Blind spots: trickery and the'opaque stickiness' of seeing
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147303 , vital:38624 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176319
- Description: In a flash the spot will disappear, and in its place - and this is the interesting thing - there is nothing. According to experimental psychology, the eye does not fill in the blind spot, but tricks us into thinking that it has been filled. The blind spot is pure absence of vision, and cannot be experienced at all. The blind spot is an invisible absence : an absence whose invisibility is itself invisible (Elkins 1996 : 170).
- Full Text:
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147303 , vital:38624 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176319
- Description: In a flash the spot will disappear, and in its place - and this is the interesting thing - there is nothing. According to experimental psychology, the eye does not fill in the blind spot, but tricks us into thinking that it has been filled. The blind spot is pure absence of vision, and cannot be experienced at all. The blind spot is an invisible absence : an absence whose invisibility is itself invisible (Elkins 1996 : 170).
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Dynamic mitochondrial localisation of STAT3 in the cellular adipogenesis model 3T3-L1:
- Kramer, Adam H, Edkins, Adrienne L, Hoppe, Heinrich C, Prinsloo, Earl
- Authors: Kramer, Adam H , Edkins, Adrienne L , Hoppe, Heinrich C , Prinsloo, Earl
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/164885 , vital:41181 , DOI: 10.1002/jcb.25076
- Description: A mechanistic relationship exists between protein localisation, activity and cellular differentiation. Understanding the contribution of these molecular mechanisms is required for elucidation of conditions that drive development. Literature suggests non‐canonical translocation of the Signal Transducer and Activator of Transcription 3 (STAT3) to the mitochondria contributes to the regulation of the electron transport chain, cellular respiration and reactive oxygen species production. Based on this we investigated the role of mitochondrial STAT3, specifically the serine 727 phosphorylated form, in cellular differentiation using the well‐defined mouse adipogenic model 3T3-L1.
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- Authors: Kramer, Adam H , Edkins, Adrienne L , Hoppe, Heinrich C , Prinsloo, Earl
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/164885 , vital:41181 , DOI: 10.1002/jcb.25076
- Description: A mechanistic relationship exists between protein localisation, activity and cellular differentiation. Understanding the contribution of these molecular mechanisms is required for elucidation of conditions that drive development. Literature suggests non‐canonical translocation of the Signal Transducer and Activator of Transcription 3 (STAT3) to the mitochondria contributes to the regulation of the electron transport chain, cellular respiration and reactive oxygen species production. Based on this we investigated the role of mitochondrial STAT3, specifically the serine 727 phosphorylated form, in cellular differentiation using the well‐defined mouse adipogenic model 3T3-L1.
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Guarded visions: walls, watchtowers and warped perspectives in the Israeli occupied West Bank Palestinian territory
- Authors: Baasch, Rachel M
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147281 , vital:38611 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176318
- Description: This paper examines the relationship between Israel's fortification of physical space and narratives of division in the Israeli occupied Palestinian West Bank Territory. I argue that the fortification and separation of physical space deepens segregation, and increases fear, hostility and disconnection between people living in this context. Furthermore, I suggest that this relationship between narratives of division and insecurity and structural mechanisms of control within the West Bank influences and impacts on individuals such that personal perspectives become guarded and defensive. The mediation of subjects through a defensive lens can prevent individuals from forming connections that acknowledge the permeability of seemingly impenetrable distinctions between inside and outside, or self and an-other. The looking, recording and representation of people in a place that is guarded and framed from a position of insecurity reduces the capacity of individuals to locate openings that traverse restrictive boundaries. In order to contextualise my discussion, I have included personal documentation of defensive structures photographed in the West Bank between 2013 and 2014. I position my observations and analyses in relation to discussions about the Oush Grab Military Base presented by the Decolonizing Architecture Art Residency (DAAR) in their recent publication Architecture after revolution (2013).
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- Authors: Baasch, Rachel M
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147281 , vital:38611 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176318
- Description: This paper examines the relationship between Israel's fortification of physical space and narratives of division in the Israeli occupied Palestinian West Bank Territory. I argue that the fortification and separation of physical space deepens segregation, and increases fear, hostility and disconnection between people living in this context. Furthermore, I suggest that this relationship between narratives of division and insecurity and structural mechanisms of control within the West Bank influences and impacts on individuals such that personal perspectives become guarded and defensive. The mediation of subjects through a defensive lens can prevent individuals from forming connections that acknowledge the permeability of seemingly impenetrable distinctions between inside and outside, or self and an-other. The looking, recording and representation of people in a place that is guarded and framed from a position of insecurity reduces the capacity of individuals to locate openings that traverse restrictive boundaries. In order to contextualise my discussion, I have included personal documentation of defensive structures photographed in the West Bank between 2013 and 2014. I position my observations and analyses in relation to discussions about the Oush Grab Military Base presented by the Decolonizing Architecture Art Residency (DAAR) in their recent publication Architecture after revolution (2013).
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Inkblots and their indices: rethreading perception in the work of Igshaan Adams
- Authors: Ball, Jennifer
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147293 , vital:38612 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176316
- Description: Igshaan Adams is a young artist from Cape Town, working in multimedia and performance. In his practice, Adams brings ways of seeing and also ways of being into consideration through meditations on objects, dreams, Sufism, family relationships and the changeability of self-hood through perception of these phenomena. This paper engages with Adams' affinity with objects, their agency and biography,and considers how his sensitive interventions alter their materiality, shifting the ways in which they can be seen. The ways in which Adams' family relationships play out in the processes of making his sculptural works, and also in his performances, are then elucidated and related to his ongoing processes of self-enquiry. Furthermore, I consider Adams' latest body of work, a critical enquiry into the variable meanings of Rorschach inkblots. Adams reflects on the grounds for inkblot testing and, in so doing, tests and measures the nature of looking, perceiving and projecting.
