![]() ![]() Rather than solely focusing on material and spiritual resources of the movement, activists’ meaning‐making processes, or the state's tactics to end the movement, this article introduces the analytics of ritual and spectacle to highlight the ongoing negotiations between protestors’ subjectivity, collective action, popular representations of the protest, and state violence. Thus, they often found themselves grappling with the tension between their desire to become visible and their refusal to be represented as a public spectacle of mothers’ suffering. Yet, as this protest form became popular, the participants felt uncomfortable with how they were represented in the wider public, especially how they were reduced to the spectacle of suffering in official and popular discourses. Ritualizing their resistance, the group maintained the feeling of solidarity among its participants, attracted spectators, and ensured public visibility. Organizing weekly silent sit‐in protests since the mid‐1990s, the families of the disappeared created Turkey's longest‐lasting civil disobedience movement, known as the Saturday Mothers. Ancient drama was a major pillar of Ancient Democracy and served the need to educate citizens with empathy in order to participate as responsible actors in decision making processes. Important ethical and anthropological concerns are framed on the same philosophical ground as ancient drama. When, on the other side, they are used to promote a false reality experience, they should be rectified. A dramatic framework can explain the power of ICT and help us work towards the development of an equilibrium both personally and collectively: When used to enrich our experiences and extend our agencies, ICT can be considered as an enhancement of reality. By promoting deep experiences, the hyper-connected environment in which we live in, changes our metaphysics and self-conception. They imply that we all participate as “interactors” on the “onlife stage” where other agents (either humans or computer-controlled) are also present. These concepts transcend the prevailing technical mentality when addressing ICT. This framework offers a wider perspective that demonstrates a deep connection between the qualities of our hyper-connected era and drama as an art of representing action. ![]() Aristotle ranks spectacle last in importance among the other components of tragedy, remarking that a tragedy does not need to be performed to have its impact on the audience, as it can be read as a text.An important aspect of ICT, identified 25 years ago within the user interface design community, is dramatic interaction: The deep engagement promoted by digital technologies that can be better explored by adopting a conceptual framework traditionally used to describe and study theater. Spectacle includes all aspects of the tragedy that contribute to its sensory effects: costumes, scenery, the gestures of the actors, the sound of the music and the resonance of the actors' voices. Spectacle is one of the six components of tragedy, occupying the category of the mode of imitation. Overview Guide Terms Lives Times Questions Resources ![]()
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