scholarly journals Lowering the Gaze

2020 ◽  
Vol 8 (2) ◽  
pp. 37-45
Author(s):  
La Vaughn Belle
Keyword(s):  
Conceptual Framework ◽  
Embodied Knowledge ◽  
Inner Life ◽  
The Gaze ◽  
The Caribbean ◽  
The Invisible ◽  
Public Sculpture

This article is written by one of the co-creators of the monumental public sculpture entitled I Am Queen Mary that was done in collaboration with Jeannette Ehlers. Inaugurated on March 31, 2018 the project is the first collaborative sculpture to memorialize Denmark’s colonial impact in the Caribbean and those who fought against it. The essay traces the beginning of the collaboration as a transatlantic conversation that prompted the development of two separate ideas and articulates how the monument represents a point of convergence of the artistic practices of both Belle and Ehlers. Moreover, the essay highlights how the conjoining of the original monument projects created various conversations and tensions around colonial structures and visibility. By entering the work through its coral stone base, it uses the acropodia as a conceptual framework to discuss the hidden infrastructures of coloniality and how - through lowering the gaze and other sensorial shifts - a new kind of embodied knowledge can be gained. The article employs Kevin Quashie’s ideas around the aesthetics of quiet as a way to not only think differently about resistance and blackness as only exterior phenomena, but to consider the power and complexity of interiority. By extension, offering up a similar lense to view the inner life of coloniality, the article discusses how through the acropodia in I Am Queen Mary the invisible structures and labor of not only colonial systems, but the monument itself, can be made transparent.

scholarly journals Looking Like People; Feeling Like People: The Black Body, Dress and Aesthetic Therapy in the Caribbean

2014 ◽  
Vol 6 (4) ◽  
pp. 857-872
Author(s):  
Marsha Pearce
Keyword(s):  
Conceptual Framework ◽  
New World ◽  
Black Body ◽  
The Body ◽  
Therapeutic Discourse ◽  
Black Caribbean ◽  
Black Bodies ◽  
The Caribbean ◽  
Bodily Practice ◽  
Instrumental Role

In the Caribbean, the practice of getting dressed matters because it is a practice of attending to the body. Under a colonial regime, black bodies were ill-treated and selves were negated. Clothing played an instrumental role in the abuse of bodies and the stripping of a sense of wellbeing. Attire was one key way of demarcating master and slave and rendering some members of society null and void. Enslaved Africans, who were forcibly brought across the Atlantic to the New World, were considered chattel or commodities rather than people and clothes functioned in a way that reinforced that notion. Yet, dress became a strategy of subversion – of making chattel, property or ‘non-people’ look like people. The enslaved recognised that, through clothes, it was possible to look and feel free. Today that legacy remains. Clothing is seen not only as that which can make a people ‘look like people’ but also feel like people – clothing sets up a specific structure of feeling. This paper pivots on notions of looking and feeling like people while deploying Joanne Entwistle’s conceptual framework of dress as situated bodily practice. The article locates its investigation in the Caribbean, examining the philosophy and practice of Trinidadian clothing designer Robert Young. The article establishes him as a source of aesthetic therapeutic solutions in the Caribbean. It argues that his clothing designs produce a therapeutic discourse on the Black Caribbean body – a discourse, which facilitates a practice of getting dressed that gives a sense of agency, self-empowerment and psychic security even if that sense is embodied temporarily; lasting perhaps only as long as the garment is worn.

Gazing on invisible men: Introducing the gallery gaze to establish that (in)visibility is in the eye of the beholder at Westminster Menswear Archive

2021 ◽  
pp. 135918352110668
Author(s):  
Joshua M Bluteau
Keyword(s):  
The Gaze ◽  
Exhibition Space ◽  
The University ◽  
The Invisible

The Westminster Menswear Archive, housed at the University of Westminster held an exhibition in 2019 entitled ‘Invisible Men’. The purpose of this show was to “shine a light” on men, or more accurately menswear which had been hitherto neglected by scholarship and exhibitions featuring dress (Groves and Sprecher, 2019). This article draws on research conducted at this exhibition to ask anthropological questions as to the nature of menswear both in the gallery space and beyond. Fundamentally this will question the invisible nature of menswear and whether such invisibility really exists. In order to accomplish this, this article will suggest a new theory of the gaze that exists in the gallery or exhibition space – the gallery gaze – and use it to provoke analysis of the ethnographic material presented. This article acknowledges a distinction between intellectual, semiotic and symbolic invisibility but suggests a different approach, arguing for an (in)visibility of progressive degrees.

