in the context of an historical or cultural moment that they choose to immerse themselves in. Warren Neidich in Unknown artist (1993)" inserted himself in photographs of historically identified 134 artist's groups such as the Futurists. Matthias Wahner in Man without qualities (Figure 2) used well-known documentary photographs, taken from the archive of the German magazine Quick, and immersed himself as part of the action to create a number of comic, absurd or disturbing moments Early digital areworks (such as Knowlton. and Harmon's Mural from 1966) revisited the surface of the photograph in creating ‘computer generated pictures’ with ASCII characters, by the use of programs (‘recognisers) that would assign an ASCII character to each segment of the image, according to the density of that segment. Such self portraits are still produced and ate available on the Internet”. While what they did was to merely translate one data structure into another, interactive installations such as Touch me (Figure 3) used technology in order to question the face a surface of the self- portrait. At this installation, parts of the artist's face on the interactive screen would get replaced with parts of the users face (taken from live vyideo) at the place that the user would touch the artist’ face on the screen, In this installation the solid self-portrait of Renaissance disappears and in its place lies the portrait of the artistas excuse for interaction. Figure 2. Matthias Wahner, ‘Man without qualities’ (1994), 30x40 cm., b/w photo- graph, part of a series. Matthias Wahner. Figure 3. Alba Urbano “Touch me’ (1995), interactive installation. Installation view and screen shots. KUNST+ PROJECTE. é But is not the seeret of the face the otber side of a different way of thinking—one more ambitious, and presenting a different configuration than that of knowledge thinking? The face isnot a _form offered to serene perception. Immediately it summons me, claims me, recalls me toa responsi- bility I incurred in no previous experience. (Levinas 1993 94) Levinas speaks of “the I as responsible for the being of the other” (Levinas 2000 xii~xii). ‘The meeting with the other is a meeting with the face: “...being is man, and it is as a neighbor (sic) tha man is accessible: as a face” (Levinas 2000 9). However this meeting is not a taking over: *...it (the face) means by itself” (Levinas 2000 10). In Touch me D’ Urbano is no longer looking to assert herself through the self- portrait, as Renaissance painters might have done. In this exchange of faces a taking over is indeed provoked by the artist, an invitation and questioning of otherness. ‘Mariko Mori’ slick and synthetic world presents an exemplary case of digital self- portraiture where subject and method meet in a dream-like fantasy of the future. Together with Wahner and Neidich they do not introduce a novelty in terms of the representation of the self- portrait in digital art but they do indicate the Performances ofthe seit \ favourite role of digital artists: that of masters of disguise. This ‘favourite role’ takes a whole new dimension when digital artists embark in their use of networks and specifically the internet as the context and tool of their work. Artists as masters of disguise have engaged in digital culture beyond manipulated photography, in invented (non-existing) personalities, identities shared by a group of people or subjectvities ‘constructed’ by various others". In the construction of fake identities on the net the textual manifestation of the self in its communication with others is of high input and value. Two of the elements of net-culture that artists have adopted in this context are MUDs, e-mail lists and web-logs. MUDs" developed out of video (later on computer) games. Wit them it is possible for a player to assume an identity in a virtual world where he or she can interact with other members of the MUD. In MUDS assuming another identity, role, or disguise takes on a whole new dimension that has implications on the concept of authorship and the idea of the self. Authorship is not only displaced from a solitary voice, i is exploded. The MUDs are authored by their players, thousands of people ata time, all Logged on from different places. And the selfis 195 ON PL 70N Yannearg Hig Dita Creativity, Vol. 14, No.3 Avgitidou not only decentered but multiplied without a limit. There is an unparalleled opportunity to ‘play with ones own identity and to ‘ry out’ new (Turkle 1996 350) E-mail lists were created for the commu- nication and the distribution of information between people sharing the same interests. Artists utilised e-mail lists in order to create fictional characters—who ate sometimes referred to as ‘entties"— that would engage in commu- nication with other members of the list