Unpacking the self

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 29-37
Author(s):  
Manju Sharma
Keyword(s):  
Visual Arts ◽  
Personal Narrative ◽  
The Self ◽  
Cross Linking ◽  
Artistic Practice ◽  
Content Type ◽  
Personal Stories ◽  
The World ◽  
Visual Artist ◽  
Sensitive Issues

Abstract In this essay, visual artist and writer Manju Sharma reflects on the use of autobiography as a methodology for storytelling in the visual arts. She focuses on the methods that she uses to explore the self and its relatedness to the world that she wishes to grasp. She also sheds light on how autobiography fits into her artistic practice as a means of finding hidden narratives and to keep the personal narrative related to the world. The essay touches upon the use of personal stories, cross-linking and note-taking to unpack everyday sensitive issues that can allow people to find their voice and to speak out.

The Baroque and Philosophy

2018 ◽  
pp. 601-622
Author(s):  
Michael Moriarty
Keyword(s):  
Modern Philosophy ◽  
Early Modern ◽  
Visual Arts ◽  
Common Sense ◽  
The Self ◽  
Early Modern Philosophy ◽  
The World ◽  
Baroque Art ◽  
Art And Architecture

Although the concept “baroque” is less obviously applicable to philosophy than to the visual arts and music, early modern philosophy can be shown to have connections with baroque culture. Baroque style and rhetoric are employed or denounced in philosophical controversies, to license or discredit a certain style of philosophizing. Philosophers engage with themes current in baroque literature (the mad world, the world as a stage, the quest for the self) and occasionally transform these into philosophical problems, especially of an epistemological kind (are the senses reliable? how far is our access to reality limited by our perspective?) Finally, the philosophies of Malebranche and Berkeley, with their radical challenges to so-called common sense, and their explanation of conventional understandings of the world as based on illusion, have something of the disturbing quality of baroque art and architecture.

Visual Noise as a Painting Method. An Attempt to a Manifesto

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Bogdan Alexandrov ◽  
◽  
◽  
Keyword(s):  
Visual Arts ◽  
The Self ◽  
Visual Noise ◽  
Artistic Practice ◽  
Digital Arts ◽  
Privileged Position

In the era of image, painting loses its privileged position on the typological scale of visual arts. The horizontal leveled order changes essentially its coordinates to transform them into a media, equivalent to visual arts based on technology and/or time. The change does not happen without resistance. We find traces and testimonies of the desire to preserve the “self-centered” memory of the ever-prevailing painting in the attributed elements of initially considered to be her denials – photography and digital arts. We are witnessing a strange paradox – in an attempt to preserve itsclaiming perfection nature, painting recognizes the inherentin technology imperfections. The report discusses the visual noise as a possible painting method, demonstrated in the author’s artistic practice and specifically stated in several cycles of works, presented at four exhibitions.

Are there things only artists can do?

Forum+ ◽  
2020 ◽  
Vol 27 (3) ◽  
pp. 45-53
Author(s):  
Carolina Bonfim
Keyword(s):  
Visual Arts ◽  
The Body ◽  
Artistic Practice ◽  
Research Project ◽  
Content Type ◽  
Practice Based Research ◽  
The Relationship

Abstract This article seeks to share the methods and strategies of the practice-based research project Ninety movements on TECHNOGYM G6508D. The research dissects the act of running in all its dimensions by fragmenting, archiving, incorporating, and highlighting what is unique and personal in each gesture and each way of moving. Ninety Movements is a continuation of Carolina Bonfim’s recent artistic practice, which explores the relationship between the body and the archive through a visual-arts approach.

scholarly journals Religious Motifs in Polish Contemporary Art Using the Crucifixion: An Outline of the Problem

2020 ◽  
Vol 28 (1) ◽  
pp. 149-166
Author(s):  
Beata Bigaj-Zwonek
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Visual Arts ◽  
Social Problems ◽  
Human Condition ◽  
Artistic Expression ◽  
The Political ◽  
Artistic Practice ◽  
The World ◽  
Post War

Sacred motifs have a long tradition in art and ample figurative representation. They have been present in the visual arts for numerous reasons, from the need to identify faith to artistic expression based on commonly-known truths and stories saturated with meaning. In the art of the twentieth century, Christian motifs were often an excuse to speak about the world, its threats and fears, and the human condition. Polish artists frequently availed themselves of religious symbols and systems in the post-war era, and during the political transforma­tion of the 1980s, they became a way to articulate uncertainty, expectation, and hope for change. Today, the religious trope is a pretext for artistic commentary on religion, social problems, and internal issues of the creators themselves. The article explores the causes and the nature of artistic practice rooted in Christian iconography in Polish contemporary art, with a particular emphasis on the motif of the crucifixion.

