Gaze

This paper posits that the contemporary (re)configuration of the generic white woman of Hindi cinema solely as a spectacle was produced by the nationalist discourse during the colonial encounter. This essay explores both the textual analyses and aesthetic strategies employed in the construction of national imagery of white female subjectivities. My approach is twofold: (i) to chart the historical specificities of the representational construct of the white woman through discontinuous changes occurring across Bombay cinema, and (ii) to explore the white female subjectivities across specific historical and cultural milieu. This paper probes the historicity of the ‘Otherness’ of the white woman in Hindi cinema reviews and re-examines how Hindi cinema constitutes female whiteness. I posit that the representation of the white woman in Hindi cinema as promiscuous and sexually available was constructed within the nationalist discourse of the colonial era and is a continuation of the white memsahib in her absence. It is my position that all that was ‘repressed’ in the Hindu woman resurfaces in the white woman – the racial, sexual ‘Other’, onto whom everything repressed within the self could be projected.

As one of the most popular tourism destinations of China, the World Heritage Site Old Town of Lijiang has attracted millions of tourists from around the world. The commoditization of local culture and its manifestation in the indigenous religion have emerged to satisfy the demand of its booming mass tourism. Taking three cultural performances as case studies—namely, Naxi Ancient Music, Lijiang Impression, and Naxi Marriage Courtyard—this article aims to explore the influence of globalization and localization on the development of tourism in Lijiang. It examines how these performances are interpreted and transformed into cultural productions by the local tourism market. During this endless flow between the global and the local, cultural performances show the dynamic forms of encounter, combining the homogenization of global capital and the heterogenization of local ethnicity

The purpose of the present research is the argument that postmodernism has put forward in the arts, in favour of pornography, starting from the latter's presence in surrealist art and continuing with the consideration of the role of the gaze and censorship in the development of pornography. We will achieve this by using the psychoanalytic theory of scopophilia and anamorphosis, as well as Hays’ code and the impact of money shot practices in cinematography. The method of operation used is that of argumentation and philosophical criticism of postmodern culture and surrealist art. In our argumentative and critical approach, we’re using the concepts of Jean Baudrillard, Susan Sontag, Theodor Adorno and Dominique Maingueneau. The aim is to demonstrate, on the one hand, the assumption of surrealist overtones in pornography (Susan Sontag – the theory of ‘pornographic imagination’) and, on the other hand, to deconstruct Theodor Adorno’s argument through the theory of intertextuality – the inability to classify a pornographic text in literature – as well as the importance of scopophilia  in the pornographic apparatus’ postmodern game.

Museutopia. A Photographic Research Project by Ilya Rabinovich
will be of great interest for a large audience of people from the lovers of photography, museums, history or Moldova‘s cultural life to the consecrated scholars studying visual arts, philosophy, ethnography, museology or memory and identity through the investigation of complex interrelationship between ‗gaze,
diaspora, trauma‘ (p. 15). The impact of dramatic transformations happened between the last decade of socialist period and the first two decades of post-soviet Moldova history still constitutes a disputable topic among specialists from different fields, as well as the emerging public history discourses on memory, identity
and nation-building. Along the lines of Benedict Anderson work on nationalism and identity (Anderson 1991), the specialists in cultural
heritage Peter Aronsson and Gabriella Elgenius consider, in terms of imagination, national museums are uniquely placed to illuminate that which is actually imagined with reference to an emerging,re-emerging or fully formed nation‘‘(Aronsson, Elgenius 2011, 5).