without revealing their truc identity. Indeed this true identity lost importance in this text-based portrait of the self. Subjectivity became a fictional construction not as easily decipherable as in visual digital self-portraits. The original web-logs were link-driven sites. Each was a mixture in unique proportions of links, commentary, and personal thoughts and essays. (Blood 2000) According to Newsweek there are half a million web-logs online, although it is impossi- ble to determine the active ones, as “many journals are authored by the same people who've abandoned older ones” (Steakley 2002). Web- logs are referred to as journals or diaries, but their fundamental difference is not only that these diari anyway insist chat diarists secretly wish for their diaries to be published (Mallon 1995, Taylor 2000)—but that their existence is even based on the fact that they are published. However, their role in the construction of subjectivity— although claimed otherwise by Blood (2000)— is associated more with self-fashioning than with autobiography. Sel-fashioning was a process cowards a fixed ‘portrait’ usually connected with authority and control and was a kind of resist- ance to the loss of self, a protection against the threat of the other (Greenblatt 1984), In the various disguises of the self through MUDs, e- ail lists or web-logs, the self is serially re- invented in a kind of identity sampling, There is are public—a lor of editors would 136 no idealised self cowards whom one must struggle but rather the pleasure from consuming an expression of identity other than your own. The self-portrait in the case of the ever- newly-constructed subjectivity has wandered off visual representation and towards networked constitution. Additionally the emphasis seems to be, not on the final product, the portrait, but on the process through which it is constituted. It may be now that the self portrait is closer to Druckrey’s idea of “the image not only asa signifier, but rather as an event” (1996 25). ‘The image as event’ has not been fully taken aboard by digital artists who appear reluctant co explore the potential of self portraiture within exclu- sively digital modes such as multimedia or virtual reality". Has the self portrait become art? Maybe itis only that it has been transformed. The self-portrait contin- ues to be one of the ways in which artists explore their subjectivity. But itis no longer ‘unique or of one person. It encompasses communities and networks. It lays in the interaction with other users/makers. It is not fixed or single and for this reason maybe all the more closely connected with the artist's subjec- tivity. . The photojournalist, 1955. ‘Gelatin silver prine published in Rosenblum, N. (1997) A world history of photegraphy. Abbeville Press Publishers, New York, London and Paris, p.483. ® Fora comprehensive overview of the connection berween autobiography and the sel portrait see Marsha Meskimmon’s The ar of reflection. » Meskimmon historically locates chis moment in women's sel-portraiture: “Women artists of the post-1968 generation have also dealt with the implications of producing self portrait images which do not fix the ‘self’ o simple definition, but reveal the multiplicity of "selves" available to one individual.” (Meskimmon 1996 87). For examples of this type of self portraiture sce ‘works by Claude Cahun, Della Grace, Jurgen Klauke and others. Also see: Bate, D. (1994) Claude Caburs 1894-1954: The mise en seine of desire. Exhibition catalogue. ICA, London. > Passport Control, 1988, colour photographs, six parts, each 132 x 101.5 em. Published in Wallinger, M. (1995) Mark Walling. Exhibition catalogue. Ikon Gallery, Birmingham; Serpentine Galery, London, p. 15. “ Fall 95, 1995, colour video. Published in Goldberg R. (1998) Performance: live art since the 60s. ‘Thames and Hudson, London, p. 206. Mentioned in Alexa Wrights article in tis issue. Mentioned in the introductory esay by Lawrence Rinder to the exhibition BiaSireams at the Whitney Museum of American Art. Available from hetp:// ‘www. whitney org/bitstreams/ For the first examples of computer at see Reichardt, J. (1971) The Computer in Art. Studio Vista Ltd., London; Van Nostrand Reinhold Publishing, New York. This isthe catalogue of the pioneering exhibition Cybernetic Serendipity, which Reichardt curated for the Institute of Contempo- rary Arts, London. "Both of Neidich’s and Wahner’s works are published in H. v. Amelunxen, S. Ighaut, F Rotaer (eds, (1996) Photography after photography: memary and representation in the digital age. GB Arts International, pp. 282-287; 232-235, "Two random examples can be found at hetp:// ‘wowsalsabomb.com/edie/edie.heml and hetp:/! swore shadowcbatcave.net/self_portrait html "For an extensive presentation