1,720,965 research outputs found
The Bully Pulpit
Get PDFThe Bully Pulpit utilises self-portrait photography to explore non-textual responses to cyberbullying occurring on social media platforms and other websites. Working with constructed photographic methods, Morris-Cafiero costumed herself to look like 25 of her cyberbullies and inserted their bullying comment in the image. Due to the content delivery network, a system of computers that connects users to current and historical internet content, images exist on the internet indefinitely. By exploring a non-textual response to bullies, this act of anti-bullying cannot be removed or edited by the bully.The research began in 2013 with the collection of bullying comments on mainstream and social media posts, emails and blogs. From 2013 to 2016, over 4,300 messages were collected from a variety of sources. In 2018, a pool of 60 bullies were identified for further investigation. The final group of 25 bullies were chosen to create a pool that represents bullies from a wide range of locations, age (13-70), perspective of bullying comment and visual data available on their social media profiles.This research contributes new knowledge to photographic practices that use social media as a tool for production and cyberbullying in relation to body politics and feminist discourses of female beauty standards. <br/
The Bully Pulpit
Get PDFThe Bully Pulpit utilises self-portrait photography to explore non-textual responses to cyberbullying occurring on social media platforms and other websites. Working with constructed photographic methods, Morris-Cafiero costumed herself to look like 25 of her cyberbullies and inserted their bullying comment in the image. Due to the content delivery network, a system of computers that connects users to current and historical internet content, images exist on the internet indefinitely. By exploring a non-textual response to bullies, this act of anti-bullying cannot be removed or edited by the bully.The research began in 2013 with the collection of bullying comments on mainstream and social media posts, emails and blogs. From 2013 to 2016, over 4,300 messages were collected from a variety of sources. In 2018, a pool of 60 bullies were identified for further investigation. The final group of 25 bullies were chosen to create a pool that represents bullies from a wide range of locations, age (13-70), perspective of bullying comment and visual data available on their social media profiles.This research contributes new knowledge to photographic practices that use social media as a tool for production and cyberbullying in relation to body politics and feminist discourses of female beauty standards. <br/
Weight Bearing
No full textWeight Bearing is a series of photographic images that utilises self-portraiture and humour to depict internalised emotions felt by the PI when she suffered from an undiagnosed disordered eating as a teenager. The images utilise constructed and self-portrait photographic methods to explore the topic of disordered eating using surrealist visuals. Each image in the series represents a contemporary reflection on a situation that occurred 30 years prior during the disordered eating phase. The 8 situations are recreated to depict the scenes in which they originally take place and employ props that depict the extreme thoughts that exist within the mind of someone who is suffering from disordered eating
Reversing The Weapons: Recuperating the marginalised body with performative photography
Get PDFThis thesis investigates the practice-based research connected with three photographic series produced over twelve years. Wait Watchers, The Bully Pulpit, and Buoyant Force have been exhibited in multiple solo and group exhibitions internationally and have been the subject of viral media activity and two monographs. The practice contributes to the discussions of performance, collaboration, and transgressive humour in photography. Supporting research involves theoretical discourses around the gaze, the invisibility of marginalised bodies, and social media as the 21st century panopticon. The work activates the disobedient female body defined as “grotesque” through wilful transgressions of the rules that try to control it. Performative self-portrait photography is employed to show the evolution of a marginalised body, first operating as the site of public attack, then as a figure with agency to enact revenge on Internet trolls and finally acting as a body empowered through performance.
This thesis analyses the three photographic series in relation to the following research questions: How can performative photographic methods be used to challenge Western society’s standards of beauty that regulate the idealised shape of the female body? How can photography bring into visibility Western society’s use of the gaze and humour as devices to maintain patriarchal female body standards? How can collaborative photographic methods be used to empower marginalised bodies and bring them into visibility in previously unimagined ways?
