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Rough essay plan

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Official Photography Essay + Bibliography

Fig. 1 Beard of American Solicitor General Robert Bork (1972-1977)​

Fig.1 conveys the photograph of Robert Bork's beard that was shown to a participant group of cats (Norquist, 1988) to see how cats would react to it in a series of experiements (Maloney, C. et al, 1991-1998, Norquist, 1988). As seen, Fig.1 shows Bork's beard is mostly on the underside of this jaw (Maloney, C. et al, 1991-1998) which is quite unique shape of a beard, and scientists wanted to see how felines reacted to it. The results were surprising and disturbing at the same time: 26% of cats developed paralysis, mostly in the legs, neck or the body after being exposed to the photograph. An additional 31% of felines developed severe neurological and pulmo-cardial distress (Maloney, C. et al, 1991-1998, Norquist, 1988). Not only this, some of the cats within this 31% developed extremely violently behaviour either separately or on top of the distress (Maloney, C. et al, 1991-1998, Norquist, 1988). These results were incredibly interesting to scientists with how felines reacted to a photograph of a beard. During the 1990's Maloney et al conducted a similar experiment, excluding Fig.1 due to the distress it caused to felines.​

Fig. 2 Feline shown photograph of a bearded man (Maloney, C. et al, 1991-1998)​

Fig.2 is taken from the Maloney's experiment during the 1990's where a sample size of 214 female cats were shown 5 photographs of men with varying beards (Maloney, C. et al, 1991-1998). These beards ranged from different lengths, colours and how sparse they were. Each cat was exposed to each of the 5 photos for 20 seconds in the same order, and scientists recorded their reactions. The scientists focused on the feline's pulse rate, fur shed rate, qualitative behaviour, eye dilation and respiration (Maloney, C. et al, 1991-1998). The conclusion of the experiment denoted how cats did not like photographs of men with long beards, specifically dark ones. Furthermore, the cats showed confusion and/or being disturbed by photographs of men with incomplete or missing sections of a beard. They were indifferent with short beards of any colour (Maloney, C. et al, 1991-1998.​

Interestingly, during this experiment, the cats were held be a lab assistant which was anesthetised prior to each session so they did not influence the cats by unconscious cues or stroking (Maloney, C. et al, 1991-1998).​

Fig. 3 Dog being shown photograph of their owner (Eatherington, C.J. et al, 2020)​

The use of analysing animal behaviours using photograph is arguably one of the most common and ethical ways to conduct experiments on animals. Fig. 3 denotes an experiment conducted in Helsinki University, Finland (Eatherington, C.J. et al, 2020). This experiment was to see if dogs were able to recognise their owners and familiar dogs in photographs (Eatherington, C.J. et al, 2020). Using eye movement tracking technology, the dogs showed they preferred to look at photographs of other dogs the most, but also showed how they preferred to looks at photographs of their owners compared to photographs of strangers (Eatherington, C.J. et al, 2020). The eye tracking highlighted that dogs fixed their gaze on photographs of their owners more. This told the scientists that the dogs were able to perceive their owner's faces in photographs and conveyed a sense of facial recognition like humans and most primates (Eatherington, C.J. et al, 2020). Even when the photographs were inverted (upside-down for example) the dogs still fixed their gaze on their owners, but not as long as when the photographs were the right way up (Eatherington, C.J. et al, 2020). This experiment depicted how dogs possess the ability to recognise facial features they see in realise in photographs (Eatherington, C.J. et al, 2020).​

Fig. 4 A BlueStreak Cleaner Wrasse fish during the 'mirror test' (Kohda, M. et al, 2014)​

Psychology experiments using photographs to see if animals have facial recognition was used again in Osaka Metropolitan University using 10 BlueStreak cleaner wrasse fish as the sample population (Kohda, M. et al, 2014). The fish had to go through a different experiment known as the 'mirror test' as shown in Fig.4. If they passed the mirror test, then they were legible to be included in the 'photography test' (Kohda, M. et al, 2014). During the mirror test, scientists would put a mark on the fish's head and see if the fish would notice it in the mirror. More aware fish showed signs of acknowledgement of a mark on their body that was not supposed to be there and tried to rub it off with their fins (Kohda, M. et al, 2014). These fish were also able to distinguish their faces in photographs of fish of the same species which conveyed how they identify themselves a similar fashion to humans through forming a mental image of oneself (Kohda, M. et al, 2014). In addition to this, the fish acted in a more aggressive fashion to photographs of fish that they did not recognise as themselves. This surprised the scientists as they have a similar intelligence in regards of facial recognition as humans, primates and dogs despite being considerably smaller than them (Kohda, M. et al, 2014).​

