The Kanafani Effect

2014 ◽  
Vol 7 (2) ◽  
pp. 190-206
Author(s):  
Refqa Abu-Remaileh
Keyword(s):  
Cultural Production ◽  
Political Organizations ◽  
Visual Medium ◽  
Moving Image ◽  
Resistance Literature ◽  
The Face ◽  
Everyday Resistance ◽  
The Spectator ◽  
The Aesthetic ◽  
Narrative Forms

Guided by Ghassan Kanafani’s seminal studies on ‘resistance literature’, this paper extends the concept to contemporary Palestinian fiction film to explore its permutations in the visual medium. The resistance label has had its repercussions on Palestinian cultural production; however, it continues to inspire an aesthetically-driven innovative defiance in the face of an ongoing Israeli occupation. Tracing the divorce of cultural production from political organizations, I focus on a Palestine configuring ‘inside’, attending to the films of Michel Khleifi and Elia Suleiman, to explore therein a particular synthesis of counter-narratives of resistance. Embedded in the moving image medium itself, in its structures, techniques and narrative forms, the aesthetic resistance Kanafani had anticipated shines through these artists’ films to disclose new spaces of everyday resistance, in expressions of freedom, satire, self-criticism and humor. The spectator is called on to partake in creating these spaces, by reading silences and interpreting multilayered images so as to construct meanings that cannot be hijacked by language or confined by oppression.

From Altered States to Altered Titles: A Close Analysis of the Title Sequence to Ken Russell's Altered States (1981)

2015 ◽  
Vol 12 (4) ◽  
pp. 556-571
Author(s):  
Jack Post
Keyword(s):  
Altered States ◽  
Thematic Structure ◽  
Personal Projects ◽  
Mise En Abyme ◽  
Narrative Representations ◽  
Close Analysis ◽  
Film Images ◽  
The Spectator ◽  
To Come ◽  
The Aesthetic

Although most title sequences of Ken Russell's films consist of superimpositions of a static text on film images, the elaborate title sequence to Altered States (1981) was specially designed by Richard Greenberg, who had already acquired a reputation for his innovative typography thanks to his work on Superman (1978) and Alien (1979). Greenberg continued these typographic experiments in Altered States. Although both the film and its title sequence were not personal projects for Russell, a close analysis of the title sequence reveals that it functions as a small narrative unit in its own right, facilitating the transition of the spectator from the outside world of the cinema to the inside world of filmic fiction and functioning as a prospective mise-en-abyme and matrix of all the subsequent narrative representations and sequences of the film to come. By focusing on this aspect of the film, the article indicates how the title sequence to Altered States is tightly interwoven with the aesthetic and thematic structure of the film, even though Russell himself may have had less control over its design than other parts of the film.

Class, Control, and Classical Music

2019 ◽  
Author(s):  
Anna Bull
Keyword(s):  
Music Education ◽  
Cultural Production ◽  
Classical Music ◽  
Historical Context ◽  
Ethnographic Study ◽  
Middle Classes ◽  
Class Culture ◽  
White Middle Class ◽  
Music Ensembles ◽  
The Aesthetic

Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

A generic model for compositional approaches to audiovisual media

1998 ◽  
Vol 3 (3) ◽  
pp. 199-209 ◽  
Author(s):  
Andy Hunt ◽  
Ross Kirk ◽  
Richard Orton ◽  
Benji Merrison
Keyword(s):  
Black Box ◽  
Electroacoustic Music ◽  
Generic Model ◽  
Image Generation ◽  
Algorithmic Composition ◽  
Moving Image ◽  
Audiovisual Media ◽  
Computer Mediated ◽  
The Aesthetic ◽  
Compositional Approaches

The challenge of composing both sound and moving image within a coherent computer-mediated framework is addressed, and some of the aesthetic issues highlighted. A conceptual model for an audiovisual delivery system is proposed, and this model acts as a guide for detailed discussion of some illustrative examples of audiovisual composition. Options for types of score generated as graphical output of the system are outlined. The need for extensive algorithmic control of compositional decisions within an interactive framework is proposed. The combination of Tabula Vigilans Audio Interactive (TVAI), an algorithmic composition language for electroacoustic music and realtime image generation, with MIDAS, a multiprocessor audiovisual system platform, is shown to have the features desired for the conceptual outline given earlier, and examples are given of work achieved using these resources. It is shown that ultimately delivery of new work may be efficiently distributed via the World Wide Web, with composers' interactive scripts delivered remotely but rendered locally by means of a user's ‘rendering black box’.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals Out of Bounds: Confronting War Crimes and the Breakdown of Justice with Contemporary Art

