5,944 research outputs found
Photo-performance: A study of the performativity of butoh dance photography
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis analyses the detailed performativity and the intuitive act of
photographing the Japanese dance form Butoh. It argues that the photographer’s embodied experience constitutes an ‘inner’ performance and introduces new terms: the
photo-performance and the photo-actor. The author argues that the photo-performance,
similarly to Butoh dance, manifests itself not only in physically apparent (visually
perceived) movements but also within the multi-modal pre-reflective consciousness of
the reciprocal interaction between the photo-actor and a Butoh dancer.Butoh has been widely photographed since it began in 1959 in Japan. However studies formalising the relationship between dancers and photographers have been largely absent in academic research so far. Butoh photographers such as Nourit Masson-Sekine (1988, 2006, 2008) or Maja Sandberg (2003) suggest that their photographic act places them closer to the performers than the rest of the audience and, as a result, they become part of the dance itself. However, Butoh dancers including Yoshito Ohno (1938
- ) and Tatsumi Hijikata (1928 – 1986) amongst others, express their concerns as to
whether photographs can capture the essence of their art. This thesis confronts the
tensions between the fields of dance and photography by elucidating the performative
dimension of dance photography.This thesis brings the qualities of the Butoh photographer’s performative act to the forefront by using interdisciplinary methods to attain an intersubjective knowledge of the nature of the photographer’s experience. The methods include: a practical research presented in a form of case studies of the photographic projects carried out by the author in London with various Butoh dancers; an analysis of the structure of the photographer’s subjective experience through the use of first-person methodologies (an
explicitation interview); an analysis of theories of theatre represented by Tadeusz
Kantor (1915 – 199) and Jerzy Grotowski (1933 – 1999) whose work helps to develop
the notion of a performative body; and a description of the photo-performance aesthetic and the performative potential of photographic documents informed by cognitive
phenomenology. This thesis argues that drawing attention to the performativity of
Butoh photography would contribute greatly to the pedagogical aspects of photography
and performing arts
A Country School, St. Kitts. W. I.
No full textLandscape, black and white, “3 ½” x 5½”The photograph captures a group of school children at a country school in Basseterre, St. Kitts. The girls are wearing long sleeved dresses with frilled necklines, while the boys wear long sleeve shirts with capes and pants to their knees. Some of the children are holding hats. They are all bare footed. Both black and white children are represented in the group. Both adult males and females are included in the photo. In the background of the photo there are a variety of trees and a partial view of a building.
This is an undivided back postcard
Back of the Postcard
Copyright No. 105A
£28 H.E.I.C.D./L5Y (Handwritten in Pencil
Anchoring effects in the development of false childhood memories
No full textWhen people receive descriptions or doctored photos of events that never happened, they often come to remember those events. But if people receive both a description and a doctored photo, does the order in which they receive the information matter? We asked people to consider a description and a doctored photograph of a childhood hot air balloon ride, and we varied which medium they saw first. People who saw a description first reported more false images and memories than people who saw a photo first, a result that fits with an anchoring account of false childhood memories
Photo of the author Charles Dickens
No full textPhoto of the author Charles Dickens. Picture is of Dickens
as a young_man and is from a portrait by Daniel Maclise.To order a reproduction, inquire about permissions, or for information about prices see:
http://www.lib.washington.edu/specialcollections/services/reproduction/reproduction
Please cite the Order NumberScanned at 600ppi with an Epson 20000 flatbed scanner. Image then rotated, cropped, level-adjusted, and sharpened using Photoshop CS3. Converted to a JPEG2000 image upon ingest into CONTENTdm
Author Author 2024 Photo 1
No full texthttps://scholarlycommons.baptisthealth.net/author-author-archive-files/1359/thumbnail.jp
Author Author 2024 Photo 2
No full texthttps://scholarlycommons.baptisthealth.net/author-author-archive-files/1360/thumbnail.jp
Author Author 2024 Photo 3
No full texthttps://scholarlycommons.baptisthealth.net/author-author-archive-files/1361/thumbnail.jp
Le pouvoir de l’image : Le Mois de la Photo à Montréal, 2001
No full textThis commentary on The Power of the Image, the seventh edition of Mois de la Photo à Montréal, emphasizes the presence this year of three fundamental trends: postcolonialism, deconstruction of the image, and interventions in the public space. Within each of these trends, the author notes the particular interest in certain proposed visions: the Shirin Neshat retrospective, in relation to the postcolonial movement; the projects by Emmanuelle Léonard and Alain Declercq, in relation to interventions in the urban space; and with regard to deconstruction, the video-film installation by Mark Lewis and the photo-video exhibition De quelques rituels masculins
Sewing the Body of Christ : Eucharist wafer souvenirs stitched into fifteenth-century manuscripts, primarily in the Netherlands
No full textBooks of hours in the fifteenth century occupied several social and devotional roles. People used them to store small objects, including metal badges. Although the cultural practice of sewing in badges was widespread in the late Middle Ages, nearly all of the badges were removed (by later collectors). This article examines the practice by considering needle holes and offsets in the soft parchment, which indicate the shape of the badges and where they were attached. Noting that vast majority of metal offsets in books of hours are round, the author posits that these were not impressed by pilgrims’ badges, as is often repeated in the scholarly literature, but rather by tokens that commemorate having taken the Eucharist. The round badges are the same size and shape and bear the same imagery as host wafers. Owners stitched such badges into their books’ margins at locations relevant to Eucharistic piety. When they were sewn into books, Eucharist badges reconfigured the book as a shrine that recorded a votary’s pursuit of Communion.Peer reviewe
Lithics from Hang Trong (clockwise from upper left): Core tool, flake tools (photo by author).
No full textLithics from Hang Trong (clockwise from upper left): Core tool, flake tools (photo by author).</p
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