Fig. 5 Shows alpha male being groomed by the alpha female, her daughter and her grandsons​

Photography within animal psychology experiments have been used in assessing social cognition and behaviour (Morton, F.B. et al. 2016). In this experiment from 2016, capuchin monkeys' reactions to social stimuli in photographs were assessed to see if they would react to them in the same way as live stimuli (Morton, F.B. et al. 2016). Scientists recorded if the monkeys avoided or approached food when it was placed in front of live stimuli (real alpha of their group) or photo stimuli (this was in two sections: 'floating face' where it was a photograph of just the head of the alpha, and a photograph of the full figure of the alpha male) (Morton, F.B. et al. 2016). Wild and captive studies conveyed how low-ranking monkeys avoided having close proximity to the alpha male to avoid aggression, to which the scientists predicted to be shown in this experiment (Morton, F.B. et al. 2016). Scientists also predicted before the experiment was conducted that the latencies to approach food in the presence of a photograph would positively correlate with the presence of the real alpha male (Morton, F.B. et al. 2016). Results concluded that latencies to approach food in the live stimuli  condition negatively correlated with the amount of time spent in close proximity to the alpha in the main encloser with all the monkeys together (Morton, F.B. et al. 2016). On top of this, the monkey's responses to the photographs negatively correlated to the amount of time spent in close proximity to the real alpha male.​

Bibliography

Eatherington, C.J. et al. (2020) ‘Dogs (Canis familiaris) recognise our faces in photographs: implications for existing and future research’, Animal cognition, 23(4), pp. 711–719.​

Kohda, M. et al (2014) 'Cleaner fish recognize self in a mirror via self-face recognition like humans', PNAS, Nature, 614, 7948, (393-393) Cleaner fish recognize self in a mirror via self-face recognition like humans | PNAS​

Maloney, C. et al (1991-1999) 'Feline Reaction to Bearded Men', Improbable.com, Archives HotAIR - Feline Reactions to Bearded Men (improbable.com)​

Morton, F.B. et al. (2016) ‘Using photographs to study animal social cognition and behaviour: Do capuchins’ responses to photos reflect reality?’, Behavioural processes, 124, pp. 38–46.​

Norquist, (1988), 'Feline Reactions to Supreme Court Nominees,' in Journal of Feline Forensic Studies, vol. 12, no. 8, pp. 437-450​

Perry, S (2015), 'What Monkeys can Teach Us about Politics' What Monkeys Can Teach Us About Politics | Essay | Zócalo Public Square (zocalopublicsquare.org)​

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Further research for photo essay

The alpha male is being groomed by his many admirers, including alpha female, her daughter, and two of her grandsons.

What Monkeys Can Teach Us About Politics | Essay | Zócalo Public Square (zocalopublicsquare.org)

Bluestreak cleaner wrasse found to recognize self in photograph after passing mirror test (phys.org)

Cleaner fish recognize self in a mirror via self-face recognition like humans | PNAS

HotAIR - Feline Reactions to Bearded Men (improbable.com)

Dogs recognise their owners in PHOTOS: Creatures can pick out familiar faces (but prefer looking at other canines) | Daily Mail Online

Using photographs to study animal social cognition and behaviour: Do capuchins’ responses to photos reflect reality? - ScienceDirect

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Class notes 10/03/23

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Starting Research for Photography Essay

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Notes from Lesson 03.03.23

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Text used for my homework - 24/02/23

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Write up for the Lesson 24/02/23

Fig.1 Dorothea Lange's 'Immigrant Mother' (1936) during The Great Depression

During the lesson, my group studied Fig. 1 and see what quotes from the text we read could be applicable to it. Initial quotes that came into mind were "photographs furnish evidence", "miniatures of reality" and "feels like knowledge". Fig. 1 is very powerful as it shows the evidence and harsh reality of what it was like to be a mother struggling during The Great Depression. Additionally. it gave at that time, and continues to give, greater insight and "knowledge" of what was going on in America during the 1930s, and how families were affected.