2021 ◽  
pp. 52
Author(s):  
Catherine Bernard
Keyword(s):  
Aesthetic Experience ◽  
War Crimes ◽  
The Political ◽  
Embodied Experience ◽  
International Conflicts ◽  
Administration Of Justice ◽  
Collective Remembering ◽  
The Spectator ◽  
Marc Quinn ◽  
The Aesthetic

Recent art has turned to judiciary and extra-judiciary practices, specifically in the context of international conflicts, in order to assert art’s political accountability and relevance to our capacity to historicise the present. The war in Iraq inspired works that directly address issues of representation and remediation, such as Marc Quinn’s Mirage (2008), in which the aesthetic experience opens onto an ambiguous experience of the breakdown of justice. Other works have chosen to turn carceral space itself into the site of a collective remembering that harnesses affect to a critical reflection on the administration of justice, on assent and dissent. This article will turn to key works by Marc Quinn and Trevor Paglen that confront extra-judiciary malpractices, but also to recent collective art projects involving an interdisciplinary take on the experience of imprisonment, such as Inside. Artists and Writers in Reading Prison (2016), in which artists of all backgrounds responded to Oscar Wilde’s De Profundis on the very premises of Wilde’s incarceration, as well as the work of 2019 Turner Prize co-recipient: Jordanian sound artist Lawrence Abu Hamdan whose recent works rely on testimonies from Syrian detainees and probe the political pragmatics of aural art. All these works have turned to the document—literary, visual, aural—to reflect on the process of experiential mediation. How does the experience of imprisonment, or extra-judiciary malpractices, come to the spectator? How are they read, heard, interpreted, remediated? The article ponders the remediation and displacement of aesthetic experience itself and the “response-ability”—following Donna Haraway’s coinage—of such a repoliticised embodied experience. It will assess the way by which such interdisciplinary works rethink the poetics of the documentary for an embodied intellection of justice—and injustice—in the present.

scholarly journals Surface and light

2019 ◽  
pp. 169-178
Author(s):  
Melanie Wilmink
Keyword(s):  
Case Studies ◽  
Installation Art ◽  
Single Channel ◽  
Embodied Experience ◽  
Moving Image ◽  
Space And Time ◽  
Short Films ◽  
Curatorial Practice ◽  
The Spectator

Utilising case studies from my curatorial practice, this paper discusses the balance between research and creation, and elaborates on exhibition projects that centre the spectator within an embodied experience of the moving image. While some of my curatorial practice includes installation art that literalises the space of the image, including Urbanity on Film (2009), and The Situated Cinema Project; in camera (2015), other programs have achieved this same effect within a single-channel screening format, including Radiant Bodies (2015) and Dirt City Rock Fantasy: The Short Films of Trevor Anderson (2016). By treating the moving image as an experience that incorporates the space and time of the viewer’s body, these curatorial projects explore the idea of artwork as a phenomenological tool, creating exciting environments while simultaneously advancing knowledge through the process of being with the artwork.

scholarly journals “To be honest, I’m pretty fat. Actually, I’m very fat”. Adjective fat as a Representation of the Concept of Obesity (Based on Corpus Data) – Preliminary Remarks

2021 ◽  
pp. 148-161
Author(s):  
Dorota Pazio-Wlazłowska
Keyword(s):  
Lexical Representation ◽  
Contemporary Fiction ◽  
Hair Color ◽  
Social Aspect ◽  
Physical Aspect ◽  
Obese People ◽  
Overweight People ◽  
The Face ◽  
Opposite Sex ◽  
The Aesthetic

The article attempts to reconstruct the concept of obesity on the example of the adjective fat as one of its lexical representation. As a material for analysis, the texts of contemporary fiction (1990s–XXI century) obtained from the National Corpus of the Polish Language are used. An overweight people are characterized in the extracted material in physical, mental, aesthetic and social aspects. In the physical aspect, the face, teeth, hairstyle, hair color and appearance, height and size, as well as the physical activity are examined. Symptomatic for the physical aspect is the use of intensifiers: very obese, unbelievably obese, indecently obese. Within the mental aspect, character traits, intellectual potential, self-esteem and drug addiction are analysed. In the social aspect, attention is paid to the reluctant attitude of the environment towards obese people, the relationship of obese people with the opposite sex, as well as the main fields of activity, mainly excessive eating. As part of the aesthetic aspect, auditory, visual and olfactory impressions are analyzed. In the course of analysis lexical units used to characterize obese people are identified. The analysis shows that obese people are repulsive, unaesthetic, they smell badly and look unattractive, they eat all the time and move with difficulty. They are usually friendly and kind, but they have complexes about their looks.

scholarly journals Capturing the many faces of an exploded star: communicating complex and evolving astronomical data

