Joyce Miyake

As a Japanese-American, 电视只是利用资本主义理想的霸权议程中的词汇，为成功提供了一个模板. 从童年到成年，我越来越意识到媒体无情力量的话语, 紧紧抓住我们的潜意识——创造肤浅的希望和梦想. 电视成为把消费者作为主要受众的工具，并演变成“信息机器”。. 它成为理解商业化、粉饰过的社会结构的重要来源. I learned that because I was Asian I was meant to be good at math, obedient, exotic, and be the first to die in a horror movie. What entertainment failed to realize, was that I was none of these and if I had my reckoning, I would make producers bow their heads in shame. And it is not just me who has been squandered by this agenda, it has been bestowed upon the audience, musicians, actors, and models alike. 这是我在“反击:对影响的回应”系列中面对和质疑的一种权威形式. 我的作品通过推测娱乐世界如何影响身份来重新评估大众媒体的影响, personal preference, social and economic status, behavioral and psychological development, and racial hierarchies.

考虑到媒体和广告是投射在我们身上的东西, how can we respond to something that isn't listening?

由于媒体传统上是面向其受众的，因此我们的反应是有限的. 媒体是碎片化和集中化的，以便在一帧一帧的基础上资本化. 我的录像作品颠覆了发现的镜头，并通过编辑过程利用挪用来阐明在电视中观察到的模式, media, and advertising. With each video having its own overarching theme, 卡拉ok活动让参与者有机会在我的视频作品中演唱精选的流行歌曲的歌词. 这些被发现的片段与歌曲形成对比，目的是讽刺和质疑流行文化. Video distortion, which can only be activated by voice, 填补观众与媒体之间的空白，倡导两者之间的对话. At times lyrics have altered meanings, 迫使参与者和观众就音乐和媒体展开新的对话.

How can we reassess influence knowing what we know now?

Installations including tufted, woven, 播种的作品用柔软的材料来理解与逆境有关的艰难教训的后果, mental health, relationships, and sexuality. 我的可穿戴设备是虚构的帮派夹克，属于“扬声器”，他们穿着夹克作为身体装饰的一种形式，并意识到流行媒体如何影响我们. Gang jackets are reminiscent of the 90’s, punk, and Japanese gangs (Yakuza, Bōsōzoku, (Sukeban))每件夹克的背面都戴着前偶像的“外壳”——这些偶像的身份被认为是为了安抚资本主义议程，尽管他们面临着激烈的后果. While my choice in imagery referencing pop icons, products, or advertisements, 是充满了信息，它是通过各种形式的工艺来表达的，这需要持续和仔细的关注.