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THE CORSET AND THE HIJAB: THE DISCURSIVISATION OF IDENTITY BETWEEN THE WEST AND THE ORIENT
Get PDFThe present thesis contains the commentary reviewing nine publications produced and submitted between 2016 and 2020. The portfolio debates the intersection of Communication and Semiotics theories, utilised in the study of Fashion and the Body as media displaying multifarious relations of communication which, through their iterations in culture, generate the interactions between human subjects, which are the foundation of the social milieu. Throughout the sections, the matter is explored in the proposition of a method to the study of rhythmic changes and their alternation, which is employed in a series of analyses addressing Western dress and the hijab, to then unfold into the works’ core contribution: the postulation of the West and the Orient in parallel, rather than viewed as opposed cultural practices. Utilising mainly the Semiotic and Socio-semiotic Theories developed by Greimas (1970, 1983, 1984, 1986, 1987, 2000; Greimas & Courtés, 1993) and Landowski (1992, 1997, 2004, 2005, 2009, 2010, 2014, 2017) as a foundation to the construction of our methodology (Jardim, 2021c), the work merges Post-colonial Theory (Ahmed, 2006; Bhabha, 1994; Buruma & Margalit, 2004; Lévi-Strauss, 1952; Said, 2003; Spivak, 1999), and works about the corset (Jardim, 2014; Kunzle, 2004; Steele, 1997, 2001) and the hijab (Ahmed, 2011; El Guindi, 1999; Shirazi, 2003) to promote an examination of the objects as communication praxes constructing and disseminating ideas linked to the role of women, as well as discourses about Culture, Identity, and Religion. The investigation results in questioning multiple relations of power articulated through various media of communication—the verbal use of language and the discourses it creates but, equally, the visual dimension of the body, dress, and the imagery constructed around them— rejecting the dogmatic binaries which form our current worldview to, instead, observe the semio-narrative structures of discourses and practises which reveal the entanglement of Western and Oriental dress practices
Documents from the Edges of Conflict
Get PDFThe international group exhibition Documents from the Edges of Conflict presents the work of artists who engage with society's increasing desire to capture and disseminate images of conflict and tension in world events. Their subjects include the impact of political decisions and divisions; newspaper and media reports of traumatic events; contested boundaries and borders such as those between Mexico and the United States or Palestine and Israel, and the influence of aggressive world leaders on our histories and experiences.
The lens-based work of the artists engages us with the various meanings of the word 'document' and creates new visual routes through a documentary field marked by the disappearance of its traditional models of representation. The belief that it is possible to present conflict in an objective manner has given way to new photographic and lens-based counter-stories, or at least different versions of representation. In the face of global uncertainty, intolerance and polarization this exhibition presents artists seeking other ways of approaching conflict and dispute, through film and photography, to provide alternative and contemplative visual reactions and provocations. From presentations on screens, a lightbox, or photographic prints there is a provocative visual response to the consequences of our social and political histories.
The exhibition was curated by Professor Jean Wainwright and Reader Steffi Klenz, and features the following artists: George Barber, David Birkin, Mona Hatoum, Alfredo Jaar, kennardphillipps, Ori Gersht, MacDonaldStrand, Steffi Klenz, Paolo Pellegrin, Sarah Pickering, Wolfgang Tillmans, Santiago Sierra, Catherine Yass
On domestic fantasies and anti-work politics: a feminist history of complicating automation
Get PDFIn this article we place the discussions of automation in post-work imaginaries within and alongside feminist critiques and understandings of domestic technology. Structured in three parts, the first surveys debates on the future of work, showing how feminist materialist critiques of technology would lend itself to an anti-work rather than post-work politics. The second focuses on both historical and contemporary feminist critiques of domestic automation to situate the post-work condition in this longer lineage. In the final section, we sketch the contours of a distinctly feminist anti-work imaginary drawing on Dolores Hayden’s work on collective domestic settlements and Rachel Maine’s work on amateur uses and repurposing of obsolete technologies in the name of a politics of pleasure
Innovations in magazine publishing
Get PDFThis book examines the key developments in the UK magazine industry since 2014 and explains in detail how the business has innovated to survive.
