22 research outputs found
Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
No full textThis critical review forms a reflection on the research published within the following publications:
Patrick Procktor: Art and Life (Unicorn Press, 2010)
Keith Vaughan: The Mature Oils 1946-1977, (Sansom & Co., 2012)
The research is on two artists, Patrick Procktor (1936-2003), and Keith Vaughan (1912-1977). The monograph on Procktor – previously one of the least documented of the generation of artists who came to prominence in London in the Sixties – positions him in a history of art from which he had been notably absent. The research on Vaughan asserts a new reading of his work, one that is both deeper and more nuanced in its analysis of the ways in which personal experience and sexuality are encoded autobiographically within his work. Crucially, in both artists biography and work are symbiotically linked; the research therefore examines the links between life and art.
Revisionary in intent, the work examines trajectories of experience of gay British (or rather, English) artists in the twentieth century, artists who sought to express themselves and forge careers within the constraints of a heteronormative society, albeit one in which attitudes to sexuality were undergoing change. As gay men, both were constrained by the social mores of their times, and each used painting as a means to affirm personal and sexual identities. A key research interest is in the ways in which sexuality and persona are reflected in critical responses to the artist’s work: in Vaughan, Procktor and other gay male artists of the period. The writing on both Procktor and Vaughan examines the relationship between their personal and professional/artistic lives, framed within a broader socio-political and art historical context. It asserts the place of biography as a means to understand and form new readings of the work. The work adds substantially to the literature and wider discourse on post-war British painting and social history
Recommended from our members
The Neuroscience of Justice Sensitivity
No full textFrom an early age, people care deeply about justice. However, reactions to injustice are altered by being involved in the situation, and people differ in their sensitivity to justice. Research suggests that dispositional self-focused and other-focused justice sensitivity reflect antisocial and prosocial tendencies. However, it is unclear (1) whether similar behavioral effects can be elicited by brief perspective-taking manipulations and (2) whether these justice orientations are supported by distinct neural systems. Across six studies, participants rated moral scenarios in either a second-person or third-person frame, then played a three-party ultimatum game and completed tasks probing antisocial and prosocial behavior. In Study 1, self-oriented justice sensitivity predicted greater acceptance of distributions after the second-person than third-person frame and, surprisingly, reduced antisocial behavior. Study 2 found no effects of perspective framing, but a negative relation between other-oriented justice sensitivity and acceptance of distributions that were unfair to a third-party. In Study 3, within-participant manipulation of perspective changed rejection rates for distributions which were fair to the self but unfair to another. Study 4 found that proportional equity was a better predictor of behavior than comparative equality. Using functional magnetic resonance imaging, Study 5 found that justice dispositions predicted activity within regions important for saliency processing and executive control. Moreover, these orientations were associated with activity in different networks, suggesting that they arise from distinct processes. Finally, Study 6 failed to find effects of justice sensitivity or perspective framing on electrophysiological measures of neural activity. Overall, these results suggest that perspective framing can influence behavior, though often interacts with justice dispositions. Moreover, justice orientations relate to largely separable neural systems and may prove important for future investigations of social functioning
Harnessing repetitive behaviours to engage attention and learning in a novel therapy for autism: an exploratory analysis
No full textRigorous, quantitative examination of therapeutic techniques anecdotally reported to have been successful in people with autism who lack communicative speech will help guide basic science toward a more complete characterisation of the cognitive profile in this underserved subpopulation, and show the extent to which theories and results developed with the high-functioning subpopulation may apply. This study examines a novel therapy, the "Rapid Prompting Method" (RPM). RPM is a parent-developed communicative and educational therapy for persons with autism who do not speak or who have difficulty using speech communicatively.The technique aims to develop a means of interactive learning by pointing amongst multiple-choice options presented at different locations in space, with the aid of sensory "prompts" which evoke a response without cueing any specific response option. The prompts are meant to draw and to maintain attention to the communicative task–making the communicative and educational content coincident with the most physically salient, attention-capturing stimulus – and to extinguish the sensory–motor preoccupations with which the prompts compete.ideo-recorded RPM sessions with nine autistic children ages 8–14years who lacked functional communicative speech were coded for behaviours of interest