Our conversation then turned to the ethicality of this photo, and human disaster photography in general. "To photograph is to appropriate the thing photographed" was the quote that we discussed and raised questions such as did this photographer take advantage of this mother for the sake of a photograph? Did the photographer help behind the scenes? Did the mother give consent to have her and her children's photo be taken?

One other thing we mentioned was how true this image was. With technological development of editing a photo, or staging something, modern thinkers will naturally have a cynical outlook on past photos. Are both children looking away from the camera a simple coincidence, or were they told to do that?

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Homework - How photographs are used to memorialise life 24/02/23

Book: Sontag, S. (1973) On photography. Pages 5-6. London: Penguin.

Fig.1 Another tourist unintentionally photographed us.

Within the text in 'On Photography' (S. Sontag 1973) I came across how photography is used as a way to memorialise aspects of someone's life and keep them as "cherished" physical memories (page 5-6). The most used way of using a camera is taking photos of family life and life within one's relationship; this has been the "earliest popular use" of photography (page 5).

Memorialising cherished moments acts as an "imaginary possession of a past" that appears unreal, thus developing photography as being a major characteristic of the modern activity tourism (page 6). You are able to spot a group of tourists in your city usually by having their phones or cameras constantly pointing at something they seem "unreal" but to people living there it would be something insignificant. It is as if tourists "feel compelled" to take pictures of anything they deem remarkable (page 6). Tourists would also take pictures of their families or partners during their trip as well conveying that it is an adored moment. It also highlights how photographs offer "indisputable evidence" of a trip or holiday that occurred and the enjoyment of it (page 6). As mentioned before, using a camera creates a physical memory of something that has happened, but it can be said that it converts an experience into a souvenir as well (page 6).

This reminds me of the numerous photos my boyfriend and I took during our holiday in Iceland last year. Not only we took photos of things we saw, we took photos together and of each other. This is not only showing where we went, but also how much we cherished our time there and our time together. Fig.1 is a bit different as another tourist took a picture of us by accident while taking a photo of the waterfall. It is one of my favourites as it shows another aspect of us on the holiday.

Another thing in the text that was applicable from the holiday was how photo albums are usually a way to store the memories in one place (page 6). My boyfriend made a book with photos from his camera so we had a physical record of everything that happened.

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How Tamara de Lempicka Went Against the Grain

Tamara de Lempicka (1898-1980) was a Polish-born painter, known for her art-deco artwork that combined Cubism and Neoclassical; uniting traditional and modern style that gained mass attention from the bourgeoise during the early 1920’s (N. Rudick (2004), A. Lee (2022)). This is when her career had financial success in Europe while based in France after escaping the Russian Revolution in 1918 (P. Plagens (1994), A. Lee (2022)). She was commissioned by socialites and the super-rich during that time, before finding more success in Hollywood after fleeing to America at the beginning of the Second World War. Nicknamed ‘Baroness of the Brush’, she painted oil paint portraits for aristocrats, but mostly painted nudes. At the time, some stated that her nudes were “corporality verging on kitsch or sin at least” and “propagator of perverse paintings”. Even in more recent times, her art has been considered as “almost soft porn that passed for elegance at one time” (M. Brown, professor at City College, NY) (P.Plagens (1994), Culture,pl).  

Not only was her skill part of her success, but critics also claim that her infamy was due to coming from a privileged background, her first husband being a socialite and her second husband being a Baron. Despite what parts of her life people debate on, one thing that is agreed is how Lempicka was scandalous at the time for conveying female sexuality and the LBGT in her paintings, specifically a femme fatale (G. Mori (2011)). 

