Suchergebnisse

This article examines the role of strategic appropriation of public urban space for Vietnamese lesbian (les) community formation in contemporary Saigon. Through twenty-one months of ethnographic research of les events that are "hidden in plain sight," contingent invisibility is theorized as a threefold process of appropriation for les community formation and individual maneuvering around social stigma. By contingent, this article refers to invisibility that is "dependent" on a postsocialist state policing of urban space and "strategic" for les who gatekeep events. Contingent is also used as a double entendre—through familiarity and use of les spaces, a contingent becomes a "community." Contingencies of invisibility for les are demonstrated through ethnographic analysis of open-air sidewalk cafés in which les congregate, rented space for a les event, and a les-only café in Vietnam's largest metropolis. Queer invisibility is theorized as contingent and intentional, rather than a symptom of social marginalization.

AbstractNonprofit arts organizations often struggle for visibility and survival. They may meet these challenges by adopting new marketing strategies, forming administrative alliances with other organizations, or creating programming that appeals to broader audiences. Though these tactics are indeed important, arts organizations must first develop a persistent presence in their communities. This article proposes five key ingredients of persistent presence for nonprofit arts organizations and suggests that persistent presence can be consciously constructed by an organization, by an artistic discipline, and by the larger arts community. The intent of this exploratory framework for persistent presence may guide arts administrators in their work and propel future research in this area.

International Journal of Film and Media Arts : Vol. 6, nº 3: Special Issue (2021) ; Shades of Invisibility is an ongoing experimental artist's documentation of my practice in making Chernobyl Journey, an activist film that I have been working on for twelve years. In Chernobyl Journey live action tells the story of my four trips to the Chernobyl Exclusion Zone between 2009 and 2015 in search of rare Przewalski Horses, while animation is used to subversively unravel this apparently straightforward and chronological story backwards, tracing my fascination for the Exclusion Zone back to memories of an acute and life-changing illness in my own timeline from May to August 1986. In the film, animation is used not only to portray my inner private world of sensations, emotions and memories, but also to trace the slow process of arriving at self-knowledge through unravelling invisibilities of a very external and political nature. However, it is not the animation itself that makes the film experimental and subversive, but the way in which the animation is intimately woven into the live action footage. Through methods of compositing and blending, a counter historical narrative is inscribed into the fabric and the forbidden spaces of the two landscapes my auto-ethnographic story inhabits. As well as providing an outlet for my counter historical auto-ethnographic story, Chernobyl Journey also debunks the myth that nature will spring back like a lightly trodden on blade of grass, even after the worst excesses of human exploitation, extraction and environmental disaster. Shades of Invisibility is informed and inspired by my reading of New Materialist texts, in particular Jane Bennett's 'Vibrant Matter'. In the text I attempt to explore the efficacy of agencies other than my own will upon my art, using invisibility as a linking theme to create a network of interlocking pathways into subject matter that is dense, multi-layered, interdisciplinary, complex and sometimes politically taboo. My approach to documentation is activist in itself, as it questions the hylomorphic and anthropocentric world view that underpins auteur theory. I argue that this model of creativity based on the unrestrained and unaccountable power of the human individual's will mirrors the neo-liberal model of unrestrained extractive capitalism that is contributing so much to our present reality of climate crisis, loss of species diversity and global injustice. Keywords: Activist, Chernobyl, Invisibility, Vitalism, Animation.

Shades of Invisibility is an ongoing experimental artist's documentation of my practice in making Chernobyl Journey, an activist film that I have been working on for twelve years. In Chernobyl Journey live action tells the story of my four trips to the Chernobyl Exclusion Zone between 2009 and 2015 in search of rare Przewalski Horses, while animation is used to subversively unravel this apparently straightforward and chronological story backwards, tracing my fascination for the Exclusion Zone back to memories of an acute and life-changing illness in my own timeline from May to August 1986. In the film, animation is used not only to portray my inner private world of sensations, emotions and memories, but also to trace the slow process of arriving at self-knowledge through unravelling invisibilities of a very external and political nature. However, it is not the animation itself that makes the film experimental and subversive, but the way in which the animation is intimately woven into the live action footage. Through methods of compositing and blending, a counter historical narrative is inscribed into the fabric and the forbidden spaces of the two landscapes my auto-ethnographic story inhabits. As well as providing an outlet for my counter historical auto-ethnographic story, Chernobyl Journey also debunks the myth that nature will spring back like a lightly trodden on blade of grass, even after the worst excesses of human exploitation, extraction and environmental disaster. Shades of Invisibility is informed and inspired by my reading of New Materialist texts, in particular Jane Bennett's 'Vibrant Matter'. In the text I attempt to explore the efficacy of agencies other than my own will upon my art, using invisibility as a linking theme to create a network of interlocking pathways into subject matter that is dense, multi-layered, interdisciplinary, complex and sometimes politically taboo. My approach to documentation is activist in itself, as it questions the hylomorphic and anthropocentric world view that underpins auteur theory. I argue that this model of creativity based on the unrestrained and unaccountable power of the human individual's will mirrors the neo-liberal model of unrestrained extractive capitalism that is contributing so much to our present reality of climate crisis, loss of species diversity and global injustice.

