Editor’s Notebook: Ten Years of The Goose

Editorial introduction to The Goose Volume 14, Issue 2 (2015): Tenth Anniversary Issue

“Eyes are eyes & can’t be neglected”: A New Insight into Frances Hodgkins?

An aspect of the Anglo-New Zealand artist Frances Hodgkins (1869­­–1947) which has been largely overlooked by art historians is the challenges that she faced with her eyesight, particularly from the 1930s onwards. These are documented here, using her letters to family and friends. The article then applies findings in the pioneering studies of art and ophthalmology by Patrick Trevor-Roper and John S. Werner to a selection of Hodgkins’ paintings of the period. Links are made between her use of colour ­– which earlier writers have described as lyrical and “rapturous” – and the strong probability that she was suffering from cataracts.    

Research-Based Studio Art as a Strategy to Support Inter-Disciplinary Learning

Abstract This studio-based thesis study discusses historical research as a motivation for art creation. Incorporating historical research on the naturalist and explorer William Bartram this paper explores the ways history may serve as inspiration for art-production. This paper also examines how making art may act as a form of research. Additionally, it explores how this strategy may be implemented in the classroom, with the intention of leading to greater engagement and understanding by students within their research area as well as their artistry

Boucles de perception-action et interaction face-à-face

International audienceCet article explore un champ de recherches en plein essor : la communication face-à-face. Les performances et la robustesse des composants technologiques nécessaires à la mise en oeuvre de systèmes d'interaction face-à-face entre l'homme et un agent conversationnel - technologies vocales, vision par ordinateur, synthèse d'images, compréhension et génération de dialogues, etc. - sont maintenant matures. Nous esquissons ici un programme de recherche centré sur la modélisation des diverses boucles de perception-action impliquées dans la gestion de l'interaction et sur le paramétrage dynamique de ces boucles par les divers niveaux de compréhension de la scène dans laquelle humains, robots et agents conversationnels animés seront inévitablement plongés

Sun, Sex, and Style in Smart Cinema: Tilda Swinton in A Bigger Splash (Luca Guadagnino, 2015)

This article will examine the ways in which costuming plays a pivotal and disruptive role in A Bigger Splash. Through Tilda Swinton’s virtually mute performance as recovering rock star Marianne Lane, the intersections between clothing, the body, and performance construct a visual language dominated by desire, touch, conflict, turmoil, and disguise. With costumes designed by Raf Simons at Dior, in collaboration with Giulia Piersanti, an aesthetic of stylish resort wear is showcased to a niche audience. Although A Bigger Splash attempts to position itself as a European version of the American “smart film,” I will argue that it is a “Euro-pudding”: a well-intentioned European coproduction with transnational scope, that aspires to art film status, but is devoid of broader social or political resonance. Through the casting of Swinton, ambivalence is commodified and used to promote luxury designer fashion to an aspirational audience rich in cultural capital, that wishes to distance itself from mainstream celebrity culture and Hollywood blockbusters

Specularity in Late Nineteenth-Century French Literature and Art

In the mid-to-late 1800s, French writers and artists resolved to shed their Romantic skins in favor of new self-conscious husks --to borrow Baudelaire\u27s poetic term--that is to say: Naturalism, Realism, Impressionism and Symbolism. Some of the older reformers found themselves in an awkward, transitional stage contrary to the younger vanguardists who bore no allegiance to the past. The first group included Baudelaire, Flaubert, Courbet, Manet, Degas and Pissarro while the latter listed among its most successful members: Zola, Mallarmé, Huysmans, Morisot, Monet, Renoir and Cézanne. This thesis argues that specularity--a sort of mirror mimesis--was part of the fertile, artistic exchange between these representative writers and artists who shaped nineteenth century French literature and plastic arts during a period of turbulent social and political change. It is important not to conventionalize specular-mimesis into an automatic looking glass response between literature and art. Its primary function in this thesis is to single out, investigate and inter-relate literary and artistic chefs-d\u27oeuvre which, at times, bear remarkably similar hallmarks, for one reason or another. Given that cultivated conversation was highly esteemed by the Parisian bourgeoisie and held to be an elegant art form by salon and soirée intellectuals, four Dialogues constitute the internal structure of this paper. Each Dialogue is preceded by its own Cadre which serves to introduce and familiarize the reader, using a mise-en-scene framework, with background information that supports the discourse