Harnessing repetitive behaviours to engage attention and learning in a novel therapy for autism:An exploratory analysis
No full textRigorous, quantitative examination of therapeutic techniques anecdotally reported to have been successful in people with autism who lack communicative speech will help guide basic science towards a more complete characterisation of the cognitive profile in this underserved subpopulation, and show the extent to which theories and results developed with the high-functioning subpopulation may apply. This study examines a novel therapy, the Rapid Prompting Method (RPM). RPM is a parent-developed communicative and educational therapy for persons with autism who do not speak or who have difficulty using speech communicatively. The technique aims to develop a means of interactive learning by pointing amongst multiple choice options presented at different locations in space, with the aid of sensory prompts which evoke a response without cueing any specific response option. The prompts are meant to draw and to maintain attention to the communicative task – making the communicative and educational content co-incident with the most physically salient, attention-capturing stimulus – and to extinguish the sensory-motor preoccupations with which the prompts compete. Video-recorded RPM sessions with 9 autistic children ages 8 to 14 years who lacked functional communicative speech were coded for behaviours of interest. An analysis controlled for age indicates that exposure to the claimed therapy appears to support a decrease in repetitive behaviours and an increase in the number of multiple-choice response options without any decrease in successful responding. Direct gaze is not related to successful responding, suggesting that direct gaze might not be any advantage for this population and need not in all cases be a precondition to communication therapies
Ritual and Narrative in the Contemporary Anglican Wedding
No full textContemporary wedding ritual is a little-explored area of both the Christian theology and the English social reality of marriage. As persistently important rituals in contemporary England, weddings are of great interest in any attempt to describe and account for the place of ritual in contemporary life. As events which are simultaneously acts of Christian worship, efficacious legal ceremonies and popular cultural rites, Anglican weddings bring into focus numerous issues about the inter-relation of social and religious institutions and experiences, theological responses to contemporary culture, material culture and the defining and mapping of personal relationships.
The central part of the research consists of a close, empirical study of weddings in the Church of England. This includes semi-structured interviews with marrying couples and officiating clergy, and observation of weddings and wedding rehearsals. This research was conducted within one deanery in West Yorkshire in 2006 and 2007.
Theories of ritual, including rites of passage, and of performance are critically employed to examine the structure and function of wedding ritual, and the way in which specifically Christian ritual is incorporated into and informs a more complex ritual whole. Narrative, an increasingly important interpretative concept in both theology and the social sciences, is also employed as an analytical tool to examine both the way individuals make sense of their own experiences and actions. In addition to a detailed account of contemporary practice, weddings are shown to offer important insights into pastoral and liturgical practice and the ministerial identity of clergy. Moreover, weddings are revealed as vital events in contemporary social life, consolidating and displaying the socially embedded identity of marrying couples
A necessary fiction: The ritualisation of stakeholder practices in New Zealand cinema
No full textThis thesis argues that stability of the concept ‘national cinema’ is located in the discursive positioning of individual films in such a way that they are connected to a national ‘common ground’, one which is ritually accessed via engagement with media such as cinema. This positioning, however, is not quantifiable and may not be identified as arising from any particular production practice, dimension of popularity, theme, style, characteristic of production personnel, and so on. By synthesising the work of several theorists and applying this synthesis to a selection of films, a framework of ideas (around the ritualised ‘flagging’ of the national via the expression of stakeholder interests) is applied to cinema in New Zealand. In particular, an ideoscape is ultimately mapped as a result of applying this framework of ideas. The normative assumptions of national cinema are examined in this way and found to be lacking despite the weight that the term ‘national cinema’ continues to have
The Influence of Literature in 1960s British Popular Music: Approaches to Popular Composition
No full textThere is a noticeable influence of literature and literary techniques in the popular music songs of the countercultural period in Britain (1965-71). These dates, as noted by Jonathon Green, characterize the beginning of the UK countercultural movement of the 1960s, culminating with the 1971 trial of the OZ magazine, which Green regards as marking the end of the period (1999).
There are three main questions that this project explores. In what ways did songwriters of the era use literature as an inspiration in the compositional process? How can literary influenced songwriting techniques be used and extended in contemporary popular composition? How useful are these techniques and the extensions of these techniques in the compositional process?
