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LitNet Akademies Jaargang 10 (1), Maart 2013 accessible to many also indicates that the genre has been democratised. Whereas traditionally the genre of the self-portrait has been reserved mostly for aristocracy and artists, now everyone can take part in their own self-expression. The main question explored in this article is, what happens to the genre of the self-portrait in an era of social media networks and how does it compare with traditional self-portraiture? In order to explore this question the analysis turns to the so-called birth moment of the selfportrait in the Western tradition, namely to the time of German artist Albrecht Dürer (1471- 1528) and particularly to his potent self-portrait of 1500. The reason for this selection is that this early manifestation of the self-portrait overlaps with what philosopher and urbanist Paul Virilio identifies as an “aesthetic of appearance” – in other words, a representation that endures in time and space. Virilio associates the aesthetic of appearance with representation, for it does not assume full presence of the artists, but rather a presence through absence, thus a re-presentation of the artist that endures over time and space. This differs considerably from the depiction of the self on social media networks and specifically Facebook. It is argued that the contemporary democratisation of the self-portrait can be meaningfully interpreted by making use of Virilio’s idea of an “aesthetic of disappearance”. In brief, aesthetic of disappearance refers to the ways in which contemporary images appear on screens in real time creating a tele-presence (a presence over physical and geographical distance) that can be updated continuously. According to Virilio the online identity created and updated in real time suggests an instantaneous presence that is available everywhere at all times. Consequently the aesthetic of disappearance is associated with immediate presence that tries to eliminate all forms of mediation or re-presentation. By utilising this hermeneutical framework, namely the differences between an aesthetic of appearance and disappearance, the difference between representation and presentation is illuminated in the discussion by applying it to the traditional self-portrait and contemporary online self-expression. This framework is used merely as an indicator, for in no way can it be assumed that all examples of self-portraiture and online self-expressions fit neatly into this opposition. In fact, it is far more promising to keep the analyses open and to use Virilio’s distinction as a useful guide. The article therefore suggests that the traditional self-portrait as depicted by the modern artist represents a presence through its own absence, which can be associated with an aesthetic of appearance. The self-portraits of Dürer, Rembrandt, Beckmann, Bacon and Warhol are briefly discussed to show this trajectory from an aesthetic of appearance to disappearance. The ways in which digital photography further undermines the traditional self-portrait is also briefly discussed through the work of Morimura and Schechner. The trajectory followed can also be associated with the movement from modernism towards a consumerist postmodernism. The genre of the self-portrait is then explored in its contemporary guises made possible through new technologies and social media. These new developments allow for new ways of presenting the self by means of a telepresence that has overcome time and space. The fact that online the self can be constantly edited, updated and exhibited makes it more analogous to an ongoing project or process than a final product or positioning of the 280
LitNet Akademies Jaargang 10 (1), Maart 2013 self. In particular the portrayal of the self on Facebook through profile pictures is explored with reference to misleading and over-flattering depictions. The presentation of the self online also allows for the suspension of the separation between the private and the public spheres, because the intimate private life can now be broadcast constantly to an ever-present public audience. In short: whereas the traditional self-portrait appears, positions and represents in time and space, the online self-expression presents in real time, immediately and instantaneously, and inevitably disappears. Key terms: self-portraits; social media networks; Facebook; Paul Virilio; aesthetic of disappearance; cyber exhibitionism 1.Inleiding Man, fascinated with himself, constructs his double, his intelligent spectre, and entrusts the keeping of his knowledge to a reflection. (Virilio 1991:46) Een van die eerste dinge wat ek moes leer tydens die skep van my aanlyn Facebook-profiel is om nie ’n alledaagse foto van myself te gebruik nie. 1 Dit het veel meer trefkrag om ’n interessante foto van jouself op te laai – ’n foto geneem vanuit ’n ongewone hoek wat die illusie van beweging skep, of, nog beter, gehul in skadu’s ten einde die misterie te verhoog – enigiets is beter as ’n gewone frontale konfrontasie (Figuur 1). Selfs ’n foto van jou groottoon hou meer belofte in as ’n “mug shot”. Ek moes dus aanleer wat die meeste gebruikers van Facebook alreeds weet, naamlik dat profielfoto’s nie soseer standhoudende voorkoms dokumenteer nie, maar veel eerder geskep word in antisipasie van die kortstondige blik van ’n aanskouer. Dit is hierdie vlietende aard van aanlyn selfuitbeeldings wat in die bespreking wat volg, as vertrekpunt geneem sal word en ook in gesprek met die genre van die selfportret in die visuele kunste gebring sal word. Wat gebeur met die selfportret in die era van sosialemedia-netwerke en hoe vergelyk dit met tradisionele beskouinge van die representasie van die self? Uiteraard kan so bespreking slegs met breë hale oor die geskiedenis verf en is dit uit die staanspoor uiters selektief in watter materiaal bespreek word ten einde reg aan die argument te laat geskied binne hierdie bepaalde en beperkende ruimte. 281
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68 56. 69 1975 3 All ER 314 (CA). 7
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184 Zeffertt en Paizes (1986:15-6).
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295 Clifford v Turrel 1845 1 Y&C Ch
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Abstract LitNet Akademies Jaargang
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Dlamini, J. 2009. Native nostalgia.
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