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Hybridity as a strategy of the suppressed against their suppressors, mimicry as a strategy of colonial subjection, Third Space, postcolonial "enunciative" present [1] Homi Kharshedji Bhabha ( / ˈ b ɑː b ɑː / ; born 1 November 1949) is an Indian scholar and critical theorist .
The development of hybridity theory as a discourse of anti-essentialism marked the height of the popularity of academic "hybridity talk". However the usage of hybridity in theory to eliminate essentialist thinking and practices (namely racism) failed as hybridity itself is prone to the same essentialist framework and thus requires definition ...
Third Space Theory explains the uniqueness of each person, actor or context as a "hybrid". [ 1 ] [ non-primary source needed ] See Edward W. Soja for a conceptualization of the term within the social sciences and from a critical urban theory perspective.
Some art theorists have proposed that the attempt to define art must be abandoned and have instead urged an anti-essentialist theory of art. [9] In 'The Role of Theory in Aesthetics' (1956), Morris Weitz famously argues that individually necessary and jointly sufficient conditions will never be forthcoming for the concept 'art' because it is an ...
Hybrid art is a contemporary art movement in which artists work with frontier areas of science and emerging technologies. Artists work with fields such as biology, robotics, physical sciences, experimental interface technologies (such as speech, gesture, face recognition ), artificial intelligence, and information visualization.
Postdigital, in artistic practice, is a term that describes works of art and theory that are more concerned with being human than with being digital, similar to the concept of "undigital" introduced in 1995, [1] where technology and society advances beyond digital limitations to achieve a totally fluid multimediated reality that is free from artefacts of digital computation (quantization noise ...
In Colonial Desire (1995) [8] Young examined the history of the concept of 'hybridity', showing its genealogy through nineteenth-century racial theory and twentieth-century linguistics, prior to its counter-appropriation and transformation into an innovative cultural-political concept by postcolonial theorists in the 1990s. Young demonstrates ...
Adorno's work has had a large impact on cultural criticism, particularly through Adorno's analysis of popular culture and the culture industry. [10] Adorno's account of dialectics has influenced Joel Kovel, [11] the sociologist and philosopher John Holloway, the anarcho-primitivist philosopher John Zerzan, [12] the sociologist Boike Rehbein, [13] and the Austrian musicologist Sebastian Wedler.