Bilinen canlılığın 3.8 milyar Dünya yılı evvel başladığını tahmin ediyoruz. Kategorilendirdiğimiz milyonlarca canlı türü var. Hepsi bu gezegen üzerinde yaşıyor. 1957’ye kadar da Dünya dışında hiçbir canlı gözlenmemişti. Dünya dışında gördüğümüz ilk canlının ismi Layka. Bir köpek. Bir uydu içinde Dünya’dan yörüngeye fırlatılmıştı. Dünya dışında gördüğümüz ilk “üstün zekalı yaşam formu” yine insan. Bizden biri. İsmi Yuri Gagarin. Bir kozmonot. O da Dünya’dan fırlatıldı. Dünya dışında başka bir gök cismi üzerinde gözlenen ilk canlı yine bir insandı. Dünya’nın uydusu olan Ay’da görüldü. İsmi Neil Armstrong. Ondan sonra on iki canlı daha gözlendi Ay yüzeyinde. Hepsi yine özel araçlar içinde, Dünya’dan Ay’a fırlatılmış insanlardı. Dünya dışında gözlenen canlıların hepsi Dünyalı ve Dünya’nın uzağında sadece belirli bir süre yaşayabiliyorlar. Şanslı olanlar Dünya’ya geri dönüyor. Layka şanssızdı mesela. Dünya’dan uzaklaşabilen bu Dünyalılar dışında, evrenin herhangi bir köşesinde Dünyalı olmayan bir tek-hücreli bile göremedik hala.

An introductory speculation, Ways of Being: The Spectator and the Spectacle is a consideration of the epistemological, ontological and metaphysical downfalls of film theory’s understandings of the spectator and the spectacle; with particular emphasis directed towards the neurobiological implications of the spectator’s body.

The thesis will argue that these shortcomings are representative of wider ranging issues of complacency engulfing the film industry and film exhibition as a whole. Furthermore, the fundamental disruptions of the digital upgrade of cinema, and the expanding means through which film content can be experienced, will be explored in relation to the pressing need for film theory to reassess itself.

Drawing on a plethora of empirical and non-empirical research, this dissertation is a highly progressive expression of how film experience has always been about transcendence and, as a result of its digital re-birth and diversifications, it is now becoming even more so.

https://youtu.be/e1_fp4zLsNA

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

https://books.google.co.uk/books?hl=en&lr=&id=lmqkCgAAQBAJ&oi=fnd&pg=PT12&ots=iuhaL-_qAe&sig=C2__T-Hls9npEtC183hOdvwTHhA#v=onepage&q&f=false

Boys’ Love (BL) is a genre of Japanese manga portraying romantic and sexual relationships between, sometimes controversially, young men. It is largely produced and consumed by young women and is available in translation worldwide. The English legal context relevant to BL is outlined, with emphasis on Prohibited Images of Children legislation (Section 63 Criminal Justice and Immigration Act 2008), and three readings of a BL yonkoma are offered: paedophilic, satirical, and queer. It is argued that the young female readers of BL problematise the legislative invitation to a single, literal, paedophilic reading of suspicious texts and the position that the intended audience is unimportant. It is concluded to be important to understand how intelligible, meaningful, non-paedophilic frames are available for reading non-realistic, erotic texts involving visually young characters and that BL with sexual content partakes of a distinct imaginary space that might be termed explicit romance or sensitive pornography.

Eye-tracking technology is increasingly introduced in museums to assess their role in learning and knowledge transfer. However, their use provide limited quantitative and/or qualitative measures such as viewing time and/or gaze trajectory on an isolated object or image (Region of Interest "ROI"). The aim of this work is to evaluate the potential of the mobile eye-tracking to quantify the students’ experience and behaviors through their visit of the "Genocide and mass violence" area of the Caen memorial. In this study, we collected eye-tracking data from 17 students during their visit to the memorial. In addition, all visitors filled out a questionnaire before the visit, and a focus group was conducted before and after the visit. The first results of this study allowed us to analyze the viewing time spent by each visitor in front of 19-selected ROIs, and some of their specific sub-parts. The other important result was the reconstruction of the gaze trajectory thro...

Although gaze and smile mostly harmonize together in facial expressions, more than with the former this paper deals with the latter, as represented by artists from Antiquity to Gothic sculpture, until Renaissance painting and a modern perception. Not seldom such a smile has been attributed to holy subjects. Through them and the like, I have striven to show how it may be referred to the sacred itself, sometimes even when assuming profane or lay forms.

