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Portraiture is one of the most common practices of photography around the world. Different cultures have developed distinctive types of portraits, from the post-mortem photographs of the Victorian era to the funerary portraiture o...
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Portraiture is one of the most common practices of photography around the world. Different cultures have developed distinctive types of portraits, from the post-mortem photographs of the Victorian era to the funerary portraiture of East Asia. Korea's unique set of photographic portrait types revolves around the stages of life: a portrait on the hundredth day after birth and the first birthday, family portraits on the sixtieth, seventieth and eightieth birthdays; and a portrait for use at the subject's funeral. These constitute photographs as rites of passage, commemorating the importance of certain stages in life, and such commemorative portraiture has come to comprise an integral part of modern traditions in Korea. The development of photographic portraiture as a modern ritual is closely related to intellectual movements led by Korean elites under colonial rule (1910-45); it was nevertheless under the military regime (1961-92) that family and baby photographic portraiture in South Korea truly began to reflect familial desires entangled with those of the state. During the country's 'compressed modernisation', a term used to describe the rapid, lopsided industrialisation characterising the military regime, the public began to appreciate specialised photographic practices that highlighted 'modern' family structure and values. This article argues that family and baby studio portraits, as 'rite of passage' practices, not only reflect the changing demographics of the population - the shift from extended families in rural areas to nuclear families in urban centres - but also promote a family model suited to the modernisation scheme of the military government.
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It has been said that a picture says a thousand words, that art should speak for itself. Within the social sciences, there is recognition that images are not merely illustrations, but “texts” that can be read, studied and interp...
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It has been said that a picture says a thousand words, that art should speak for itself. Within the social sciences, there is recognition that images are not merely illustrations, but “texts” that can be read, studied and interpreted in different ways: they are visual narratives. When we look at a work of art, we respond with our own thoughts, feelings and ideas about what it communicates. When we look at a portrait specifically, we are not just looking at a picture of an individual, we are looking at a picture of someone being looked at. It is a visual record of an interaction, as much as a likeness of the person. The artist-sitter relationship has much in common with the doctor patient relationship involving trust, attention, and an openness to ambiguity and creativity. As clinicians that are tired and feeling overwhelmed, we may objectify patients. Engaging with art can help hone our skills to consistently see the whole person. It provides freedom to sit with ambiguity and maintain curiosity and can help us become more flexible in our thinking, to hold multiple possibilities in mind at the same time. Viewing art in a group provides opportunities to understand and appreciate others’ perspectives. Drawing on multiple portraiture projects related to pediatric epilepsy, youth mental health and dementia, this presentation will provide constructive ways in which portraiture can be used to foster humanistic, patient centred care, and to understand the power of distributed cognition.
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Configural information has long been considered important for face recognition. However, traditional portraiture instruction encourages the artist to use a 'generic' configuration for faces rather than attempting to replicate prec...
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Configural information has long been considered important for face recognition. However, traditional portraiture instruction encourages the artist to use a 'generic' configuration for faces rather than attempting to replicate precise feature positions. We examine this intriguing paradox with two tasks designed to test the extent to which configural information is incorporated into face representations. In Experiment 1, we use a simplified face production task to examine how accurately feature configuration can be incorporated in the generated likenesses. In Experiment 2, we ask if the 'portraits' created in Experiment 1 are discriminable from veridical images. The production and recognition results from these experiments show a consistent pattern Subjects are quite poor at arranging facial features (eyes, nose and mouth) in their correct locations, and at distinguishing erroneous configurations from correct ones. This seeming insensitivity to configural relations is consistent with artists' practice of creating portraits based on a generic geometric template. Interestingly, the frame of reference artists implicitly use for this generic template - the external face contour - emerges as a significant modulator of performance in our experimental results. Production errors are reduced and recognition performance is enhanced in the presence of outer contours. We discuss the implications of these results for face recognition models, as well as some possible perceptual reasons why portraits are so difficult to create.
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Background and Context: Women are underrepresented in the field of computer science, a trend that in part can be traced to girls' early experiences with the discipline. Objective: Our aim is to show how three girls who became stro...
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Background and Context: Women are underrepresented in the field of computer science, a trend that in part can be traced to girls' early experiences with the discipline. Objective: Our aim is to show how three girls who became strong coders talked about their debugging practice at the intersection of problem solving, emotion, and identity. Method: We use the portraiture methodology to trace the goodness of a designed programming workshop environment. We aim to show the trajectories of three strong coders over the course of two years of participation in weekend and summer workshops. Findings: We found that creative reflection spaces through journal-ing, art making, and storytelling opened possibilities for the learners to observe, understand, and critically examine the integration between problem solving, emotion, and identity in their programming experience. Implications: Findings have implications for designing inclusive programming learning environments that invite collective reflection on the moment-to-moment experience of learning to code.