This project investigates the influence of literature on the songwriters of the era by analysing relevant song examples and subsequently inventing systematic forms that songwriters today can use as a basis for composition. A portfolio of original compositions is included, which demonstrates various approaches to composition that abide by the systematic forms, which stem from the literary influence of the 1960s songwriters. This project makes a contribution to our knowledge and understanding of popular music, as the influence of literature, especially the application of literary techniques in the compositional process, is a subject that has not been researched previously in any great depth. The abundance of available literary techniques and the possibilities for the invention of techniques is an exciting prospect when applied to popular composition.
After highlighting certain issues such as the homogeneity of songwriters and poets, a brief contextual background is given concerning 1960s counterculture and popular music. A taxonomy of systematic forms is created, into which are placed literary influenced techniques used by songwriters such as Syd Barrett and John Lennon, illustrated by a number of examples. Explanations of the original compositions included in the portfolio highlight the attributes of various songwriting approaches and conclusions are drawn that look into the differing levels of constraint and artistic intuition and how these factors affect the compositional process
Beyond the pink: (post) youth iconography in cinema
No full textBeyond the Pink: (Post) Youth Iconography in Cinema is a project in cultural time travel. It cuts up linear cinematic narratives to develop a hop-scotched history of youth, Generation X and (post) youth culture. I focus upon the pleasures, pedagogies and (un)popular politics of a filmic genre that continues to be dismissed as unworthy of intellectual debate. Accelerated culture and the discourse of celebrity have blurred the crisp divisions between fine art and crude commodity, the meaningful and meaningless, and real and fictive, unsettling the binary logic that assigns importance to certain texts and not others. This research project prises open that awkward space between representation and experience.
Analysts require methods and structures through which to manage historical change and textual movement. Through cinema, macro-politics of identity emerge from the micro-politics of the narrative. Prom politics and mallrat musings become imbued with social significance that speak in the literacies available to youth. It grants the ephemerality and liminality of an experience a tactile trace. I select moments of experience for Generation X youth and specific icons - Happy Harry Hardon, Molly Ringwald, the Spice Girls, the Bitch, the invisible raver, teen time travellers Marty McFly and Donnie Darko, and the slacker - to reveal the archetypes and ideologies that punctuate the cinematic landscape. The tracked figures do not configure a smooth historical arc. It is in the rifts and conflicts of diverse narratives and subjectivities where attention is focused.
This research imperative necessitates the presentation of a series of essays arranged in a tripartite framework. The first section proposes theoretical paradigms for a tethered analysis of filmic texts and Generation X. The second segment explores sites of struggle in public spaces and time. The final section leaves the landscape of post-Generation X to forge the relationship between history, power and youth identity. I particularly focus on the iconography, ideologies and imaginings of young women to lead the discussion of the shifts in the experience and representations of youth. By reinserting women into studies of film, it is imperative to stress that this is not a dissertation in, and of, women's cinema. Rather, it serves as an historical corrective to the filmic database.
The existing literature on youth cinema is disappointing and narrow in its trajectories. Timothy Shary's Generation Multiplex: The Image of Youth in Contemporary American Cinema and Jon Lewis' The Road to Romance and Ruin: Teen Films and Youth Culture exemplify the difficulties of capturing the complexities of individual films when they are collated in artificial and stifling categories. At one end of the analytical spectrum is the critique that comes with the caveat of 'it's just another teen movie'. Jonathon Bernstein's monograph Pretty in Pink: The Golden Age of Teenage Movies is one such example which derails into acerbic diatribes and intellectual dismissal. The Cinema of Generation X: A Critical Study by Peter Hanson is a more successful project that is interested in the influences that inform a community of filmmakers than arriving at a catalogue of generic themes and narratives. There is an emphasis on the synergy between text, producer and readership.
I continue this relationship explored by Hanson, but further accent the politics of film. The original contribution to knowledge offered by this doctoral thesis is a detailed study of (post) youth popular culture, building into a model for Generation X cinema, activating the interdisciplinary perspectives from film and cultural studies. With its adaptability into diverse media forms, cultural studies paradigms allow navigation through the expansive landscape of popular culture. It traverses beyond simple textual analyses to consider a text's cultural currency. As an important carrier of meaning and sensory memories, cinema allows for alternative accounts that are denied in authorised history. As a unique form with its own visual literacy, screen theory is needed to refine observations. This unique melding of screen and cultural studies underscores the convergent relationship between text, readership, production and politics.