El estudio del discurso narrativo es un espacio fructífero para conocer más a fondo una lengua, reconociéndola como una herramienta lingüística, que -desde edades tempranas- da significado a la experiencia (Bruner, 2012). Así, dentro de las narraciones de experiencia personal en lengua de señas chilena (LSCh) es posible reconocer, la manera en que los signantes articulan elementos propios de la misma. Uno de ellos es la mirada, cuyo uso ha sido documentado consistentemente en diferentes investigaciones (Bahan & Supalla; 1995; Metzer, 1995; Cruz; 2008), aunque, aún no está claro cómo afecta los procesos de análisis. Considerando esto, el objetivo de nuestro trabajo es describir la mirada, en catorce narraciones de experiencias personales, producidas por sujetos Sordos signantes de LSCh, entre 9 y 14 años, con al menos siete años de inmersión en LSCh. En ellas se ha reconocido el tipo de mirada, su función dentro del discurso y su complementación con otros rasgos discursivos característicos de LSCh. Los resultados nos permiten identificar tres tipos de miradas: al interlocutor, de cambio de rol y a las manos; las cuales se complementan con parpadeo, movimiento de cabeza y/o cejas. Dichas miradas permitirían segmentar el signado, permitiendo al receptor identificar secciones de la estructura narrativa. Así mismo, es posible reconocer otros recursos gramaticales como el diálogo construido y la acción construida, los que se articulan con tipos de miradas. De esta forma, creemos que el análisis de las narraciones debe incluir miradas, gestos no manuales y movimientos corporales, ya que estos afectan directamente la construcción de significados. Por otra parte, su conocimiento contribuye a comprender de manera más cabal el funcionamiento de la lengua de señas y a optimizar los procesos de transmisión de esta lengua tanto como una primera lengua fuerte (L1)  y una segunda lengua oral, en su modalidad escrita del español de Chile (L2).

One of the major problems of user’s interaction with Embodied Conversational Agents (ECAs) is to have the conversation last more than few second: after being amused and intrigued by the ECAs, users may find rapidly the restrictions and limitations of the dialog systems, they may perceive the repetition of the ECAs animation, they may find the behaviors of ECAs to be inconsistent and implausible, etc. We believe that some special links, or bonds, have to be established between users and ECAs during interaction. It is our view that showing and/or perceiving interest is the necessary premise to establish a relationship. In this paper we present a model of an ECA able to establish, maintain and end the conversation based on its perception of the level of interest of its interlocutor.

This paper’s objective is to present the importance of gaze within the subjectification process and to discuss whether the recent use of so-called “interactive screens”, such as smartphones and tablets, affects it. I start by presenting the main theoretical concepts which I consider related to gaze in the Freudian theory, such as the free association method, the Nebenmensch and castration. In the same chapter I also present Lacanian concepts which I believe contribute to understanding gaze and its importance, such as the Mirror state, the object petit a and the big Other.
In the second part of this essay, I discuss the difference between “passive” screens and interactive screens, and how these could be currently performing a problematic mirror function. If by fetishizing the interactive screen the individual stops being able of acknowledging otherness, what are the effects for the formation of the subject, the relationship with the other and language itself?
For this work I conducted a bibliographical survey of both Freud’s and Lacan’s main texts. I also used as empirical support psychological and sociological researches that explore the modern relationship we have with screens. The first part of this study presents the theoretical aspect of gaze; the second part discusses the current context in which the gaze has been competing with the interactive screen. The third part concludes.

