http://www.theguardian.com/artanddesign/2010/feb/08/new-topographics-photographs-american-landscapes – Great American Photographers. http://www.theguardian.com/artanddesign/2014/feb/24/robert-adams-photographs-american-west-paris – Robert Adams http://www.theguardian.com/artanddesign/2010/feb/08/new-topographics-photographs-american-landscapes – New Topographics http://www.photoeye.com/GALLERY/Definitions.cfm – Definitions of photographic print types. http://www.vam.ac.uk/content/articles/p/gregory-crewson/ – Gregory Crewson, highly cinematic and transformative. His photographs are artificial and staged, and thus transport the viewer to ‘another world’ in which the American suburbs become stages for actors and giant teams of people. http://www.surveillance-and-society.org/articles1(3)/sousveillance.pdf – Sousveillance and surveillant society. http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/diacritics/v029/29.3reynolds.html – Scholarly essay on ‘The Transversality of Michel de Certeau: … Continue reading “Present a detailed, critical analysis of a cultural text.” // Planning.
A hierarchy is a ‘system’ in which members of an organisation or society are ranked according to the their relative status of authority. Such systems may rely on binary notions, such as ‘better’ or ‘worse’, or possibly a graduation scale of identification. The idea of progress within a hierarchy is a key element, demonstrated visually in Maslow’s Hierarchy of Needs for example. Reaching self-actualisation can only … Continue reading Cultural Hierarchies.
If history is the interpretation of facts by historians, then the past must just be a complex and messy plethora of information. Who then, holds the responsibility of authoring histories, and who decided on the importance of facts? This is dependent on the social context of the society prevalent at the time of interest, as historical facts are only seen through present day eyes. Therefore, … Continue reading Authoring Histories.
Identity is created, and is not constant. The intersectional self accounts for many factors that contribute to this term. For example, gender, sexuality, class and ethnicity may be regarded as separate ‘compartments’ for categorisation. However, this reductionist approach is not useful, and is somewhat discriminative. Therefore, by blurring the imaginary lines between binaries, the idea of an intersectional self can flourish. Binary pairings are set … Continue reading Intersectional Self.
“Participatory culture is one in which members believe their contributions matter, and some degree of social connections occur with one another” – Delwiche & Henderson, 2013. In his essay, Jenkins aims to address some of the core themes that were featured in the September 2011 edition of Cultural Studies, titled ‘Rethinking Convergence/Culture’, Hay & Couldry, 2011. Many writers were featured in this issue, including Jenkins … Continue reading Participatory Culture – “Rethinking ‘Rethinking Convergence / Culture’” // Henry Jenkins.
The passive act of ‘seeing’ a photograph does not exist within the formal practice of photography, nor should it within the realm of the general viewer. Therefore, one must undergo a series of complex readings to fully understand a photograph. One must ‘read’ a photograph. Clarke firmly presents the notion that photography has its own discourse and language, so is therefore read just the same … Continue reading “How Do We Read a Photograph?” // Graham Clarke.
As an introduction to critical perspectives, our set text was the introduction and first chapter of bell hooks’ ‘Teaching Critical Thinking: Practical Wisdom’. In her concise introduction, hooks (whose name is purposely written all in lower case) outlines her education and experience as a young black woman growing up in “all-black, segregated schools of Kentucky in the fifties”. She deemed her self as lucky as … Continue reading ‘Teaching Critical Thinking: Practical Wisdom’ // bell hooks.