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"Chromatics and vice": male students, race and queerness at the Universities of Oxford and Cambridge, 1890s to 1930s
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When the photograph breaks: The performative space of Tom Lovelace
No full textThis text expands on the role of performativity in the work of London based photographer Tom Lovelace. As an overview of the bodies of work Black Marble 2016, Bollardo & In preparation No.11 2012, Cascade 2020 and Bathers 2021, the text proposes that the paradoxical pairings of body and object are akin to a fracture, which opens up what was otherwise concealed, revealing that which is hidden. Lovelace’s gestures initiate alternate configurations of the environment that surrounds us. As such, the works invites us to engage in that origination of ourselves through the photographic event
Beyond the pandemic pedagogy of managerialism: exploring the limits of online teaching and learning
No full textThis book analyses how growing managerialism and the marketisation of higher education has undermined educational standards and pedagogical integrity. Specifically, it provides a thorough critique of how the pandemic, and the move to online learning and MOOCs, has reinforced these developments. The book outlines the limits of new managerialism, which is replacing critical mass with a culture of compliance in higher education.
Employing an ethnographic approach, the book explores the impact of the sudden shift in teaching delivery from in-person to online for example, the changing role of the PhD supervisor during the pandemic, and the impact on students’ willingness to engage and their (in)visibility in the classroom, and further considers how these impact class interactions, social relationships and learning. Ultimately, this book argues that the COVID-19 pandemic exposed the limits of marketisation of education and revealed the distorted managerial response to a crisis
AI in creative education: opportunities and challenges for assessment
Get PDFThis article reviews current academic literature on Artificial Intelligence (AI), and use of Generative Artificial Intelligence (GenAI) in higher education, to investigate its impact on assessment in creative subjects. It looks at secondary research and explores ways that GenAI is proposed, or already incorporated, in current creative education and assessment initiatives. The review examines literature on critical thinking and human intelligence and considers how GenAI tools can be explored and supported by learning theories. The aim was to analyse and investigate practical ways that this research can be applied to assessment and learning design, particularly for international students and creative business courses. The findings indicate a need to support AI literacy, communicate policy updates transparently, and review assessment to encourage critical thinking in order to create authentic assessments
Picturing truth: visual resources to convey reliability in children's non-fiction
No full textThe informational and the creative meet in non-fiction children’s literature, where the communicative and expressive potential of the picturebook as a medium has given rise to a new variety of approaches. Although this has allowed authors and illustrators to move away from values associated with traditional information communication media, the intention to convey reliability seems to persist in some non-fiction books with didactic and expository takes. In these books, the introduction of certain resources has served as a way to enhance the credibility of the content, manifesting not only through the textual and paratextual, but also in the visuals.
This paper examines a series of visual conventions which can be considered to convey or reinforce the credibility of the presented information in non-fiction picturebooks. Relying on the social semiotic theory developed by Gunther Kress and Theo van Leeuwen, I analyse picturebooks from the European publishing market featuring stylistic and design approaches associated with the true and real. Through this study, I intend to identify ways in which credibility can be visually communicated in a children’s book genre characterised by a degree of creative freedom that sets it apart from other informational forms
Red-carpet masculinities: Timothée Chalamet
No full textWhilst the fashion coverage of the red carpet is guaranteed throughout the course of every year, as award shows and VIP events flood press and fashion news, a focus on what women are wearing continues to be the centre of interest. However, the recent fascination with men’s styling choices has caused for a shift in focus to the young male star. Fashion theory has long made the argument - although not supported the claim - that fashion is predominantly for women, while traditional men’s clothing is favoured on the red-carpet. Timothée Chalamet continues to perform masculinity openly, in a way that questions hegemonic ideologies, particularly on the red-carpet. Secondary texts on masculinity and gender (Edwards, 2006; McCauley Bowstead, 2018) have been used to understand men's performance of masculinity, whilst theoretical texts on celebrity provide support in an understanding of the male star and their role, past and present (Dyer, 1986, 1998; Rojek, 2001; Church Gibson, 2012). Visual analysis of Chalamet's red carpet attire has been used to support the belief that there is an obvious change in attitudes towards play with clothing and gender performance on the red carpet. The conversation around the 'beautiful boy' and the new performances of masculinity of the red carpet are the beginning of credible change in this public domain. Although the mass audience may not copy the styling choices of Chalamet, his fans and secondary audiences enjoy the statements he makes; this opens opportunities for him to be accepted further into the fashion sphere while also remaining an object of desire. This paper provides the beginning of a conversation around men, masculinities, and the red carpet. Wider discussions of such topics are missing within celebrity studies. By using Timothée Chalamet as the core case study for the paper, the topic of red-carpet masculinities and, more widely, the conversation of changing masculinities within celebrity, stardom and fashion can be expanded
Headstrong: Women and Empowerment
Get PDFA Fast Forward: Women in Photography exhibition, 'Headstrong: Women and Empowerment' opened at the Centre for British Photography, London, 26 January - 28 May 2023.
