Art in the Trenches: Unofficial Art of the First World War

Abstract: Scholarship in recent decades focusing on soldier experiences of the First World War have largely ignored soldier-produced artworks as access points into the experience of modern warfare. Though there has been work on official war artists and post-war artworks of soldiers turned artists, artwork produced during service in a non-official capacity has only featured in art history, where the artwork and artists feature as subjects, rather than as sources for understanding their experiences that contextualize their work. This paper makes a historiographical case for exploring this source-base, while also analyzing several selected works from unofficial First World War artists

Digitalisation of Heritage Conservation Documents of Rumah Uda Manap

Pure's aspiration to preserve traditional Malay legacy deserves respect. However, heritage preservation and conservation are complex and costly. Reconstructing buildings through digitalization to document the heritage conservation virtually would be the solution to save costs and time. The study was conducted on Rumah Uda Manap (RUM) in Kuang, Selangor. This research aim to digitalize the documents of RUM as part of conservation effort of traditional houses. The onsite observation and virtual measurement is applied as the data collection method. This study has demonstrated that digital measured drawing has opportunities that can be explored as part of the future conservation effort. Keywords: Cultural Heritage; Traditional Malay House; Digital Drawing; Conservation eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under the responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians), and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7i21.375

Spartan Daily, February 18, 1944

Volume 32, Issue 83https://scholarworks.sjsu.edu/spartandaily/10888/thumbnail.jp

Spartan Daily, February 18, 1944

Volume 32, Issue 83https://scholarworks.sjsu.edu/spartandaily/10888/thumbnail.jp

Spartan Daily, February 18, 1944

Volume 32, Issue 83https://scholarworks.sjsu.edu/spartandaily/10888/thumbnail.jp

Squeezing, bleaching, and the victims’ fate: wounds, geography, poetry, micrology

This article opens a dialogue between geohumanities and poetry—or, more broadly, creative writing—around the subject matters of violence and wounding. It considers what kinds of “poetry” might be usefully enrolled by the geoliterary critic, or even authored by the geographer-poet, in response to such subject matters. Difficult questions abound about what it means to author, hear, and read poetry that is engaged and enraged by instances of violence, trauma, and victimhood. One horizon for these questions is Adorno’s ([1966] 1973) claim that “there can be no more poetry after Auschwitz,” and more particularly his elaboration and partial retreat from this claim in Negative Dialectics. Here, wary of attempts “at squeezing any kind of sense, however bleached, out of the victims’ fate” (Adorno [1966] 1973, 361), he nonetheless concluded that “perennial suffering has as much right to expression as a tortured man to scream; hence it may be wrong to say that after Auschwitz you can no longer write poems” (363). This article explores Adorno’s position, chiefly pursuing his arguments about the need for poetry—and indeed philosophy—that strives not for “purity” but precisely to be “soiled” and “spoiled,” never comforting, always disconcerting, never idealistically “transcendent,” always materialistically “micrological.” Including reference to a short story by Borges and critique of poetry by the geographer Wreford Watson, the argument is further advanced by attending to Adorno’s claims about another poet, Heine, sometimes regarded as a particularly “geographical” poet. The article concludes with final notes on possible implications for recasting work on wounded geographies as a species of applied micrology

Images Big and Soft: The Digital Archive Rendered Cinematic

 In his recent immersive media art project titled Machine Hallucinations, artist Refik Anadol collected over 100 million images of New York City from social media and, using machine learning, created a 30-minute immersive experimental cinema experience that visualized the database. On his website, Anadol explains that computation allows “a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques.” With this project, Anadol demonstrates a tendency shared by a group of contemporary media artists who work at the intersection of cinema and the digital archive and who use machine learning and generative adversarial networks to render specific somatic experiences in relation to thousands of images. This essay discusses this shared focus by examining projects by three artists who use computational processes to assemble, manipulate, and then exhibit an archive of images as a part of their practice and output, translating the archival into the cinematic. The projects are significant in their evocation of what has been named by Ingrid Hoelzl the “soft-image” or “post-image,” shifting from the single image as a solid, stable representation within a collection of similarly single images, to that of the distributed, in-process experiential image. Further, each example approaches the creation of the collection with varied intentions; and each presents the material in disparate modalities that, while deeply connected to the cinematic, produce very different sensory experiences. Together, the examples offer a perspective on the archive in our current moment’s transition from representation to computation

Exhuming Ophelia: A Feminist, Costume Design Exploration

Ophelia is a character that has captivated and moved audiences since her first appearance onstage in William Shakespeare’s Hamlet, Prince of Denmark around the year 1600. Unfortunately, she represents a negative and slim representation of femininity that reflects a long-standing trend that has established a specific and limited iconic understanding of her character. As a feminist theatre maker I have undertaken a multi-phase approach to reconstructing Ophelia based on four separate approaches. First, I will examine how it is that Ophelia’s representation is harmful in Shakespeare’s Hamlet. Second I will show how feminist readers and critics have approached the Hamlet Ophelia through a new lens. Third I will analyze how five different adaptations of Hamlet approach redefining Ophelia in relation to the original and feminist Ophelias. And finally, I will implement my own creative process as a feminist costume designer in order to create a costume design for each of the separate plays’ Ophelia that supports feminist readings as well as the playwrights’ intentions. It is vital to subvert the iconic Ophelia because of the power Shakespeare has over theatre and literature, and how that power has the ability to do real harm. In recreating Ophelia as a feminist I can address and remedy the harm that has been done to her and to women exposed to the limited representations of Ophelia. The case studies culminate with rough sketches, including an appendix of final renderings