scholarly journals Autiethnography

2020 ◽  
Vol 33 ◽  
Author(s):  
Martine Mussies
Keyword(s):  
Creative Writing ◽  
Visual Art ◽  
The Self ◽  
A Performance

Autoethnography may be regarded as writing of and about the self as embedded in culture; however, neurotypical status affects autoethnographic perception, and such so-called autiethnographies can cross the boundaries of humanism by providing examples of metahumanist subjectivity. As an autistic gamer, I engage with games in a different way, showcasing how (dis)abled gaming, neurotypicality, fannishness, and sociopolitical responses are never independent from one another. Autiethnographies blur the limitations of science and creative writing, and may be expressed through other forms of communication, such as a performance, a podcast, or a work of visual art.

Reweaving the Self: Creative Writing in Response to Tragedy

2009 ◽  
Vol 96 (3) ◽  
pp. 529-538 ◽  
Author(s):  
Judith Lingle Ryan
Keyword(s):  
Creative Writing ◽  
The Self

From the Self-Image to the Image Itself

Glimpse ◽  
2021 ◽  
Vol 22 (1) ◽  
pp. 18-22
Author(s):  
Martta Heikkilä ◽  
Keyword(s):  
Social Media ◽  
Visual Art ◽  
The Self ◽  
Philosophical Position ◽  
Phenomenological Philosophy ◽  
Self Image ◽  
Political Implications ◽  
Portrait Photographs ◽  
Important Position

In this article, I examine the idea of the portrait from two viewpoints: the ‘classical’ portrait as it appears in Jean-Luc Nancy’s post-phenomenological philosophy, and the recent self-portrait photographs or ‘selfies’ on social media. First, I consider the portrait’s value in Nancy’s theories of art: for him, portraits hold an important position among the genres of visual art, since they present themselves as distinctive images by extracting the innermost force of the portrayed person. Secondly, I take up the philosophical and political implications of Nancy’s notion of the portrait vis-a-vis the contemporary selfie culture. I suggest that, instead of emphasizing the model’s singularity as traditional artistic portraits do, the flow of selfies tends to create similarity. I begin by clarifying Nancy’s paradoxical claim that the human portrait may resemble a person only on the condition of not representing him or her. After this, I inquire about the philosophical position of selfies as constructed portraits that make visible the absence of the self. However, as I argue, they do this in a sense that differs from Nancy’s account of the portrait. As a result, I propose that the repetition and circulation of selfies has remarkably changed our view on the significance and, finally, the ontology of the portrait.

Narrative representations of the self: encounters with contemporary visual art

2018 ◽  
pp. 263-284
Author(s):  
Andrew Newman ◽  
Anna Goulding
Keyword(s):  
Older People ◽  
Cultural Policy ◽  
Visual Art ◽  
The Self ◽  
North East ◽  
Counter Narrative ◽  
Narrative Representations ◽  
History Of ◽  
Arts Engagement ◽  
Family Class

This chapter explores how and why older people construct narrative identities in response to encounters with contemporary visual art. The respondents rejected the negative characteristics they associated with being old and articulated a more positive counter narrative associated with active and involved older people. The narratives they constructed were also inflected by meta-narratives of family, class and the history of north-east England. This work has implications for arts and cultural policy suggesting that more emphasis be placed on how artworks are consumed. It also provides a greater understanding of the value of arts engagement for older people.

Adaptive filtering with the self-organizing map: A performance comparison

2006 ◽  
Vol 19 (6-7) ◽  
pp. 785-798 ◽  
Author(s):  
Guilherme A. Barreto ◽  
Luís Gustavo M. Souza
Keyword(s):  
Adaptive Filtering ◽  
Performance Comparison ◽  
The Self ◽  
Self Organizing Map ◽  
Self Organizing ◽  
A Performance

scholarly journals AHASA RUPA TRADISI BALI DALAM WACANA SENI RUPA KONTEMPORER

Imaji ◽  
2015 ◽  
Vol 10 (1) ◽  
Author(s):  
I Wayan Seriyoga Parta
Keyword(s):  
Visual Art ◽  
Critical Reflection ◽  
Social Condition ◽  
Visual Language ◽  
The Self ◽  
The Other ◽  
Technical Knowledge ◽  
Academic Values ◽  
Global Context ◽  
The Social

Self-educated Balinese artists develop Balinese visual art based fully on practices, diligence, and tenacity in creating their works so that they can master all the established techniques used in visual art production. Their long struggles in dealing with technical matters to process materials have enriched them with important experience and become the base of their technical knowledge. The self-creativity they possess, untouched by academic values, enable them to beat their collective unconsciousness. Thus, they can consciously create innovations in the visual language they are working on within their collective domain. This enables them to hold their own identity and to base their work on the values coming from their local culture. This kind of creativity can also play an important role in global context. On the other hand, many contemporary artists including istallation and textile artists have conducted a kind of critical reflection upon the social condition in which they live. The above situation creates optimism that the potential of the visual art in Balinese tradition may give various colors on the development of contemporary visual art.

scholarly journals Editorial

2013 ◽  
Vol 4 (1) ◽  
pp. 103-104
Author(s):  
Isabel Hoving
Keyword(s):  
Creative Writing ◽  
Visual Art

A discussion of the creative writing and visual art that can be found in the Creative Writing and Arts section

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