‘Storying the self’: Autobiography as pedagogy in undergraduate creative writing teaching

2019 ◽  
Vol 12 (1-2) ◽  
pp. 91-107
Author(s):  
Jess Moriarty ◽  
Ross Adamson
Keyword(s):  
Qualitative Research ◽  
Creative Writing ◽  
Meaning Making ◽  
The Self ◽  
Social Worlds ◽  
Academic Level ◽  
Personal Stories ◽  
The World ◽  
Personal Histories

The telling and sharing of stories is synonymous with what it is to be human. The narrative threads reaching back through our personal histories can help us to make sense of who we are in the present and we already use these stories anecdotally, at school, on dates, over coffee, in the local, to make connections with people and our social worlds. At an academic level, storytelling that engenders meaning making is becoming legitimized as branch of qualitative research that can inform us about our culture and identity. Autoethnography is a methodology that links the self (auto) with ethno (culture) to research (graphy). Helping students to work in this way and make these connections in their assessed work can be a challenge, but it can also help them to identify the stories that already exist inside themselves and give them the confidence to believe that these stories might matter in the world beyond their writing journals and university lectures. In this article, the authors share personal stories to reflect on our pedagogic approach to undergraduate creative writing teaching.

Self-cartography within migrants and refugees: a tool for resilience?

2020 ◽  
Vol 24 (4) ◽  
pp. 229-234
Author(s):  
Adèle Davanture ◽  
Daniel Derivois
Keyword(s):  
Armed Conflict ◽  
Mental Health Problems ◽  
The Self ◽  
Content Type ◽  
Psychological Suffering ◽  
Temporal Space ◽  
The World ◽  
Therapeutic Assessments ◽  
Meta Analyses ◽  
Practical Implications

Purpose Meta-analyses indicate that migrants and refugees develop more mental health problems than the general population as a result of their exposure to armed conflict, violence and torture together with their experiences prior to, during and after resettlement. The purpose of this paper is to experience a tool that allows analysing how migrants and refugees represent the world and how they self-represent in the world. Design/methodology/approach The aim is to design a projective tool called “Self Cartography” to facilitate the production of migration stories, based on narratives. Findings The self-cartography tool revealed the psychological suffering generated by the brutality and violence of exile. The narratives about the pre-migratory phase appear to be more complex and more painful than the migratory and post-migratory phases. Research limitations/implications The preliminary interviews in the exploratory phase have raised certain methodological biases, such as the size of the map, which is currently in A2 format. It was described by some participants as being too large and a source of anxiety. Practical implications The purpose of this work is to conceptualise a standardised projective tool that can be used by researchers and professionals responsible for making therapeutic assessments and supporting individuals in migration situations. Social implications This tool aims to facilitate better social integration for migrants and refugees. Originality/value The self-cartography tool opens up the boundaries of narrativity in a geo-temporal space shared with the clinician. Using the world as a means to self-narrate can be thought of as an attempt to rewrite the collective and individual traumatic histories of our humanity.

scholarly journals My father�s tobacco-jar, Church Square Pretoria and Freedom Park: An autoethnographical exploration

2014 ◽  
Vol 35 (2) ◽  
Author(s):  
Marcel Barnard
Keyword(s):  
South Africa ◽  
South African ◽  
Visual Arts ◽  
Practical Theology ◽  
The Self ◽  
The Other ◽  
Religious Practices ◽  
Academic Position ◽  
The World ◽  
Point Of Reference

Julian M�ller, in his advocacy of a narrative theology, has called for an autobiographical theology. In addition to Julian M�ller�s plea, the author turned to what may be seen as the liturgical and ritual variant of this method, namely autoethnography. Thus he would honour Julian M�ller and his tireless commitment to Practical Theology. Autobiographical and autoethnographical theology do not start from well-ordered and systematically arranged knowledge, but from a life as it has developed and as it is developing in its connections with others. Difference is therefore a keyword in the method. Others and other worlds evoke the consciousness of differences, incite reflections on the cracks, fractures and fissures that show themselves to the self and provoke negotiations with the otherness of the other. Never in his existence as a theologian had the author experienced this process more intensely than in his contacts with colleagues and religious practices in South Africa. It was described in the article how the author became acquainted with South Africa and, more particularly, with its liturgical rituals and visual arts since 2001. The different experiences of successive visits to Church Square in Pretoria functioned as a point of reference in the article. It was shown how the self re-negotiated its position in the world through the confrontation with a totally �other� � in this case, South African liturgical rituals and visual arts. This re-negotiation focused on the Western academic position of the self when confronted with African epistemologies and ontologies.

