Conceptualizing Images of Supervisors in Teacher Education

Due to the marginalization of supervision (Butler, et al., 2023; Nolan, 2022) and few frameworks to conceptualize supervision in teacher preparation, educational supervision of clinical experiences receives less attention and fewer resources, which perpetuates its marginalization. It is imperative that scholars develop additional theoretical models or constructs to improve the understanding and practice of supervision to elevate its status beyond technical helping. In this paper, we draw upon several sources in the instructional supervision literature to re-conceptualize commonly used images of supervisors in teacher education. In addition to traditional conceptions (The Critic, the Popular Parent, the Co-Inquirer), we ‘introduce’ two new images, The Advocate and The Contemplative, to reflect changes and movements in education. These images can serve as one theoretical model or construct to improve understanding and practice of supervision to elevate its status

Photographic Ecologies

In his body of photographs, Samalada (2008), the Chinese artist Adou uses extremely expired film; the resulting artifacts—marks of the animal, vegetable, and mineral matter composing film surfaces—are as visible a part of the photographs as their depictions of relations among humans, animals, plants, cultural artifacts, earth and sky in southwestern China. Adou and other photographers in China, Japan, and the West working in a time of environmental crisis understand film itself in ecological terms. The very materiality and forms of photographic images are emergent from and interact with larger ecosystems of matter, bodies, spaces, surfaces, markings, liquids, pollution, light, and the atmosphere, thereby allowing the human to be seen as one among many contingent agents within ecological processes. Photography thus becomes a crucial site for staging and rethinking fundamental questions of the relations between culture and nature—and for learning to picture the Anthropocene

’Looking Through a Soda Straw’: Mediated Vision in Remote Warfare

Image-guided military operations embed soldiers into a complex system of image production, transmission, and perception. These soldiers separate their bodies from the battlefield, but they also mediate between them. In particular, remote controlled operations of so-called unmanned aerial systems (UAS) require the synchronization between human actors and technical sensors in real-time, such as the knowledge of a situation. This situational awareness relies almost exclusively on the visualization of sensory data. This human-machine entanglement corresponds to a new operative modality of images which differs from previous forms of real-time imaging such as live broadcasting, as it is based on a feedback-loop that turns the observer into an actor. Images are not simply analyzed and interpreted but become agents in a socio- technological assemblage. The paper will draw upon this functional shift of images from a medium of visualization towards a medium that guides operative processes. Based on the analysis of vision, architecture, and navigation in remote warfare, it will discuss how real-time video technology and the mobilization of sensor and transmission technology produce a type of intervention, in which action and perception is increasingly organized and determined by machines.

George Floyd in Papua: Image-Events and the Art of Resonance

This article offers an introduction to the “image-event” as both concept and method through a focus on the circulation of images around the killing of George Floyd. It examines how these images reverberated and resonated in West Papua, a restive region of Indonesia that has been the site of a long-standing separatist movement. It critically examines a celebratory media discourse that sees the US-based Black Lives Matter movement as expanding outward to spark similar movements elsewhere, a logic that reiterates long-standing colonialist narratives that figure places like Papua as backwaters belatedly receiving and imitatively taking up ideas that flow from the metropole outward. Questioning such assumptions, the article suggests that attention to image-events and the art of resonance can better reveal the ways that long-standing global asymmetries affect the flow of images and the course of political action

Skin Portraiture: Embodied Representations in Contemporary Art

In recent years, human skin has been explored as a medium, metaphor, and milieu. Images of and objects made from skin flesh out the critical role it plays in experiences of embodiment such as reflexivity, empathy, and relationality, expanding conceptions of difference. This project problematizes the correlation between the appearance of the epidermis and a person’s identity. By depicting the subject as magnified, fragmented, anatomized patches of skin, “skin portraiture”—a sub-genre of portraiture I have coined—questions what a portrait is and what it can achieve in contemporary art. By circumnavigating and obfuscating the subject’s face, skin portraiture perforates the boundaries and collapses the distance between bodies. Feminist, this project pays attention to skin portraits made by women. To better understand skin, each chapter is focused on a particular skin metaphor. In the preface, a consideration of skin and its representation leads into an investigation of the skin-as-self metaphor in the introduction (chapter one). Framing the skin as an organ we dwell in, the skin-as-home metaphor (chapter two) explores touch and its role in experiences of empathy. Turning to the idea that skin is a garment, the skin-as-clothing metaphor (chapter three) fleshes out relationality and a queering of skin. Tackling race and skin colour, the skin-as-screen metaphor (chapter four) investigates the embodied experiences of mixed-raced, multicultural women. Addressing a loss of difference at the level of skin within bioengineering, the skin-as-technology metaphor (chapter five) considers the collapse of differences between bodies and species within bio-art

Micro social movements in India and South Africa: of twin imaginations and layered discursivities

Abstract: PhD Thesis Bobby Luthra Sinha I undertook this research with the motive of studying two lesser known but organic, small-scale protest movements in specific parts of India and South Africa. In India, I observed an anti-poaching movement articulated by an organization called the ‘Bishnoi Tiger Force’ in western Rajasthan since the late 1990s. In South Africa, I covered an anti-substance abuse movement lead by the ‘Anti-Drug Forum’ since the early years of the twenty first century. The central questions, which inspired me to embark upon my research, are as follows: ‘’How do micro, contextual issues (such as, poaching and substance abuse) inspire collective action forms? I hypothesize that not all issues have the potential to acquire motivated coverage or attention in mainstream public spheres. Therefore, which publics do ‘organic’ (i.e. risen and enmeshed in local contexts) social movements cater to and how? Can these movements politicize multiple social spaces around them to project their cause/s effectively? If yes, then how? Last but not the least, what role does imagination play in the origin and evolution of such grassroots collective action and how? Through this research, I propose that micro –social contexts and spaces, where aggrieved groups of people converge their imaginations and build dialogic relations, can become springboards of philanthropic and competitive collective social action. Waged for public good, such forms of micro-social movements may not acquire much visibility in the macro public spheres of their countries. Nonetheless, I bring ethnographic evidence to document how these movements fulfil a local relevance in alternative public spheres where their issue-based mobilizations unfold and thrive