scholarly journals Identidad territorial, globalización y patrimonio

2021 ◽  
Author(s):  
Roberto Goycoolea-Prado ◽  
Laura Susana Zamudio-Vega ◽  
Ainhoa Amaro-García ◽  
Ana María Sosa-González ◽  
Leonardo Barci-Castriota ◽  
...  
Keyword(s):  
Public Policy ◽  
Human Rights ◽  
Conceptual Framework ◽  
Applied Research ◽  
Historical Memory ◽  
Field Work ◽  
The Gaze ◽  
Built Heritage ◽  
The Subject ◽  
The Relationship

This book analyzes the relationship between the three concepts that give shape to its name, with the particular purpose of examining the impacts that globalization has brought on the built heritage. It seeks to explore the possible paths that, for academic reflection, applied research or public policy, could be derived from the reflections that bring together the gaze of numerous researchers fromdifferent countries. In this regard, the work offers a conceptual framework from where it has been addressed the phenomenon, and from which issues such as the community thinking; the socio-spatial conflicts generated by tourism; the relationship between identity and historical memory, as well as between heritage and human rights; tensions and dilemmas about identity and heritage that globalization brings and, finally, the theme that is called at work,"situated thinking”, as a condition when studying and understanding what in front of the subject it happens in every context. Approach from which cases in Spain, Portugal, Italy, Colombia, Peru, Ecuador, Brazil, Uruguay, Argentina, Mexico, Croatia and, among others, Turkey are analyzed. The latter country, where researchers carried out field work that, together with the explorations in other contexts, allowed to contrast theory with practice and extrapolate from this point their conclusions.

An Uncanny Theatricality: the Representation of the Offstage

2007 ◽  
Vol 23 (2) ◽  
pp. 152-160 ◽  
Author(s):  
Beliz Güçbilmez
Keyword(s):  
Nineteenth Century ◽  
Working Group ◽  
Samuel Beckett ◽  
Assistant Professor ◽  
International Federation ◽  
The Unconscious ◽  
The Gaze ◽  
The Uncanny ◽  
Time Space ◽  
The Invisible

In this article, Beliz Güçbilmez argues that ‘offstage’ is not a place but an idea, a world minus a stage. It is ‘anywhere but here’, and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue – a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight – the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Güçbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow.

scholarly journals Ping pong in Phuket: the intersections of tourism, porn and the future

2017 ◽  
Vol 3 (1) ◽  
pp. 39-55 ◽  
Author(s):  
Michelle Stella Mars ◽  
Ian Seymour Yeoman ◽  
Una McMahon-Beattie
Keyword(s):  
Science Fiction ◽  
Conceptual Framework ◽  
Hard Core ◽  
Technological Advancement ◽  
Sex Tourism ◽  
Content Type ◽  
The Gaze ◽  
Ping Pong ◽  
The Future ◽  
Liminal Experiences

Purpose Sex tourism is well documented in the literature, but what about porn tourism? Whether it is a Ping Pong show in Phuket or the Banana show in Amsterdam, porn and tourism have an encounter and gaze no different from the Mona Lisa in the Louvre or magnificent views of New Zealand’s Southern Alps. The paper aims to discuss these issues. Design/methodology/approach This paper explores the intersections of tourism, porn and the future as a conceptual framework. Findings Four intersections are derived from the conceptual framework. Intersection 1, the Future of Tourism, portrays the evolution of tourism and explores its technological future. Interaction 2, Porn in Tourism, distinguishes between soft- and hard-core porn tourism. Intersection 3, Portraying Porn as a Future Dimension, delves into futurism, science fiction and fantasy. The fourth intersection, the Future Gaze, conveys the thrust of the paper by exploring how technological advancement blends with authenticity and reality. Thus the porn tourist seeks both the visual and the visceral pleasures of desire. The paper concludes with four future gazes of porn tourism, The Allure of Porn, The Porn Bubble, Porn as Liminal Experience and Hardcore. Originality/value The originality of this paper is that this is the first paper to systematically examine porn tourism beyond sex tourism overlaying with a futures dimension. Porn tourists actively seek to experience both visual and visceral pleasures. Tourism and pornography both begin with the gaze. The gaze is an integral component of futures thinking. Technology is changing us, making us smarter, driving our thirst for liminal experiences. Like the transition from silent movies to talking pictures the porn tourism experience of the future is likely to involve more of the bodily senses.