This doctoral thesis activates concepts and methods of generationalism, nationalism, social history and cultural practice. There is a dialogue between the chapters that crosses over text and time. The 1980s of Molly Ringwald shadows the dystopia of Donnie Darko. The celebrity status of the Spice Girls clashes with the frustrated invisibility of the female raver. Douglas Coupland's vision of Generation X in 1991 has evolved into Richard Linklater's documentation of post-youth in the new millenium. Leaping between decades through time travel in cinema, I argue that the nostalgic past and projections for the future evoke the preoccupations and anxieties of the present
Filmic machines and animated monsters: retelling Frankenstein in the digital age
No full textFrankensteinian monsters have appeared on our screens since the early days of cinema. Indeed, across the history of film we see Mary Shelley’s “hideous progeny” rewritten as alchemical creations, animated corpses, lumbering fiends, robots, cyborgs, replicants, dinosaurs, artificial intelligences and digital constructions. In particular, Shelley’s text shares its speculative depiction of a posthuman future with fantastic and science-fictional cinema of the digital age. At the same time, posthuman bodies are being created by filmmakers. New possibilities in the digital imaging of human presence – from the replacement of actors with computer-generated imagery to the quest for photorealism in digital animation – themselves evoke the Frankenstein tale and consequently make interesting contributions to the evolving Frankenstein myth.
This thesis investigates the retelling of Frankenstein in popular cinema of the digital age. Through close analysis of a series of chosen texts, I examine the figure of the Frankensteinian monster and his/her/its equivalents in today’s popular culture: posthuman figures who negotiate uneasily with the organic world, boundary creatures who both define and unsettle our understandings of human being. I consider the way the tale, its themes and characters have both endured and evolved over time. I also examine the way these new filmic “machines” and animated “monsters” embody crucial problems associated with the technologies that screen them and the media that contain them.
My concern in this project is twofold. Firstly, I seek to map the (changing) relationship between Frankenstein and film. Since the early 1900s, cinema has provided a fertile ground for the retelling of Shelley’s tale. At the same time, cinema itself has always been a sort of Frankensteinian experiment: a means of breathing life into stillness, of constructing and re-constructing human presence, of stitching together fragmented moments to create a semblance of wholeness. In the digital age, this experiment grows and changes: new modes of production are continually being trialled, allowing us to re-create and re-present human presence in new and often bizarre ways. The figure of the Frankensteinian monster confronts and responds to these concerns, embodying and performing the uncanny, spectacular, mechanical, or organic-mechanical nature of screen presence.
Secondly, this thesis reads the Frankensteinian monster as a mythic figure for the digital age. I move towards the assertion that Frankenstein is a tale about the artificial body and its negotiation with a lost or disrupted origin in the organic world, and that this particular problem reverberates strongly in an age of digital representation. The analyses that constitute this thesis contribute to the argument that each time the Frankenstein tale is retold, re-technologised, and re-imagined using new filmic techniques, the problem of the screen body and its troubled origin stories is revisited and complicated
Archi-texture: meditations on the mediations of dwelling
No full textThis thesis is an inter-disciplinary and inter- cultural exploration of home as understood as the place in which we usually live. Empirical research in an Australian suburb and an Indian town provide the fabric from which cultural studies engages with phenomenology to produce a design used to cut and style this exploration. Motivated by an interest in what threads contribute to the weave of contemporary household dwelling, this thesis revisits the two questions used by Heidegger to frame his essay 'Building Dwelling Thinking': What is it to dwell? and How does building belong to dwelling? It is an inquiry committed to its respondents as bearers and representatives of 'structures of feeling' circulating within the socio-cultural milieu or habitus in which they live and engage with the idea of 'home'. This inquiry offers an exploration of the chief constituent mediums of home which I call its 'archi-texture'. As such, it looks at location, physical and material attributes, domestic technology and household membership as framed by the presence or absence of a family. This thesis is almost certainly the only example of an empirically grounded examination of Heidegger?s ontological exposition of dwelling. Hence I position it as a meditation on the mediations of dwelling rather than a judgmental critique, although in no sense do I believe it to be either a dispassionate position nor an impartial digest of the research material