ofthis type of projects see Lina Russell's article inthis issue MUD is an acronym for Mulkiple-User Dungeons. “The term ‘dungeons’ has persisted in both the games and high-tech culeure, and in the ease of -MUDSs refers to a virtual socal space that exists on machine” (Turkle 1996 355). “One exception is my work A Series of Unnecessary Deaths available ftom: hetp://wwwatealartst.com! index/deathsheml Performances ofthe sett References Amelunxen, H. V.,Iglhaut, S. and Rétzer, F (eds.) (1996) Photography afer photography: memory and representation in the digital age. G+B Art Interna- sional Bate D. (1994) Claude Cahun 1894-1954: the mise en scene of desire. Exhibition catalogue. ICA, London. Blood, R. (2000) Weblogs: a history and perspective. Amalable from: hetp://wwwwsebeccablood.ned! index heml ~ accessed 7 March 2003. 1. (1999) Women and at: nfeld and Nicolson, Chicago, J.and Smith, contested territory Wei London. Druckrey.T (1996) Introduction. In Druckrey, T. (ed.) Electronic culture. Aperture, New York, pp.12~ 25, Foucault, M. (1986 1984) The care of the self the bristory of sexuality Vol 3. Penguin Books, Middle- Gallop. J. (1988) Thinking through he body. Colum- bia University Press, New York and Surrey. Goldberg R. (1998) Performance: lve art since the 60s. ‘Thames and Hudson, London. Levinas, E. (1993) Outside the subject. The Athlone Press, London, Levinas, E, (2000 (1998]) On shinking-of-the-other entre nows. The Athlone Press, London. Greenblae S. (1984) Renasxance elf fashioning: from ‘More to Shakespeare. The University of Chicago Press, Chicago and London. Mallon, T. (1995) A book ofone own: people and their diaries, Hungry Mind Press, Minnesota. Manuth, V. (1999) Rembrandt and the artist’ self portrait: tradition and reception. In White, C. and Buvelot, Q.(eds.) Rembrandt by himself. Exhibition catalogue. The National Gallery, London, pp.38— 57, ‘Meskimmon, M. (1996) The art of reflection. Scarlet Press, London. Phelan P. (1993) Unmarked: the politics of perform ‘ance, Routledge, London and New York. Rinder, L. (2001) Are in the digital age. Available from. hhep://ww.whitne.org/bitstreams — accessed 7 March 2003. Rosenblum, N. (1997) A world history of photography. [Abbeville Press Publishers, New York, London and Pasi. 137 BON ‘PL 10 mz019 ei Digital Creativity, Vol. 14, No. 3 — Schlaeger, J. (1999) Self-exploration in early modern English diaries. In Langford, R. and West, R. (eds.) ‘Marginal voices, marginal forms: diaries in European literature and history. Rodopi, Amsterdam and Alanta, pp.22-36. Shusterman, R., Pontbriand, C. and Asselin, O. (2002) Selfseyling after the ‘end of at: an interview with Richard Shusterman. Parachute 105 57-63. Sceakley, L. (2002) Is this One Nation, under Blog? Wired. Available ftom: heep:/www.wired.com! rnews/culeute/0,1284,54740,00.html - accessed 7 March 2003, Taylos, A. and Taylor, 1. (2000) The assassin’ cloak: an anthology of the world greats dari. Canongate Books, Edinburgh. ‘Turkle, S. (1996) Constructions and reconstructions of the self in virtual reality. In Druckrey T. (ed.) Elecroni culture, Apercure, New York, pp.354— 365, Van de Wetering, E. (1999) The multiple functions of Rembrandk’ self portraits. In White, C. and Buvelot, Q (eds.) Rembnande by himself Exhibition catalogue. The National Gallery. London, pp. 8-37. Woods-Marsden, J. (1998) Renaissance self portraiture: the visual construction of identity and the social satus ofthe artist. Yale University Press, New Haven and London, 138 Angeliki Avgitidou is an artist and an architect. She is currently completing her PhD on ‘The Experience of the Creative Activity as a Process of Subjectification within the Context of Digital ‘Art in Central Saint Martins College. She has presented her work in exhibitions in Europe and at conferences such as CADE, ISEA and Psi. Her research is supported by IKY, AHRB and ‘The London Insitute. wwwarealartist.com DIGITAL CREATIVITY Volume 14 Number 3 Editorial: The artist in digital at self portraiture and subjectivity ‘Angeliki Avgitidou... : 129 Performances of the elf ‘Angeliki Avgitidou.. ve BL At the edge of my-self ‘Alexa Wright 139 Cybiog and sexed digitalia Penny Florence 144 ‘The artist and the Internet: a breeding ground for deception, Lina Dauverovie-Russell = ‘Artist Space 6: Generative computation and the arts 152 Sue Gollifer 159 and technology 169 ‘Avatar Body Collision: enactments in distributed performance practices Karla Pracek Le 180 Forthcoming: Practice based Research / Practice as Research Maureen Thomas (Guest editor) Papers from CADE 2003 Mary Dyson (Guest editor) (Cyberart and interfaces: the coupled body Diana Domingues Experiments into web-based museum design within Turkish culture ‘Oguzhan Ozcan

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