Innovations in Magazine Publishing explores the key issues that publishers and editors have had to grapple with in recent years and demonstrates how they have changed their business models and encouraged innovation and creativity. Written in an engaging and accessible style, the authors and contributors have drawn on years of industry expertise and contacts to examine the massive changes that have taken place in the areas of content creation and advertising in the last decade. Beginning with a highly useful summary of UK magazine publishing history, the book then provides a detailed focus on how magazines have had to adapt to a declining revenue picture in both copy and advertisement sales. This discussion considers changes in ownership and the supply chain, mutual dependency on social media, the rapid growth of the independent sector, investing in brand and product extensions, and how media companies themselves have changed to meet the demands of the new era. The important issue of ethnic diversity within the UK publishing industry is addressed and the introduction also includes a discussion of the effects of the Covid-19 pandemic on the industry, and how the magazine business will need to respond to whatever the future may bring.
This comprehensive overview of the current state of the industry is a vital resource for students, researchers and professionals in magazine journalism, as well as for those studying media and journalism studies more generally
Freak to chic: 'gay' men in and out of fashion after Oscar Wilde
Get PDFFor a period during the interwar years queer styles were in fashion. People who had been regarded as freaks became seen as chic. This book provides a new interpretation of the origins of ‘gay’ culture from a time when that word typically meant happy but was starting to mean homosexual. It explores the ways in which men who were sexually attracted to other men were able visually and creatively to express same-sex desires in the first half of the twentieth century in London seen in the context of New York and Paris. This was a time when openly homosexual sexual expression was illegal, but the worlds of glamour, fashion and art provided rich opportunities for the construction of queer spectacle such that the interwar period saw the appearance of startlingly new fashions for androgynous ‘freak chic’
here.here 2
Get PDFThe here.here concert series is an ongoing internal and external research led collaboration around multimodal compositional strategies and ways to experience technology in text / music / film / performances. Now on its 5th season, we continue generating momentum in the London and UK experimental music scene: by the quality of our research informed curation, by critically revisiting seminal works (Cage, Oliveros, Ellis), and by bringing together our PhD / undergraduate students, UCA researchers, UK based musicians and composers in contact with our international guests and their work. We do this through our curatorial process, the act of performance and ensuing Q&A, online dissemination of the recordings and our findings through bookRoom and ARC (Audio Research Cluster) websites and seminars, off-site concerts, as well as via the guest composers and Iklectik website and networks.
16 concerts so far (3 or 4 per year), involving 10 international guest composers, over 60 performers from the London and UK music scene, 2 UCA PhD students, 3 undergraduates, 4 researchers, 5 premieres of work.
A co-authored paper in 'Future Humanities' examines the intersection of music, creativity, and society through the lens of a critical and self-critical appraisal of the here.here concert series; ongoing research-led collaboration focusing on transdisciplinary approaches to experimental music with a focus on the socio-politico-environmental dynamics at play between all involved in a musical encounter. We explore how the act of curation influences social and political dynamics, examining its potential to create new ways of interaction and empowerment.
The authors reflect upon three case studies from the last two seasons of the here.here concert series that explicitly focused on the concepts of ‘ventriloquy’ and ‘social virtuosity’ as forms of creative agency: entering into critical dialogue with and giving voice to seminal works (Cage 4′33, Alexander J. Ellis (1814–1890)) for the former and three contemporary pioneers of ‘social virtuosity’—Eva-Maria Houben—Maggie Nicols and Eddie Prevost for the latter. The concept of ‘social dissonance’ is examined, illustrating how it can be used as a catalyst for creative dialogue and solidarity, while also encouraging a deeper understanding of our shared societal dynamics. Finally, the paper introduces the concept of ‘a new social virtuosity’, emphasising the importance of listening, collaboration, and collective intention in creating a shared musical experience that expands beyond the stage to include the audience. It concludes by examining the performance of 4′33 within this context and underscores the power of dissonance as a tool for creative and critical thinking
Folkstone Triennial: artist interviews
Get PDF22 commissioned artist interviews for the Folkstone Triennial
Untouched Copy and The Book of Backgrounds in Bridging the Distance
No full textThe Photography studio has traditionally been considered a space in which the aspirations and desires of the sitter in the studio portrait are signified in the portrait mise-en-scene. There is an easily made connection between the props and backdrop seen in early studio photographs and the forms of representation seen in classic portrait painting - such as the pillar and curtain - which were used to denote the wealth, status and class of the sitter.
Molloy's work in this group exhibition, brings together two of her bodies of work. One is Untouched Copy (2008-11) that documents faded patina of photography backdrops in Kerala (India). The other is studioscapes in The Book of Backgrounds (2016-20), in which Molloy rebuilds original cartes de visite without sitters, to reveal the studio backdrop. In bringing together these works, Molloy makes the connection between the legacy of early studio photography and its colonial exportation to India
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