This article examines certain historical instances of the gyneco- scopic regime that established the rules and codes of perception, knowledge, and over-codification of the female body as a visible genital body, knowable and reducible to the vagina and the uterus. We then go on to examine a group of contemporary works that challenge this order or, at the very least, de-structure the modern, colonial, and androcentric ways of seeing genitalia. The gyneco-scopic regime of modernity is founded in the synecdochal slicing up of the female body (cuts that are visual, anatomical, and aesthetic), its ultra visibility (exploration, territorialization, and optical penetration), and the paradoxical covering up of the many forms of symbolic, historical, and material violence that have made and continue to make this visual order possible in the first place. A series of works, including installations and performances, by artists such as Frida Kahlo, Ana Mendieta, Enrique Chagoya, Regina José Galindo, Vik Muniz, and Candice Lin, among others, make the violence of this gyneco-scopic regime explicit; moreover, in some cases the art blocks or fractures the gaze set upon the genital body, disrupting the relationship of subordination between the observer and the observed, thereby resisting what Michel Foucault calls the power of the eye.

We present a testbed featuring gaze-contingent displays (GCDs), in which we combined multiple models of the human visual system (HVS) to manage the visual level of detail. GCDs respond to the viewer’s gaze in real-time, rendering a space-variant visualization. Our testbed is optimized for testing mathematical models of the human visual perception utilized in GCDs. Specifically, we combined models of contrast sensitivity, color perception and depth of field; and customized our implementation for geographic imagery. In this customization process, similarly to the geographic information systems (GIS), we georeference the input images, add vector layers on demand, and enable stereo viewing. After the implementation, we studied the computational and perceptual benefits of the studied perceptual models in terms of data reduction and user experience in geographic information science (GIScience) domain. Our computational validation experiments and the user study results indicate the HVS-bas...

AUTHORS: Paola UPARELLA & Carlos JAUREGUI. // ABSTRACT: This article examines certain historical instances of the gyne-co-scopic regime that established the rules and codes of perception , knowledge, and over-codification of the female body as a visible genital body, knowable and reducible to the vagina and the uterus. We then go on to examine a group of contemporary works that challenge this order or, at the very least, de-structure the modern, colonial, and androcentric ways of seeing genitalia. The gyneco-scopic regime of modernity is founded in the synecdo-chal slicing up of the female body (cuts that are visual, anatomical, and aesthetic), its ultra visibility (exploration, territorialization, and optical penetration), and the paradoxical covering up of the many forms of symbolic, historical, and material violence that have made and continue to make this visual order possible in the first place. A series of works, including installations and performances, by artists such as Frida Kahlo, Ana Mendieta, Enrique Chagoya, Regina José Galindo, Vik Muniz, and Candice Lin, among others, make the violence of this gyneco-scopic regime explicit; moreover, in some cases the art blocks or fractures the gaze set upon the genital body, disrupting the relationship of subordination between the observer and the observed, thereby resisting what Michel Fou-cault calls the power of the eye. ///// RESUMO: "A vagina e o olho do poder (ensaio sobre a genitalidade e a soberania visual)" //// Este artigo examina, por um lado, algumas instâncias históricas do regime gineco-escópico que estabeleceu regras e os códigos de percepção, conhecimento e sobrecodificação do corpo feminino como corpo genital visível, cognoscível e reduzido à vagina e o útero; e por outro, um grupo de obras contemporâneas que desafiam essa ordem ou, no mesmo sentido, desestruturam a estrutura de olhar do moderno, colonial e androcentrista sobre os genitais. O dito regime gineco-escópico da modernidade funda-se no trociscar sinedóquico do corpo feminino (cortes visuais, anatômico e estéticos), e a paradoxal ocultação das múltiplas formas de violência simbólica, histórica e material que fizeram e fazem possível essa ordem do ver. Uma série de obras, instalações e performances de artistas plásticos como Frida Kahlo, Ana Mendieta, Enrique Chagoya, Regina José Galindo, Vik Muniz e Candice Lin, entre outros, explicitam a violência do regime gineco--escópico, mas também, em alguns casos, obstruem ou fraturam a visão do corpo genital, perturbam as relações subordinativas entre observador e observado, e resistem, enfim, à soberania do olho. You can read the complete version of this essay at: HTML: https://revistas.uniandes.edu.co/doi/full/10.25025/hart03.2018.04 PDF: https://revistas.uniandes.edu.co/doi/pdf/10.25025/hart03.2018.04

