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Jennicam and Project Virtual Awkwardness

My name is Jennifer Ringley, and I am not an actor or dancer or entertainer. I am a computer geek… I don’t sing or dance or do tricks (okay, sometimes I do) but not very well and solely for my own amusement, not yours).

(www.Jennicam.org)

 

From April 1996 to December 2003, the ‘ordinary’ life of a young Western woman was broadcasted on the Internet. It is stated the reason for closure is PayPal cutting her off. An overview could be found residing on Ashley Lai and Tan Chin Fang’s residencies in the Open Source Studio.

 

The examination of her immense popularity like any other success phenomena brings upon theories to substantiate. In this investigation, we challenge the notion of setting her private space public with our proposition of Virtual Awkwardness by Diana Toh, established from the grounds of experimental third space labyrinth Open Source Studio helmed by Randall Packer.

 

 

The premature adrenaline that pumps through your veins pulsating every single bout of arousal in the entrance towards dark and warm dungeon of Jennifer Ringley. Much to our dismay, her stay was long in human’s linear encounter of hours, minutes and seconds, but insignificant in the longevity of the Internet. The nature of online cameras which take images of themselves is ephemeral, fleeting, and transient — ultimately lost in time is it’s flavor while change is the only constant; embed in this world off mashups and remixes, and idolatry of oneself in virtual presence is very much a socially acceptable insanity.

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A voyeur would approve of Jennicam’s camera angle and static establishing show of her room and her bed. A relationship exist only if she is willing to exhibit her assets, her affair, and her possibly humility that is so honest.

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‘The media, by and large, adores making a big deal out of the nudity and sexual content on the site. I don’t strip. I don’t even sleep naked much. And since I started dating Geofry ten months ago, I haven’t had sex on camera a single time because Geofry is camera-shy.”

Ringley’s interview on Cybergrrl: Voices of Women, 2001.

 

Transgressing beyond, academics have avidly discussed upon webcam as a technology that transpose the traditional canvas “window”, now a digital one, into another space-time situation, conjuring the real and the virtual. Jennicam’s 24-hour performance exploits on the lack of formal theatre training, kitsch and banality, bringing forth a “new theatre” dramaturgy from contention of theatre academics to embracement of telematic reality presentation. The pinnacle of mediation after mediation takes on viewership to be critical on seeing and the act of looking.

 

While largely is there contention in her intention of her gesture, subjected to debate of exhibitionism, the banality of the everyday gives security to mundanity. While fishes (www.fishcam.com) and eagles (http://www.ustream.tv/decoraheagles) are telematically present in 2014, there is once a human biologically identified to be female (www.jennicam.org).

 

Do you think Jenni was virtually awkward? Was she attempting to overcoming virtual awkwardness? Was she trying to induce it, either for herself or the viewer?

— Randall Packer

 

“I keep Jennicam alive not because I want to be watched, but because I simply don’t mind being watched”, says Jennifer Ringley. This marks the borderline falling between self-objectification and empowerment.

 

The transcendental presence of Jennicam has been felt across academia to pornography host. Under Ringley’s management, Jennicam was directed to be originally unedited and uncensored. In the case of camera shy guests, she bears respect for the wishes to be left unidenitified. In essence, Ringley attempts to preserve a “reality” that would captured statically from the placement of the the webcam, archiving the less dramatic and not to give birth on representation. In the light of media, Jennifer Ringley’s portrayal is difficult to discover virtual awkwardness, an assertion of the lack of activities is also a meditation to his gesture.

 

In Project Virtual Awkwardness, the web session host breaks the fourth wall in direct confrontation with the audience. This is a peculiar situation where awkwardness arise much unlikely to be found in Jennicam. To follow on, this expression the host will investigate such instigation in the notion of troll, NSFW, and across Adobe Connect.

3 thoughts on “Jennicam and Project Virtual Awkwardness

  1. Profile photo of Hoong Wei LongHoong Wei Long

    “This marks the borderline falling between self-objectification and empowerment.” – indeed, I agree that this is a fine line to navigate. Personally I think its fair game to conclude either way.

    Reply
  2. Profile photo of Yeo Jing XiangYeo Jing Xiang

    ‘The media, by and large, adores making a big deal out of the nudity and sexual content on the site. I don’t strip. I don’t even sleep naked much. And since I started dating Geofry ten months ago, I haven’t had sex on camera a single time because Geofry is camera-shy.”

    This quote is really thought-invoking, censorship has somehow warped our perception of daily life. Of what should be proper and what should not be, but yet sex and nudity are all part of daily life. While some people treated it as a sort of pornography, but to the artist herself these are just part of a daily life, nothing to be made a big fuss about. The awkwardness doesn’t arise because the voyeurs know that they are hidden, but by exposing them, a new degree of awkwardness will arise

    Reply
  3. Profile photo of nasirnasir

    its like a virtual consumerism where Jenni seem to be giving what the audience would like. A voyeuristic introduction of her life and the mundaneness of all. AT first, it may intrigue them but after a while it seems like any other life you see around. Its more of a celebrity stunt to entice the audience interest.

    Reply

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