Legitimacy and democracy: implications for governance in sport

2015 ◽  
Vol 5 (5) ◽  
pp. 435-450 ◽  
Author(s):  
Brian Minikin
Keyword(s):  
Design Methodology ◽  
Demographic Characteristics ◽  
The Self ◽  
Best Interests ◽  
Content Type ◽  
Relative Lack ◽  
The World ◽  
Concepts Of Democracy ◽  
Elected Representatives ◽  
Practical Implications

Purpose – The purpose of this paper is to demonstrate how the existing mechanisms for legitimising member based sport organisations can lead to poor governance and how accepted democratic processes can be manipulated to suit the personal agenda of individuals over the vision of the organisation. Design/methodology/approach – Three cases are provided to illustrate how, it is relatively easy for individuals to manipulate the established rules in order to obtain and retain power. Findings – The self-regulatory nature of sport assumes that elected representatives put the organisation’s interests before their own and that they always act in the best interests of the members. The evidence, provided in this paper, suggests that this assumption may be inappropriate. Research limitations/implications – The case studies provided occurred within the boundaries of one continental grouping of countries and may be considered biased due to the specific demographic characteristics of this part of the world and the relative lack of development of sport systems that exist there. Practical implications – The paper raises important questions about the appropriateness of the legitimising mechanisms that affect sport and the challenges that face modern sport organisations. Social implications – The paper may provide a basis for arguing that the concepts of democracy and autonomy in sport organisations need to be reviewed if their autonomy is to be maintained. Originality/value – This paper provides a basis for challenging the basis of how sport is structured and how member based sport organisations are legitimised to operate as they do.

The war on some consumers of some drugs

2018 ◽  
Vol 18 (2) ◽  
pp. 123-125
Author(s):  
Jeff Ditchfield
Keyword(s):  
Design Methodology ◽  
Personal Narrative ◽  
Drug Laws ◽  
Content Type ◽  
The World ◽  
The Media ◽  
Medicinal Cannabis ◽  
The Uk ◽  
Regulatory Models ◽  
Policy Discussion

Purpose As a prominent Cannabis Activist in the UK, the purpose of this paper is to articulate some thoughts on where activists should go next, to challenge stigmatising drug laws. Design/methodology/approach A personal narrative is interweaved with a drug policy discussion and views on how activists can best promote reform. Findings Activists ought to fight moral injustice by breaking unjust laws if necessary. This paper demonstrates how activists can develop regulatory models from the bottom up via cannabis clubs and the importance of talking to and educating the media. Originality/value The author has been researching the benefits of medicinal cannabis since 2001 and assists terminal cancer sufferers around the world. The author is also an accomplished Public Speaker on cannabis and wishes to use this platform to share experience and thoughts with fellow activists.

Power of Darkness: Narrative and Biographical Reflexivity in A Series of Unfortunate Events

2008 ◽  
Vol 1 (2) ◽  
pp. 200-212
Author(s):  
ELIZABETH BULLEN
Keyword(s):  
The Self ◽  
Risk Society ◽  
Project Risk ◽  
Young Readers ◽  
The World ◽  
The Face ◽  
High Earning ◽  
Textual Culture ◽  
Children’S Exposure ◽  
Central Claim

This paper investigates the high-earning children's series, A Series of Unfortunate Events, in relation to the skills young people require to survive and thrive in what Ulrich Beck calls risk society. Children's textual culture has been traditionally informed by assumptions about childhood happiness and the need to reassure young readers that the world is safe. The genre is consequently vexed by adult anxiety about children's exposure to certain kinds of knowledge. This paper discusses the implications of the representation of adversity in the Lemony Snicket series via its subversions of the conventions of children's fiction and metafictional strategies. Its central claim is that the self-consciousness or self-reflexivity of A Series of Unfortunate Events} models one of the forms of reflexivity children need to be resilient in the face of adversity and to empower them to undertake the biographical project risk society requires of them.

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