One such painting is ‘Perspective’ (1923), which Lempicka painted for a poster for the French play ‘Sexualité’. This oil painting conveys two female nudes, who were lovers, to which they were influenced by Michelangelo’s sculptures for Medici Tombs of Dawn and Night (1533). These are the only few sculptures of women Michelangelo did. The view of Lempicka’s painting was like a set from an expressionist film. The bodies of the lovers have a rounded figure that was consistent. This contrasted the sharp and harsh lines of the background; straight vertical lines, broken triangles and buildings that came across as metal blades. This was seen as controversial as conveying same-sex relationships were forbidden during the 1920’s, however the French public were more concerned about the degree of nudity rather than the couple themselves. One interesting point about this painting is during the time Lempicka was creating this painting, she was in a relationship with a woman called Ira Perrot, who was coincidently a model for another painting produced the same year (‘Her Sadness’ (1923)). Lempicka never shied away from expressing her bisexuality, a lifestyle that was far removed from the accepted social norms (G. Mori (2011))..  

(‘Perspective’ (1923), T. Lempicka de) 

Another painting that conveyed the unforgivable lifestyle being within the LGBT community was ‘Double “47”’ (1924). This painting referenced gay clubs during that period, specifically one called ‘The Monocle’. During the 1920’s a monocle was a symbol for lesbians, as well as queer women, hence the name of the gay bar. In this bar, it was known that women dressed more masculine or like men, especially if they were in a relationship with another woman and they went together to the Monocle (G. Mori (2011)). 

(‘Double “47”’ (1924), T. Lempicka de) 

The topic of sexuality displayed in Lempicka’s nude paintings is not just the romantic aspect, but also the celebration of female sexuality. One example of this is ‘La Belle Rafaela’ (1927), a nude painting that is quoted by the London Sunday Times Magazine as “one of the most remarkable nudes of the century.” She got a sex worker, named Rafaela, to model for her. The painting celebrates female sexuality by conveying Rafaela as “virile, voluptuous and full of control of her own pleasure.” (G. Mori (2011), A. Lee (2022)). Another thought of using a sex worker as a model was intentional as working in that industry, a woman can choose who her clients are and how much they charge; highlights that women are in control of their sexuality amongst men which was something uncommon for the large part of the 20th century. 

Another example of Lempicka conveying female sexuality, and one of her most well-known piece of her career, is ‘Autoportrait’ or ‘Tamara in Green Bugatti’ (1928). The self-portrait conveys Lempicka’s relationship with the machine physically and her relationship with men metaphorically. A societal norm during the time of this painting was a woman being a man’s object which is what the car, being an object, conveys. However, Lempicka has her hand placed on the bonnet which suggests she is subordinating herself to the most elemental force of the car which is in the motor. Therefore, the car is symbolic of a woman’s emancipation and how it is under the imposed will of the mistress and seen as a “docile slave”. Additionally, the car’s engine represents strength of a woman, and the mistress is re-deploying it to make it work to her advantage. ‘Autoportrait’ also depicts the relationship between men and women, and rhetorically asks if the two sexes are allies or rivals within society. Lempicka herself states that everyone is a subtle mixture of being masculine and feminine, and how there is a gender fluidity as shown with the woman being dominant over the car (G. Néret (1993)). Interestingly, this self-portrait was, and continues to hail the title as “the definitive image of a modern woman” (G. Néret (1993), A. Lee (2022)). 

(‘Autopilot’ or ‘Tamara in Green Bugatti’ (1928), T. Lempicka de) 

In conclusion, she conveyed through her nudes the subverting conventions which were dominated by male artists at the time. She framed the female models, not as the subject of male gazing, but as empowered and desirous through their sexuality; she legitimized an own gaze which was radical and groundbreaking at the time. Additionally, her being queer herself and highlighting her community through her painting still resonates with women today, as well as being the breadwinner and living through two world wars (A. Lee (2022)). She showed women during her prime and continues to show women after her death of female empowerment, and speaking out her voice, finding herself and to have the desire to have everything. After death, her paintings have continued to have significant influence not only within painting but in other visual arts: high-end fashion collections, advertising campaigns, theatre and music videos. Music celebrities like Madonna have collections of Lempicka’s artwork, and she has also had the painter influence her early music videos and style. A play has been dedicated to the life of Lempicka, particularly her outspokenness of her bisexuality (G. Néret (1993), A. Lee (2022)). 

