Curated by Abodid Sahoo
Research papersI keep coming back to.
Written by their respective authors, not by me. Collected here for their connections to autoethnography, photography, grief, memory and human emotions.
The reading shelf
Photography
Discusses "PHOTOGRAPHY AS ANTI-MEMORY," exploring concepts like Romanticism, the invisible, alterity, the void, and the symbolic mirror in relation to memory and photography.
Focuses on the photographic autopathographies produced by artists Hannah Wilke and Jo Spence, examining their use of self-representation to document and explore illness and the body.
Title page for a volume in the Advances in Media, Entertainment, and the Arts Book Series. Focuses on the relationship between autobiographical memory and photography.
A PhD research project subtitled "A reinvention of ‘hysteria’ using photography, performance, and autofiction."
Explores the relationship between photography and memory, specifically focusing on "The Representation of the Unrepresentable in Gustavo Germano’s Absences."
Explores how temporally disjointed aesthetics, such as (re)photographs, impact secondary students' constructions of historical knowledge and thinking. Uses posthuman concepts (assemblage, rhizome, hauntology) and visual methodologies like photo-elicitation.
Examines the photographic series *House and Space2* by Francesca Woodman, focusing on her spectral, semi-absent presence in unhomely locations. It uses Bracha L. Ettinger's matrixial theory to challenge the non-affirmative understanding of her self-portraits as works of disappearing subjectivity.
A PhD thesis that considers what a "queering of photography" entails, proposing a new concept of the photographic image that addresses its materiality and generative principle. It aims to overturn the binary-rooted logic (e.g., truth/falsehood, copy/original) that underpins dominant photography discourse.
Argues that in the digital era, self-portraiture is a powerful tool for self-therapy, enabling anyone to produce a work of art instinctively. It suggests that facing the camera lens immediately engages the essential process of defining the self.