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The paper introduces the exhibition, The Real Faces of the Royal Borough. This touring exhibition combines digital portraiture by artist Nevada Lynn and research on gentrification and displacement by urban geographer Sharda Rozena...
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The paper introduces the exhibition, The Real Faces of the Royal Borough. This touring exhibition combines digital portraiture by artist Nevada Lynn and research on gentrification and displacement by urban geographer Sharda Rozena. By focusing on the individual lives and experiences of twelve residents from Kensington and Chelsea, we highlight the everyday impact of gentrification in this London borough, including displacement, transient community, high costs of living and unaffordable rents. The portraits help us to humanise the housing crisis and increase people's awareness of the injustices that arise from the ongoing gentrification of the Royal Borough.
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As iPads take their place in mainstream pedagogy, many educators struggle to envision how the technology might be utilized effectively in classrooms. Research reports various potentials and benefits of iPad-based teaching and lear...
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As iPads take their place in mainstream pedagogy, many educators struggle to envision how the technology might be utilized effectively in classrooms. Research reports various potentials and benefits of iPad-based teaching and learning, but does not often describe how those benefits might be realized. This article reports on a qualitative research project that observed iPad-based teaching and learning in six middle-grades classrooms across two public school districts during one academic school year. The research goals were to examine the phenomenon naturalistically, describe its best features, and share the teachers' and students' perspectives about it. Five key themes that emerged from the data are illustrated here in a richly detailed portrait that enables readers to envision and understand how iPad-based teaching and learning takes place in classrooms, and how participants perceive the phenomenon. A closing discussion addresses implications for administrators, teachers, teacher educators, and researchers.
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Purpose - The purpose of this paper is to describe the development of an innovative arts-based analysis process within the framework of portraiture methodology. The paper provides an example of how to incorporate multi-modal forms...
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Purpose - The purpose of this paper is to describe the development of an innovative arts-based analysis process within the framework of portraiture methodology. The paper provides an example of how to incorporate multi-modal forms of analysis within the portraiture framework and offers a fluid, qualitative "recipe" for researchers interested in using portraiture methodology. Design/methodology/approach - The study described in this paper explores vulnerability and resilience in teaching, using poetry and visual art as integrated elements of the portraiture process. Portraiture is a qualitative, feminist, artistic methodology that draws from ethnography and phenomenology to describe, understand and interpret complex human experiences. Findings - This research resulted in the methodological development of three stages of analysis within the portraiture process: drafting vignettes, poetic expression and artistic expression. These stages of data analysis highlight the methodological richness of portraiture and center the researcher's engagement in creative, intuitive and associative processes. Research limitations/implications - This study contributes to existing scholarship that extends portraiture methodology by including additional aesthetic elements and offers a roadmap for what a multi-modal, arts-based analysis process might look like within the portraiture framework. Originality/value - The study presented in this paper serves as an example of qualitative research that expands methodological boundaries and centers the role of intuition, association and creativity in research. This work serves as a unique and important contribution to the portraiture literature, offering a provocative roadmap for researchers who are drawn to portraiture as an appropriate methodology to explore their inquiry.
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This creative nonfiction essay uses portraiture, a method developed by Sara Lawrence-Lightfoot, to examine the ways in which Grub Street, a creative writing organization for adults in Boston, USA, acts a support for adults' learni...
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This creative nonfiction essay uses portraiture, a method developed by Sara Lawrence-Lightfoot, to examine the ways in which Grub Street, a creative writing organization for adults in Boston, USA, acts a support for adults' learning, growth, and development. In addition, this essay situates the organization within a broader context of nonprofit organizations designed to give voice and empowerment through writing especially to those who are traditionally underserved. Through the identification of themes such as finding a "through-line" or narrative to one's own writing, and by extension to one's own life, this work suggests that the same organization can have at times quite different meanings for its participants, but nonetheless unites them in the desire to integrate life and thought into creating one's best work.
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Portraiture is a method that analyzes facets of a theme through in-depth narratives. This brief essay examines the challenges the author encountered when employing this method. Specifically, these challenges include (1) introducin...
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Portraiture is a method that analyzes facets of a theme through in-depth narratives. This brief essay examines the challenges the author encountered when employing this method. Specifically, these challenges include (1) introducing a method new to the communication discipline, (2) creating the portraits, and (3) finding a readership. Despite these challenges, portraiture offers valuable insight for communication research.
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