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Bibliography

Lee, A (2022) 'Forward Thinker, Endlessly Complex; A Broadway-bound Musical Celebrates Art Deco Era Artist Tamara de Lempicka', The Los Angeles Times.

Lempicka-Foxhall, K. de and Phillips, C (1987) 'Passion by Design: The Arts and Times of Tamara de Lempicka', Oxford: Phaidon.

Mori, G (2011) 'Tamara de Lempicka: The Queen of the Modern Woman', Milan: Skira.

Néret, G (1993) 'Tamara de Lempicka 1898-1980' Kèoln: Benedict Taschen.

Plagens, P (1994) 'The Price Will Go Up Tamara. Paintings of Tamara de Lempicka', Newsweek, 124 (1), P.70-.

Rudick, N (2004) 'Tamara de Lempicka', Artforum International, 42 (9), P.96-.

Wróblewska, M (2010), Tamara Łempicka (Tamara de Lempicka) - Biography | Artist | Culture.pl

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Collected Notes for Research Essay

Selected Images I'm going to use in my essay:

'Perspective' (1923)

'La Belle Rafaela' (1927)

'Tamara in Green Bugatti'/'Auto portrait' (1928)

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Group Manifesto - Write Up

For the group manifesto we decided to do a person's duality, specifically our own dualities and put as a collective. As everyone has multiple dualities, or as linguists P.Brown and S.Levinson concluded 'positive and negative faces', we decided as a group to write the different positive and negative faces that opposed each other and use that as sketches. This is why our manifesto was coined "The Jekyll and Hyde Manifesto". Additionally, we wanted to use social dualities as not only its something that people have, but some people struggle more than others. Therefore, at the end of each duality sentence, that accompanied a sketch, it is followed with a "And I'm not alone in this" as a means to relate to people as well as comforting them that its okay to love to do something in public but can't/not able to at the same time.

As I mentioned, each of us thought of different dualities and did sketches of them; each duality we picked was also personal to each of us. The duality I picked was "I love people. I hate people." as I love being around and talking to people I am close with, but then I hate being around people I don't know/the general public. With this, I decided to sketch a person smiling while talking to someone, yet their spirit it crying and trying to distance the body from the situation.

Slides from the Manifesto Presentation

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Selected Manifesto – Surrealism (29/09/2022)

Surrealism can be defined in two ways: 

Noun: “Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner – the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.” (Brenton. A, 1924) 

Philosophy: “Surrealism is based on the belief in the superior reality of certain forms of previously neglected associations, in the omnipotence of dream, in the disinterested play of thought. It tends to ruin once and for all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life.” (Brenton. A, 1924) 

Surrealism was a manifesto that was most prevalent between WW1 and WW2 (1920-1939). It was an art movement in visual and lyrical arts within Europe (Britannica, 2022) that evolved from the Dada and Futurist movements (Britannica, 2022, Brenton. A, 1924). It is less known that futurism influenced surrealism as Dada was influenced by it first, in turn influencing surrealism. One noticeable connection between futurism and surrealism is having “words of freedom” and “unconscious inspiration” in concepts in both manifestos (Brenton. A, 1924). 

This manifesto was originally influenced by the works of Sigmund Freud, the first psychologist to study dreams. Freud concludes that dreams, being a psychic activity, gave evidence of an interference of reality being organised and continuous (Britannica, 2022, Brenton. A, 1924). From this groundbreaking discovery, surrealism united and balanced the rational, conscious realm with the unconscious, dream realm (Britannica, 2022, The Tate Musuem, N/A). They did this through various forms of “automatic” drawings and writings to unlock ideas deep in the unconscious, dream state. This created alternative realities within the arts depicting topics of mysticism, indigenous art, and ancient cultures. Additionally, surrealism art and writing challenged social norms and imposed rules in search for freedom (The Tate Museum, N/A). In lyrical arts like poetry, surrealism situated itself in juxtapositions - “not determined by logic but by unconscious thought process”. In visual arts, surrealists emphaised on experimentation and methodological research. A lot of artists were also influenced by more historical artists such as Goya and Bosch (Britannica, 2022).  