Abstract Students with emotional and behavioral disorders (EBD) can be successfully placed in general education classrooms with evidence-based practices such as positive behavior interventions and supports and self-management practices. Still, less than half of all students with EBD are placed in the general education classroom for 80% of the school day. Teachers’ general support for the inclusion of students with disabilities is mediated by their beliefs about disability and their sense of preparation for teaching in inclusive settings. Teachers may support less restrictive settings for students with EBD if these teachers view disability through the tenets of disability studies in education. A framework for infusing these tenets into teacher preparation programs is proposed to help increase the practice of inclusive education for students with EBD.

One of the major problems of user's interaction with Embodied Conversational Agents (ECAs) is to have the conversation last more than few second: after being amused and intrigued by the ECAs, users may find rapidly the restrictions and limitations of the dialog systems, they may perceive the repetition of the ECAs animation, they may find the behaviors of ECAs to be inconsistent and implausible, etc. We believe that some special links, or bonds, have to be established between users and ECAs during interaction. It is ...

Este escrito es un testimonio de lectura, un regreso al Fakir, un homenaje a César Dávila Andrade en la celebración del centenario de su nacimiento. La autora vuelve a leer algu-nos de sus cuentos y escritos de prosa no ficcional, cartas suyas, novelas y semblanzas que algunos de sus contemporáneos escribieron sobre él o lo convirtieron, años más tarde otros, en personaje de novelas. Lo que me interesa es comprender cómo miró, sé miró y fue mirado, porque sobre la mirada del escritor quiero reflexionar.

Abstract: This conversation aims at offering a transdisciplinary gaze on the phenomenon of wireless community networks: an emerging typology of local wireless infrastructures, which is built by activists as political and technological statement to face the hierarchical governance of the Internet and the issues of surveillance and control over digital networks. By a transdicliplinary gaze – emerging from the dialogue between science and technology studies (STS), legal studies, and computer science – this conversation focuses on the multi-modal ways and perspectives that can be adopted to study CNs; it also offers a reflection on challenges and opportunities arising from trasndisciplinary scientific work. In the field of STS, a growing body of literature has addressed CNs as an emblematic case study to analyse the engagement of activists and lay people in the emergence of socio-technical infrastructures and technologies. From a computer science perspective, community networks represen...

Although contagious yawning occurs commonly in adulthood, previous studies reported it to be uncommon in children below 4-5 years. However, these studies did not regulate eye contact, a factor that can induce contagious yawning. We therefore investigated whether a cue to make eye contact would influence contagious yawning,particularly in young children. Fifty-six children between the ages of 3 and 16 watched video clips of models either yawning or opening their mouths. Contagious yawning was observed from the age of 3 years, and was negatively correlated with age. Whereas children older than 8 years caught yawns only after the yawning clips, children under the age of 8 years yawned contagiously following both yawn and control clips. Additionally, frequent imitation occurred in children below the age of 8 years. Poor general attention skills or reduced attention to specific facial features (e.g. the eyes) may be responsible for the reduced yawn contagion previously described in young children.

The ability to interpret and follow the gaze of our social partners is an integral skill in human communication. Recent research has demonstrated that gaze following behaviour is influenced by theory of mind (ToM) processes. However, it has yet to be determined whether the modulation of gaze cueing by ToM is affected by individual differences, such as autistic traits. The aim of this experiment was to establish whether autistic traits in neurotypical populations affect the mediation of gaze cueing by ToM processes. This study used a gaze cueing paradigm within a change detection task. Participants’ perception of a gaze cue was manipulated such that they only believed the cue to be able to ‘see’ in one condition. The results revealed that participants in the Low Autistic Traits group were significantly influenced by the mental state of the gaze cue and were more accurate on valid trials when they believed the cue could ‘see’. By contrast, participants in the High Autistic Traits grou...