This book, Ageing and Invisibility, is the result of two years of research and part of the European Union (EU) FP7 project SENIOR (social, ethical and privacy needs in ICT for older people). The project was initiated to provide a systematic assessment of the social, ethical and privacy issues surrounding the use of computers and information technology for and by an ageing population. The direction of demographic change is clear in many societies worldwide: the population is ageing rapidly. By 2050 the number of people over 50 is expected to have increased by 35%, and those over 80 by a stagger.

Intro -- Foreword -- Acknowledgements -- Contents -- Notes on Contributors -- List of Figures -- Chapter 1 Invisibility Matters -- Works Cited -- Chapter 2 Archaeologists of the Off-Screen: Harun Farocki and Trevor Paglen -- Genesis I: The Image Factory -- Exodus: A Brief History of Operational Images -- Numbers: Façade and Functionality -- Genesis II: The Cloud Factory -- Works Cited -- Chapter 3 Literary Device: Invisible Light and a Photo of Photography -- The Impact of Invisible Light -- Blind Amnesia -- Literary Invisibility -- Works Cited -- Chapter 4 Tomas van Houtryve's Packing Heat and the Culture of Surveillance -- Works Cited -- Chapter 5 Neurointerfaces, Mental Imagery and Sensory Translation in Art and Science in the Digital Age -- Mental Images and the Problem of Mediated Representation -- Sensory Translation in Artistic Perspective -- From Images to Mental Images -- From Mental Images to Images -- From Images to Constellations of Signals -- From Mental Images to Datasets -- From Mental Images to Movements -- From Haptic Stimulation to Recognizable and Non-recognizable Images -- In Conclusion: Artistic Epistemologies -- Works Cited -- Chapter 6 Invisibility and the Ethics of Erasure: Khaled Barakeh's The Untitled Images -- Works Cited -- Chapter 7 Neither Visible Nor Hidden: The Structuring of the Sensible -- Introduction -- The Photograph -- The Invisible of the Image Is Central to These Processes -- Bibliography -- Chapter 8 Reading the Invisible in Marjane Satrapi's Graphic Memoir Embroideries -- Visual Culture, Power and Reading -- Looking at the Other in Embroideries -- Reading the Invisible: Seeing Eye to I -- Works Cited -- Chapter 9 Hearing and Seeing the In/Visible: Anne Charlotte Robertson's Five Year Diary -- Five Year Diary: Brass Tacks -- Hearing, Seeing, Madness.

"The Philippines became Canada's largest source of short- and long-term migrants in 2010, surpassing China and India, both of which are more than ten times larger. The fourth-largest racialized minority group in the country, the Filipino community is frequently understood by such figures as the victimized nanny, the selfless nurse, and the gangster youth. On one hand, these narratives concentrate attention, in narrow and stereotypical ways, on critical issues. On the other, they render other problems facing Filipino communities invisible. This landmark book, the first wide-ranging edited collection on Filipinos in Canada, explores gender, migration and labour, youth spaces and subjectivities, representation and community resistance to certain representations. Looking at these from the vantage points of anthropology, cultural studies, education, geography, history, information science, literature, political science, sociology, and women and gender studies, Filipinos in Canada provides a strong foundation for future work in this area."--

Some IDPs in the Balkans, Caucasus and Turkey seek 'invisibility' for security reasons. Others become invisible when they are forced to move again within the city by the actions of city authorities or property owners. Adapted from the source document.

This book provides a unique and thorough introduction to Slovakia and will enable the reader to understand its multi-faceted nature. It includes chapters on Twentieth Century History, Politics, Economy and International Relations.