There were a few techniques that surreal artists used apart from using their hallucinations and illusions (Brenton. A, 1924). One of these techniques was frottage/grattage; record eruptive and uncensored images that appear in the mind there and then. Another is called “Exquisite Corpse” which is the same as the modern-day game “consequences” (draw part of a body, fold it and give it to another person to draw the next part. This is repeated until the full body is done) (Britannica, 2022).  

There have been many infamous artists to come out from the Surrealist manifesto such as Salvador Dali (1904-1989). His work consisted of highlighting “internal mechanisms of paranoic phenomena” as well as delirio-critical synthesis (also known as paranoic-critical activity). He was a prominent artist within the surrealism movement until 1934 when he was formally kicked out due to his idolatry towards Hitler and fascism (Dali. S and Co., 1928). Some noticeable works denoting this are “The Enigma of Hitler” (1938) and “Soft Constructions with Boiled Beans (premonition of civil war)” (1936). 

"Soft Construction with Boiled Beans (premonition of civil war)" By Salvador Dali (1936).

Bibliography: 

Britannica (2022) “Surrealism” (29/09/2022) 

Danchev. A (2011) “100 Artist Manifestos”, P.282-292, Brenton. A, “Manifesto of Surrealism” (1924), London, Penguin Books Ltd (29/09/2022) 

Danchev. A (2011) “100 Artist Manifestos”, P.298-305, Dali. S and Co., “Yellow Manifesto” (1928), London, Penguin Books Ltd (29/09/2022) 

The Tate Museum (N/A) “Surrealism” (29/09/2022) 

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Refined Walk - 16/10/2022 Part 2

Similar to last week's video, I used film as a medium to replicate Alys dragging a drumstick against railings while I also compared those sounds to sounds of nature. The main structural difference from this video to last week is having the first have completely 'Man' and the second have completely 'Nature' instead of alternating videos. In addition to this, I extended each section to have 10 videos each.

Nature vs Man - Man:

I did the majority of the videos recording myself drag a stick against railings/metal fences as Alys's work is being conveyed in mine. The rest I dragged the stick against other man-made things to extend this concept of man vs nature. Another improvement I did is experimenting with pressure and stokes of the stick against the railings. Expectedly, if I pressed harder against the metal, it caused a louder and more harsh sound. Interestingly, the vibration lasted longer when more pressure was applied as well as making a shorter dragging motion. I also liked how different objects had a unique and distinguished sound that I can recognise. For example, a hollow and rigid sound is related to something being dragged along a wooden fence.

Nature vs Man - Nature:

With the nature section, I wanted to expand that variation of sounds. I did this by recording animals such as birds and dogs whether it was the sounds they made or what they were doing. Compared to the sounds from the 'Man' section, this was more relaxing yet more difficult to come up with ideas for unique sounds.

The last video was mostly to record the dogs barking but I ended up also keeping people talking in it as well. This then brought to my attention of what category people's chatter will come under. Evidently it should be 'Man' as humans are talking, but could it be 'Nature' as it is a natural thing for us to do.

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Refined Walk - 16/10/2022 Part 1

With this refined mini project, I wanted to continue to have Francis Alys as my inspiration with 'Railings' (2004) being at the forefront of this. Additionally, I wanted to develop my 'twist' with comparing man-made structures and nature, and how they complement and contrast each other. As I noted in the previous posts, Alys used photography along with film and graphite sketches when exhibiting 'Railings'. Extending from my project last week, I used photography more to convey my walk. Furthermore, I created and extended film similar to last week's video. As seen below, I took 15 photos of what I thought concluded human structures/man-made things and nature combining to create the full experience of a walk. Despite focusing more on railings and metal fences, I wanted to depict other aspects of man on my walk. This is why I have a wider range of photographs from last week.

One thing I found interesting is how nature invades parts of human structure which once overtook nature. This is highlighted by bushes growing through fences, wrapping around poles or vines growing on sides of buildings. It appears that nature and man are competing for space along my walk. Another thing I have observed on my walk was how landmarks for me to remember where I need to go are both from nature and man. For example, paths and signs help me not get lost and a specific tree or rock lets me know how far away I am from somewhere. These subconscious connections I have can conclude that both man and nature is used to help my encounters on a walk.