These questions are addressed in relation to these photographic series over six sections examining art historical, photographic, feminist, and sociological frameworks. Section 1 establishes the framework that positions my body as marginalised within society’s Western standards of idealised female beauty. Section 2 employs the writings of Mikhail Bakhtin and Mary Russo to figure and celebrate my body that is the subject of this practice-based research as grotesque. Section 3 asserts a definition of performative photography within the practicebased research as a methodology based on the scholarship of Amelia Jones, Michel Poivert, and Philip Auslander. Section 4 employs the writings of Michel Foucault and Jeannine A. Gailey to examine the marginalised female body as a site for social attack through the gaze as evidenced in Wait Watchers and bullying comments received through social media. Section 5 examines The Bully Pulpit in relation to theories of public shaming and the use of humour as a device for social control. Section 6 concludes this thesis by analysing Buoyant Force’s contribution to collaborative photography, tracing the development of performances and costumes produced in dialogue with collaborators who were inspired by Wait Watchers
The Disobedient Body
Get PDFThe body has historically been the site of societal control, discipline and political resistance in the West. In our current attention economy, an “ideal” body is not only a source of social capital. In addition, striving for, obtaining and maintaining an ideal body seems to have become a virtue.
Haley Morris-Cafiero uses her photography as a form of activism in the struggle against discrimination and social invisibility. The exhibition invites us to contemplate how our societal norms construct and affect the way in which we see and ignore not only certain people, but the actions directed at them
What Does an Ideal Employee Look Like?
No full textThe project was made in collaboration with a Professor of Computer Science at the University of Northampton.
https://www.theguardian.com/artanddesign/2025/nov/03/photo-oxford-reviewWhat Does an Ideal Employee Look Like? employs humour, performance and artificial intelligence (AI) to visualise the biases hidden in algorithms that power employment applicant assessment software used by many major corporations. Applicants "interview" with the software as it analyses their physical features and provides a score of desirable employee personality characteristics. The software's algorithms are biased and assess potential applicants with large eyes as being “more honest” or those with high cheekbones as “better leaders”.
To challenge the common corporate use of this discriminatory software, I collaborated with a computer scientist to recreate the AI driven software, enabling me to do performances of job interviews while I manipulate my face to achieve high ideal employee personality scores. As I change the shape of my face and its components, the videos document changing scores as the software assesses me for one of twenty personality traits that are ideal for employers. Traits include agreeableness, openness, or extraversion, and are further broken down into subcategories such as leadership skills, competitiveness, amongst others. Once I have achieved the highest score for each category, I freeze my face by securing its position with tape. I then capture the result as a parody workplace headshot portrait. The resulting images depict a distorted face that is initially comical in appearance and transitions to tragic when the viewer realises the backstory of the still and moving images.
To further impact the viewer on the biases of the software, the exhibition includes laptops with the AI driven interview software on plinths to allow visitors to have their faces assessed by the software. This interactive element will allow the viewer to experience the biases embedded in the software and realise that they are being impacted by its use by businesses
The Bully Pulpit
No full textThe Bully Pulpit utilises self-portrait photography to explore non-textual responses to cyberbullying occurring on social media platforms and other websites. Working with constructed photographic methods, Morris-Cafiero costumed herself to look like 25 of her cyberbullies and inserted their bullying comment in the image. Due to the content delivery network, a system of computers that connects users to current and historical internet content, images exist on the internet indefinitely. By exploring a non-textual response to bullies, this act of anti-bullying cannot be removed or edited by the bully.The research began in 2013 with the collection of bullying comments on mainstream and social media posts, emails and blogs. From 2013 to 2016, over 4,300 messages were collected from a variety of sources. In 2018, a pool of 60 bullies were identified for further investigation. The final group of 25 bullies were chosen to create a pool that represents bullies from a wide range of locations, age (13-70), perspective of bullying comment and visual data available on their social media profiles.This research contributes new knowledge to photographic practices that use social media as a tool for production and cyberbullying in relation to body politics and feminist discourses of female beauty standards. <br/
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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