In Ixtli In Yollotl/A (Wise) Face A (Wise) Heart: Reclaiming Embodied Rhetorical Traditions of Anahuac and Tawantinsuyu

Theories of writing are one of the fundamental ways by which Indigenous peoples have been labeled as "uncivilized." In these discussions, writing becomes synonymous with history, literacy, and often times Truth. As such, scholars studying Nahua codices and Andean khipu sometimes juxtapose the two because together they present a break in an evolutionary theory of writing systems that links alphabetic script with the construction of "complex civilizations." Contemporary scholars tend to offer an "inclusive" approach to the study of Latin American histories through challenging exclusive definitions of writing. These definitions are always informed and limited by language-the extent to which these "writing" systems represent language. However, recentering discussions of writing and language on what Gregory Cajete has called Native Science shifts the discussion to matters of ecology in a way that intersects with current scholarship in bicocultural diversity studies regarding the link between language, culture, and biodiversity. Because of the ways in which language configures rhetoric and writing studies, a shift in understanding how language emerges bears great impact on how we understand not only the histories tied to codices and khipu but also how they function as epistemologies. In my dissertation, I build a model of relationality using Indigenous and decolonial methodologies alongside the Nahua concept of in ixtli in yollotl (a wise face/a wise heart) and embodied rhetorics. The model I construct here offers a path for understanding "traditional" knowledges as fluid and mobile. I specifically look at the relationship between land, bodies, language, and Native Science functions on the reciprocal relationship between those three components in making meaning. I then extend this argument to show how the complex web of relations that we might call biocultural diversity produces and is produced by "things" like images from codices and khipu that in turn help to (re)produce biocultural diversity. Thing theory, in emerging material culture studies, argues for the agency of cultural artifacts in the making of various realities. These "things" always-already bear a relationship to bodies and "nature." Thing theory, then, can challenge us to see artifacts like khipu and Nahua images as language artifacts and help us connect Nahua images and khipu to language outside of a text-based model. Ultimately, I argue that Native Science asks us to see language as a practice connected to biocultural diversity

Anticipatory Realism: Constructions of Futures and Regimes of Prediction in Contemporary Post-cinematic Art

This thesis examines strategies of anticipation in contemporary post-cinematic art. In the Introduction and the first chapter, I make the case for anticipation as a cultural technique for the construction of and adjustment to future scenarios. This framing allows analysis of constructions of futures as culturally and media-historically specific operations. Via anticipation, constructions of futures become addressable as embedded in specific performative and material economies: as regimes of prediction. The hypothesis is that cultural techniques of anticipation do not only serve to construct particular future scenarios, but also futurity, the very condition for the construction of futures. Drawing upon the philosophical works of, in particular, Vilem Flusser, Jacques Derrida and Elena Esposito, and the theory of cultural techniques, I conceptualize anticipation through the analysis of post-cinematic strategies. I argue that post-cinematic art is particularly apt for the conceptualization of anticipation. The self-reflexive multi-media interventions of post-cinematic art can expose the realisms that govern regimes of prediction. Three cultural techniques of anticipation and their use as artistic strategies in post-cinematic art are theorized: enactment, soft montage and rendering. Each of these techniques is examined in its construction of futures through performative and material operations in art gallery spaces. The second chapter examines strategies of enactment in post-cinematic installations by Neïl Beloufa. My readings of Kempinski (2007), The Analyst, the Researcher, the Screenwriter, the CGI tech and the Lawyer (2011), World Domination (2012) and Data for Desire (2014) propose that enactment allows for an engagement with futures beyond extrapolation. With Karen Barad’s theory of agential realism, the construction of futures becomes graspable as a political process in opposition to a mere prolonging of the present into the future. The third chapter focuses on the strategy of soft montage in works by Harun Farocki. I interpret Farocki’s application of soft montage in the exhibition Serious Games I-IV (2009-2010) as a critical engagement with anticipatory forms of organizing power and distributing precarity. His work series Parallel I-IV (2012-2014) is then analyzed as a speculation on the future of image production technologies and their role in constructing futures. The final chapter analyses the self-referential use of computer-generated renderings in works by Hito Steyerl. The installations How Not To Be Seen (2013), Liquidity Inc. (2014), The Tower (2015) and ExtraSpaceCraft (2016) are read as interventions in the performative economies of contemporary image production. I argue that these works allow us to grasp the reality-producing and futurity-producing effects of rendering as anticipatory cultural technique. My thesis aims to contribute to the discussions on a ‘turn towards the future’ in contemporary philosophy and cultural criticism. My research thus focuses on the following set of questions. What can we learn about the operations of future construction through encounters with post-cinematic art? How are futures and future construction framed in such art? What realisms do future constructions rely on? And how can anticipation as a cultural technique be politicized and democratized?Gates Cambridge Scholarship AHRC Doctoral Stipend King's College Cambridg