Abstraction, Witnessing, and Repair; or, How Multimodal Research Can Destabilize the Coloniality of the Gaze

2021 ◽  
pp. 263497952110427
Author(s):  
Leniqueca A Welcome ◽  
Deborah A Thomas
Keyword(s):  
Knowledge Production ◽  
Visual Studies ◽  
State Violence ◽  
Collective Knowledge ◽  
Research Practices ◽  
The Gaze ◽  
Non Linear ◽  
The Caribbean ◽  
Representative Realism

The recent renewal of attention to abstraction within Black literary and visual studies, it seems to us, has to do with an interest in the various ways abstraction rejects ascribed categories, eschews narrow assumptions about “relevance,” and embraces experimentation during a moment when it is arguably most needed. Abstraction moves us simultaneously outside of representative realism, and it embraces research practices that often require the kind of intimacies that have long been the bread and butter of anthropology. As multimodal ethnographers, we have long made our ethical commitments to interlocutors through embodied participation and collective knowledge production. In this essay, we attend to questions of abstraction, witnessing, and refusal within our own filmic and photographic practices addressing state violence in the Caribbean. We are interested in the spatio-temporality of both witnessing and refusal and in the relationships between form and audience. We are interested in how forms of abstraction capture the ephemeral, performative, affective, non-linear, and unpredictable ways something that feels like sovereignty circulates and is transmitted from one to another, without contributing to a process of overexposure or a desire for transparency.

And the wood doll arose and told, I'm a real

2015 ◽  
Author(s):  
◽  
Lianuska Gutierrez
Keyword(s):  
The Body ◽  
Personal History ◽  
Inner Life ◽  
University Of Missouri ◽  
The Gaze ◽  
Vertical Descent ◽  
Social Gaze ◽  
Verbal Violence ◽  
The University ◽  
Over Time

[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT REQUEST OF AUTHOR.] "Sphinx Eyes Antiphon," one of the poems in my collection, And the Wood Doll Arose and Told, I'm a Real, refers to a blank or unreciprocal social gaze. Humans need some level of affirmation from the surrounding community. The eyes of ancient statues, due to weathering over time, appear as solid, blank convexitieswith no pupils or irises. The speaker of my poems understands that this is the "gaze" (in fact unseeing) that often meets her back. The poems deal with subjects who have a harder time rebuffing this blankness, due to their marginalized status and an unwillingness to conform. Many of my poems treat gendered experience as well as yoke personal history and subjectivity to political, or ethical, exhortation. My work is largely about the 'victim'; it's an effort at a vertical descent into the radically alienated experience of one caught to violence, from verbal violence or indifference to extreme physical cruelty. Animals figure into my poems often because of this focus. I attend to invisibility, to a subject overwritten. One of my strategies is physicalizing the psychic. This has to do with how the body's senses register social impingement or dominance (i.e. through the gaze or in language). The poems carry a 'feminine' sensibility (but they are for anyone), and they also attend to and dignify the body and the immanent, the inner life.

Fermenting Communications: Fermentation Praxis as Interspecies Communication

Public ◽  
2019 ◽  
Vol 31 (59) ◽  
pp. 149-157
Author(s):  
Maya Hey
Keyword(s):  
Embodied Knowledge ◽  
Interspecies Communication ◽  
Microbial Life ◽  
Stuart Hall ◽  
The Invisible

Microbes are in, on, and around us at all times, yet we cannot easily communicate with them. How do we (continue to) live with microbial life in ways that allow for our mutual thriving? Using a performative lens, this paper analyzes the material practices of fermentation as a way of connecting with different scales of life. It attempts to challenge conventional understandings of communications (e.g. encoding/decoding models put forth by Stuart Hall) by examining the layered manner in which fermentation engages with matter and meaning. The material practices of fermentation require embodied knowledge to work with microbial life, and the discursive considerations of fermentation challenge anthropocentric thought. Thus, materially and discursively, fermentation functions as a continual form of engagement. Thought of as a form of communication, fermentation helps us to consider some of the invisible relations we have with microbes and connect with micro-species we often take for granted.

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