Self-portraiture has always been a tool of empowerment for women. Societies have led us to believe that, as women, we have a certain place and need to perform in a certain way and this has been like wearing a straight jacket. Feminist politics have affected changes to these patriarchal ideas and photography has been one of its tools.
The earliest photographic self-portraits date back to 1839 at the same time as the medium was invented and self-portraits by women became known as early as the mid 1850s with the extraordinary images directed by Countess Castiglione in Paris.
Headstrong celebrates the work of living photographers based in Britain. It looks at women who have made work that is concerned with how they are represented, what they are dealing with in their everyday lives and what it means to embrace diversities that challenge the conservative order of a patriarchal society. Their work is playful, thought-provoking and often surprising.
Anna Fox, from Fast Forward, comments:
“Fast Forward and Centre for British Photography are celebrating the work of women artists and photographers, based in the UK, who are breaking the mould, proposing new ideas and inventing new identities. This exhibition foregrounds artists and photographers who have been using self-portraiture as a tool to crack open the oppressive, often punishing nature of patriarchy. From exposing cyberbullies to exploring the multiplicity of female identity these portraits re-invent out dated concepts of how we should behave, how we should be and what we can become. The work speaks back to the tedious drone of misogynist culture(s) and proposes new ways of being and understanding.”
James Hyman, Founding Director of Centre for British Photography comments :
“We were delighted to offer Fast Forward the opportunity to curate the major opening show, for the new Centre for British Photography. As supporters of Fast Forward, we are pleased to provide this platform for their efforts to improve the representation and visibility of women working in photography. It has been stimulating to work with them on the content of the show and on the related programme of talks and events. We look forward to welcoming you to the centre.”
Artists: Whiskey Chow, Shirin Fathi, Joy Gregory, Vicky Hodgson, Sarah Maple, Rosy Martin (collaborations with Jo Spence and Verity Welstead), Haley Morris Cafiero, Trish Morrissey, Rainbow Sisters*, Paloma Tendero, Maryam Wahid, Maxine Walker, and Ana, Elham, Manar, Maryam, Taraneh from the Putting Ourselves in the Picture project, Bradford**.
*The exhibition includes works by Rainbow Sisters, a group of LGBTQ+ women who are in the process of seeking, or have been granted, asylum in the UK, who took part in the collaborative mentorship project Putting Ourselves in the Picture. This project was organised by Fast Forward with five partners: in London with Autograph and Women for Refugee Women; in Scotland with National Galleries of Scotland; in Bradford with Impressions Gallery and on line with Work Show Grow. The Rainbow Sisters work grew out of the London based partnership between Autograph and Women for Refugee Women.
**As well the show includes the zines made by the refugee women who formed the Bradford group (Ana, Elham, Manar, Maryam and Taraneh) at Impressions Gallery as part of the Putting Ourselves in the Picture project.
The exhibition is a part of the launch programme for Centre For British Photography, which will feature photographs from 1900 to the present, work by photographers living and working in the UK today, and images taken by those who immigrated to the UK
Superheroes and Nazis: re-examining the legacy of the Second World War in Eric Kripke’s The Boys
Get PDFThe television adaptation of The Boys, originally a comic book series written by Garth Ennis, has garnered attention for its graphic violence and satirical treatment of the superhero genre. The Boys engages with a number of critiques of the superhero genre and its tropes, one of which is the recurring presence of a Nazi supervillain. This article links The Boys to previous examples of comic books and screen adaptations which feature Nazis or similar fascist organizations, such as Captain America, Superman and X-Men. In particular, it argues that The Boys’s status as a subversive superhero narrative impacts the portrayal of Nazism in new ways, further troubling the distinction between superhero and supervillain and providing insight into contemporary cultural concerns. Through its representation of the superhero origin story and the Nazi character Stormfront, The Boys draws upon the memories of the Second World War in order to condemn the rise of fascism in the twenty-first century. Despite this ostensibly worthy goal, it is also important to consider criticisms of this type of representation of the historically specific atrocities of the Second World War, the role of exploitation and its resulting reception by viewers
Designing for emergence: how postdigital theory can unlock the hidden curriculum in music technology education
No full textPostdigital aesthetics invites us to consider what emerges through the interaction of musicians, artists and technology. Researchers in digital music have proposed the need for new disciplinary areas of study such as sound studies of education, and current research is exploring new pedagogical approaches to teaching music technology. Postdigital theory offers researchers a set of conceptual tools that can inform the development of appropriate pedagogies for music technology curricula. In an increasingly postdigital landscape there is value in questioning how postdigital theory might influence what – and how – we should teach in music technology courses.
This article builds on PhD research into postdigital aesthetics and complexity, and explores ways in which live, collaborative electronic music performance can blur the boundaries between the digital and the postdigital. The authors highlight the potential for postdigital theory to deconstruct the idea of ‘authorship’ in electronic music performance, and explain how integrating a postdigital aesthetic into electronic music performance can create new theoretical foundations for the discipline of music technology. In doing so, the authors argue that the discipline will be more effective at preparing graduates for the complex challenges of the 21st century workplace
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