- Full Text:
- Authors: Ball, Jennifer
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147293 , vital:38612 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176316
- Description: Igshaan Adams is a young artist from Cape Town, working in multimedia and performance. In his practice, Adams brings ways of seeing and also ways of being into consideration through meditations on objects, dreams, Sufism, family relationships and the changeability of self-hood through perception of these phenomena. This paper engages with Adams' affinity with objects, their agency and biography,and considers how his sensitive interventions alter their materiality, shifting the ways in which they can be seen. The ways in which Adams' family relationships play out in the processes of making his sculptural works, and also in his performances, are then elucidated and related to his ongoing processes of self-enquiry. Furthermore, I consider Adams' latest body of work, a critical enquiry into the variable meanings of Rorschach inkblots. Adams reflects on the grounds for inkblot testing and, in so doing, tests and measures the nature of looking, perceiving and projecting.
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Shifting white identities in South Africa: white Africanness and the struggle for racial justice
- Authors: Matthews, Sally
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142180 , vital:38056 , DOI: 10.25159/2413-3086/3821
- Description: The end of apartheid predictably caused something of an identity crisis for white South Africans. The sense of uncertainty about what it means to be white has led to much public debate about whiteness in South Africa, as well as a growing body of literature on whites in post-apartheid South Africa. One of the many responses to this need to rethink white identity has been the claim by some that white South Africans can be considered to be African or ought to begin to think of themselves as being African. This paper argues that whites' assertion of an African identity does not necessarily assist in the achievement of racial justice, but that some kind of shift in white identity is required in order for whites to be able to contribute to the achievement of a racially just South Africa. In making this argument, the paper brings contemporary discussions on race and whiteness, and in particular discussions about racial eliminativism, to bear on the question of whether or not white South Africans may rightly claim an African identity.
- Full Text:
- Authors: Matthews, Sally
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142180 , vital:38056 , DOI: 10.25159/2413-3086/3821
- Description: The end of apartheid predictably caused something of an identity crisis for white South Africans. The sense of uncertainty about what it means to be white has led to much public debate about whiteness in South Africa, as well as a growing body of literature on whites in post-apartheid South Africa. One of the many responses to this need to rethink white identity has been the claim by some that white South Africans can be considered to be African or ought to begin to think of themselves as being African. This paper argues that whites' assertion of an African identity does not necessarily assist in the achievement of racial justice, but that some kind of shift in white identity is required in order for whites to be able to contribute to the achievement of a racially just South Africa. In making this argument, the paper brings contemporary discussions on race and whiteness, and in particular discussions about racial eliminativism, to bear on the question of whether or not white South Africans may rightly claim an African identity.
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The Cohen and Kuttel stories: is the place where I hang my hat still relevant to determine my residence for tax purposes?
- Arendse, Jacqueline A, Stark, Karen, Renaud, Craig
- Authors: Arendse, Jacqueline A , Stark, Karen , Renaud, Craig
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/131285 , vital:36549 , DOI: 10.25159/1998-8125/5779
- Description: Determining the residence of a taxpayer is one of the most important aspects of modern tax systems. For an individual taxpayer who migrates, a common trend in the modern world, the questions are where the person is ordinarily resident and whether the place of ordinary residence can change.
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- Authors: Arendse, Jacqueline A , Stark, Karen , Renaud, Craig
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/131285 , vital:36549 , DOI: 10.25159/1998-8125/5779
- Description: Determining the residence of a taxpayer is one of the most important aspects of modern tax systems. For an individual taxpayer who migrates, a common trend in the modern world, the questions are where the person is ordinarily resident and whether the place of ordinary residence can change.
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What "global art" and current (re)turns fail to see: a modest counter-narrative of "not-another-biennial"
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147314 , vital:38625 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176315
- Description: What is the scope of "global art" and who drives its framing within the current climate of 'corporate globalization' (Demos 2009 : 7, emphasis in original)? In what ways do the recent global turn and curatorial turn underwrite meaningful global inclusivity and visibility, and to what degree does this globally shared art constitute mutuality? Does "global art", including the accompanying process of biennialisation, allow for local narratives in a way that seriously accounts for a geopolitical view of contemporary art in the twenty-first century? While the inclusion of "new art worlds" in what Belting, Buddensieg and Weibel (2013) term "global art" is framed as a democratisation of contemporary art and the demise of the western art canon, it is important to raise questions regarding the blind spots of this supposedly global, post-1989 expansion.
- Full Text:
- Authors: Simbao, Ruth K
- Date: 2015
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147314 , vital:38625 , https://0-hdl.handle.net.wam.seals.ac.za/10520/EJC176315
- Description: What is the scope of "global art" and who drives its framing within the current climate of 'corporate globalization' (Demos 2009 : 7, emphasis in original)? In what ways do the recent global turn and curatorial turn underwrite meaningful global inclusivity and visibility, and to what degree does this globally shared art constitute mutuality? Does "global art", including the accompanying process of biennialisation, allow for local narratives in a way that seriously accounts for a geopolitical view of contemporary art in the twenty-first century? While the inclusion of "new art worlds" in what Belting, Buddensieg and Weibel (2013) term "global art" is framed as a democratisation of contemporary art and the demise of the western art canon, it is important to raise questions regarding the blind spots of this supposedly global, post-1989 expansion.
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