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首页> 外文期刊>First Monday >The Internet of Bawdies: Transmedial drag and the onlining of trans-feminist and queer performance archives, a workshop essay
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The Internet of Bawdies: Transmedial drag and the onlining of trans-feminist and queer performance archives, a workshop essay

机译：Bawdies的互联网：过渡性拖累以及跨女权主义和酷儿表现档案的加入，研讨会论文

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Like the practices of drag itself, this workshop essay has been produced in and with community, geared towards many audiences and reliant on the expertise and creative intelligence of these communities and audiences. The Internet of Bawdies is the Internet of too much body. My working description of the Internet of Bawdies is, the (forced) digitization and?onlining?(publication, connectivity, searchability) of previously non-digitalot-onlined (Cowan & Rault 2018) ephemera of trans- feminist and queer (TFQ) community-based expressive cultures, including but not limited to drag, burlesque, kink shows, porn and erotica across medium, spoken word, slam and other text-based performance forms, and cabaret, whether is explicitly sexual or not, as well as the internet of sex work and other modes of consentual, adult online embodiment that exceed, transgress, resist or transform heteronormative, monogamous, reproductive bodies. While there are many sexes, genders and orientations in the Internet of Bawdies, here I focus on the ethics of TFQ digitization in this context. “Transmedial drag” is what I have identified as a method of study, knowledge production and citational practice developed on/in/of/with the Internet of Bawdies in mind. Transmedial drag are the processes involved in moving across media/mediums (for example: from live performance, to video documentation, to digital archive to online platform), which creates a sort of pastiche of the ‘original,’ denaturalizing its status as ‘originary’ and teaching us something new about the excesses and limitations of each media form. In particular, transmedial drag is a method for ethical engagements that researchers working with TFQ in the online environment, especially re-mediating materials to an online environment, might find they are already doing. There is a story in the moving across media, and transmedial drag is set of practices to tell those stories.
机译：就像拖动本身的做法一样，本研讨会论文是在社区内部和社区中制作的，面向许多受众，并依赖于这些社区和受众的专业知识和创造力。 Bawdies的互联网是太多身体的互联网。我对Bawdies互联网的工作描述是，以前非数字/未在线（Cowan＆Rault 2018）短暂的女权主义和酷儿（TFQ）的（强制）数字化和“在线化”（出版物，连接性，可搜索性）。 ）基于社区的表达文化，包括但不限于跨媒介，口语，大满贯和其他基于文本的表演形式的歌舞表演，滑稽表演，扭结表演，色情和情色，以及歌舞表演，无论是否明确涉及性以及性工作互联网以及其他可以超越，侵犯，抵抗或改造异性，一夫一妻制，生殖机构的成人在线同意形式。虽然Bawdies互联网中有许多性别，性别和取向，但在此我将重点关注TFQ数字化的伦理。我认为“中介阻力”是在牢记互联网的基础上发展的，在/之内/之内进行的一种研究，知识生产和引用实践的方法。跨媒体拖动是跨媒体/媒体移动所涉及的过程（例如：从现场表演，视频文档，数字档案到在线平台），这创造了一种“原始”的仿冒形式，使它的地位变成了“原始” ”，并教给我们一些有关每种媒体形式的局限性的新知识。尤其是，中介拖动是一种用于道德参与的方法，研究人员在在线环境中使用TFQ，尤其是将材料修复到在线环境中，可能会发现他们已经在这样做了。跨媒体传播中有一个故事，而中介拖动是讲述这些故事的一系列实践。

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