2017 ◽  
Vol 16 (05) ◽  
pp. A02
Author(s):  
Lisa Smith ◽  
Kimberly Arcand ◽  
Randall Smith ◽  
Jay Bookbinder ◽  
Jeffrey Smith
Keyword(s):  
Science Communication ◽  
Online Survey ◽  
Object A ◽  
Cassiopeia A ◽  
The Public ◽  
Use Of Technology ◽  
The Face ◽  
Final Item ◽  
The Aesthetic ◽  
The Many

This study explored how different presentations of an object in deep space affect understanding, engagement, and aesthetic appreciation. A total of n = 2,502 respondents to an online survey were randomly assigned to one of 11 versions of Cassiopeia A, comprising 6 images and 5 videos ranging from 3s to approximately 1min. Participants responded to intial items regarding what the image looked like, the aesthetic appeal of the image, perceptions of understanding, and how much the participant wanted to learn more. After the image was identified, participants indicated the extent to which the label increased understanding and how well the image represented the object. A final item asked for questions about the image for an atronomer. Results suggest that alternative types of images can and should be used, provided they are accompanied by explanations. Qualitative data indicated that explanations should include information about colors used, size, scale, and location of the object. The results are discussed in terms of science communication to the public in the face of increasing use of technology.

Lower Eyelid and Midfacial Rejuvenation

2011 ◽  
Author(s):  
Chun Cheng Lin Yang ◽  
Richard L. Anderson
Keyword(s):  
Lower Eyelid ◽  
Fat Pad ◽  
Tear Trough ◽  
Aesthetic Unit ◽  
Lateral Canthus ◽  
Age Related ◽  
Crow’S Feet ◽  
The Face ◽  
The Aesthetic ◽  
The Individual

Over the past two and a half decades, techniques for midfacial rejuvenation have evolved. Midfacial rejuvenation has gained significant popularity among many aesthetic surgeons, including the ophthalmic plastic surgeon. Yet rejuvenation of the midface remains a challenge for the aesthetic surgeon who seeks facial harmony. A variety of techniques and approaches are available, yet no single approach is ideal for all patients. It is clear that the age-related anatomic alterations that cause patients to seek rejuvenation vary from patient to patient, and that many patients have more than one anatomic alteration that must be addressed to rejuvenate the lower lid. The surgeon must address the individual needs of each patient for optimal results. It has also become clear that the lower eyelid and midface form a continuum that needs to be addressed in its entirety for optimal rejuvenation. To achieve this, the surgeon must understand the basic concepts important to lower eyelid and midface rejuvenation, which include an understanding of eyelid and midfacial anatomy, an understanding of aging changes of the lower eyelid and midface, and surgical approaches and nonincisional options. A full understanding of aging changes in the lower eyelid and midface is essential to successfully address midfacial rejuvenation. A harmonious facial appearance consists of a balanced relationship among all tissues of the face. With age, disturbance of this harmony among midfacial tissues occurs. The aging process of the midface encompasses the lower eyelid, malar fat pad and associated structures, melolabial fold, and lateral perioral region. Hester describes four important features of midfacial aging: (1) baring of the inferior orbital rim with creation of a hollow valley at the junction of the lower eyelid and cheek; (2) descent of the malar fat pad, with loss of malar prominence; (3) deepening of the tear trough; and (4) exaggeration of the nasolabial fold. The midface represents a crucial aesthetic unit of the face. It is bordered by structures that play major roles in the overall appearances of the face. The lower eyelid and tear trough toward the nose and the lateral canthus and crow’s feet at the superior lateral aspect frame the midface superiorly.

Missing Bodies

2019 ◽  
pp. 141-166
Author(s):  
Michael Davidson
Keyword(s):  
Racial Identity ◽  
Cultural Production ◽  
Habeas Corpus ◽  
Political Sphere ◽  
Look Back ◽  
The Aesthetic ◽  
The Relationship ◽  
Visible Body

Chapter 7 moves into the contemporary period by studying the relationship between bodies erased from the socio-political sphere and the missing body in the aesthetic sphere. For every newly visible body (queer, racialized, disabled) there are alarming numbers of missing bodies—disappeared in internecine conflicts, abducted in sectarian warfare, or rendered stateless by suspension of habeas corpus. To what extent have these absences been chronicled in recent cultural production and to what extent do these works challenge classical autonomy aesthetics? The chapter responds to this question through treatments of Indra Sinha’s novel, Animal’s People, the neurodiversity activist and artist Amanda Baggs’ film, “In my Language,” Rachel Zolf’s Neighbour Procedure, and M. NourbeSe Philip’s Zong! These works look back at modernist precedents of appropriation, fragmentation, and displacement to examine contemporary arguments about neurodiversity, citizenship, and racial identity.

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