Collective Memory
Community Portraits: Controlling Who Sees Us and How We Are Seen
Paper Presentation in a Themed Session Al Wildey
The artworks within the "Community Portraits" series are enlarged composited photographs of non-existent persons comprised of the existent "participants" presented within an internal mosaic. These communal portraits present alternative personas that depend upon privileging race, gender, age, etc. encouraging multiple readings within any collective of diverse peoples and the image(s) created by them/for them.
On Becoming Ho : It's Not Just a Film
Paper Presentation in a Themed Session Arpit Gaind
The transition from a recorded history to tracing the subtleties of fragmented memory, the culture becomes a modality of fragmented experiences, movements, stories. When in village Turibasa, people decide to record the funeral of a child in the hamlet because funeral is a "celebration" for them, the remembering takes a new turn. The film becomes of paramount importance, the audio-visual medium, “the ground where sight and sound meets and interlocks, an association of sense occur which in turn creates movement” [Bandhipadhaya, S. (2001). What this paper is trying to ask and imagine is, if the film that got made in Turibasa becomes a medium to understand its relationship with creativity; whereby, Ho in the very process of making the film, becomes an Image of "Ho." In other words, an act of creation, is both being and becoming Ho – which argues for Development as creativity, a creative suture, one that is composed of three knots each having its own disclosure and its pitfalls. The first one is the Being where "identity" is the pitfall, second is Doing (the act of creation) — a stagnant being is its pitfall, and finally the Creating/Creation (where one is verb and the other is noun) were artifact is the pitfall – one in which archiving is an anthropological result of giving Ho a museum and not a life. The writing of Ho is writing what I am seeing (not the film itself but making of the film, yet it can’t be just a film).
Pale, Bright and Turquoise Green for White and Brown Goods
Paper Presentation in a Themed Session Marie Sierra
This paper examines images of print advertising for "green" products, particularly from the late 1990s to 2001, with a focus on white and brown goods. As more expensive and infrequently replaced household items, the advertising of white and brown goods presents a point at which consumers are making considerable investment in their households. Purchasing these items involves classic product concerns, such as performance and longevity, but also, and particularly in this period when many manufacturers were claiming real or imagined environmental credentials, consideration of environmental impact. This paper examines some of the print advertising of this period through visual analysis, while also considering how they are geared to consumers that can be categorises a bright, turquoise (blue) or pale green.
