MARIACHI & THE PUBLIC DISPLAY OF THE CHICANO SOUL

2017 ◽  
pp. 101-114
Keyword(s):  
Public Display ◽  
The Public

Persistence of the Portrait

2020 ◽  
pp. 35-80
Author(s):  
Ángeles Donoso Macaya
Keyword(s):  
Public Space ◽  
Walter Benjamin ◽  
Visual Representation ◽  
Special Issue ◽  
Public Display ◽  
Book Series ◽  
The Public ◽  
Archival Work

The first chapter underscores the counter-archival work carried out by the Vicaría de la Solidaridad in the composition of the photographic archive of the detained-disappeared. The chapter also considers the different transformations, displacements, and disseminations endured by the portraits of the detained-disappeared. It considers the critical work of Walter Benjamin, Diana Taylor, and Ann Stoler. The analysis contemplates both the composition of the photographic archive of the portraits and the archive’s dissemination in the public space. I consider the Vicaría’s publications Solidaridad (a biweekly newsletter), Separata Solidaridad (a special issue that focused on particular matters also considered in Solidaridad), and the seven-volume book series ¿Dónde están? (1978–1979). I suggest that the visual representation of the crime of forced disappearances, which took shape with the public display of the portraits, was consolidated in these Vicaría publications, above all in ¿Dónde están? I also study artistic photographic practices devised to display and disseminate these photographic portraits in the public space. The chapter begins and ends with a consideration of Hernán Parada’s action “Obrabierta A” (1974–present), in particular one of its iterations in which the artist uses a photocopied mask of his brother, Alejandro Parada, detained and disappeared since July 1974.

SERPENTS, SKELETONS, AND ANCESTORS?: THE TULA COATEPANTLI REVISITED

2013 ◽  
Vol 24 (2) ◽  
pp. 243-274 ◽  
Author(s):  
Keith Jordan
Keyword(s):  
Human Remains ◽  
Colonial Period ◽  
Public Display ◽  
Archaeological Evidence ◽  
The Public ◽  
Late Postclassic ◽  
Cultural Connections

AbstractSince Acosta's work in the 1940s, relief carvings of serpents entwined with partially skeletonized personages on the coatepantli at Tula have frequently been identified as images of the Nahua Venus deity, Tlahuizcalpantecuhtli. Comparing these Toltec sculptures with this deity's iconography in Late Postclassic to Colonial period manuscripts, however, provides no support for this identification. Based on the northern Mesoamerican cultural connections of the Toltecs, the author suggests parallels between the coatepantli reliefs and the public display of ancestral and sacrificial human remains at Chalchihuites sites. Identification of the coatepantli figures as venerated ancestors from an ancestral cult is also supported by iconographic and archaeological evidence from Tula. Parallels to the coatepantli images in depictions of both living elites and ancestors juxtaposed with serpents from other Mesoamerican art traditions bolster this interpretation. On the basis of the evidence, the author hypothesizes that the skeletonized figures at Tula symbolize deceased kings and honored warriors rather than conquered foes.

Symphonies and the Public Display of Topics

2014 ◽  
Author(s):  
Elaine Sisman
Keyword(s):  
Eighteenth Century ◽  
Human Activity ◽  
Expanding Universe ◽  
Public Display ◽  
Musical Life ◽  
The Public ◽  
Multiple Audiences ◽  
The Church ◽  
Different Levels ◽  
Musical Styles

To the multiple audiences for whom Haydn, Mozart, Beethoven, and their contemporaries composed—patrons, publishers, players, and an expanding universe of listeners at different levels of knowledge—symphonies were the ubiquitous markers of public musical life in the later eighteenth century, opening and sometimes closing concerts and theatrical events. To heighten their appeal and intelligibility, classical composers found topics for their symphonies in the expressive worlds of opera and theater, as well as in the realms of human activity in nature, at court, or (less often) in the church. In so doing, they heightened their listeners’ range of musical experiences and the possibility of shared interpretations. Rereading contemporaneous opinion to find surprising topical correlations, this chapter develops an understanding of symphonic topics that draws both on referential musical styles and on the textures and colors of the orchestra itself.

Documentary Photography and Protest under Chile’s Dictatorship

2021 ◽  
Author(s):  
Ángeles Donoso Macaya
Keyword(s):  
Human Rights ◽  
Visual Culture ◽  
Public Space ◽  
Ad Hoc ◽  
Documentary Photography ◽  
Habeas Corpus ◽  
State Repression ◽  
Public Display ◽  
The Public ◽  
Independent Media

An array of documentary photographic practices that emerged during the dictatorship in Chile (1973–1990) remain understudied, despite their political, aesthetical, and historical import. From the mid-1970s onward, these different practices served different purposes: some made visible the crime of disappearance and its disavowal by the repressive state; others stood as supplementary evidence that confirmed the legal existence of the detained-disappeared; some were a crucial force in denouncing state repression and demanding justice for victims; and some made it possible for independent media to simultaneously comply with and ridicule the censorship of images imposed by the dictatorship in 1984. These practices also helped to consolidate the expanding photographic field under dictatorship. They include the public display of ID photos and portraits torn from family albums; documentary images that relatives of the victims of repression pinned to their chests; the reproduction, compilation, and incorporation of these portraits into legal files and habeas corpus claims; the publication of countless photos of popular protests in independent media; and different photographic initiatives put forward by a group of photographers who established the Independent Photographers Association in 1981. Notably, the expanding photographic field under dictatorship engaged not only individuals and groups directly involved with photography but also ad-hoc human rights collectives and organizations (especially the Group of Family Members of the Detained-Disappeared and the Vicariate of Solidarity), as well as lawyers, judges, journalists, and everyday users of photography. Given the different arenas in which documentary images circulated, the transformations they underwent to resist repression and censorship, and the array of individuals involved in their (re)production and dissemination, a study of documentary photography under dictatorship in Chile cannot content itself, as has been the case, with surveying the practices that emerged within the artistic field. A study of the visual culture under dictatorship instead reveals both the different uses of photography in the public space and the transformations of documentary images in their successive circulations and disseminations.

Making the Criminal Justice System Accountable

1972 ◽  
Vol 18 (1) ◽  
pp. 15-22 ◽  
Author(s):  
Marvin E. Wolfgang
Keyword(s):  
Criminal Justice ◽  
Criminal Justice System ◽  
Justice System ◽  
Democratic Process ◽  
Public Officials ◽  
Public Display ◽  
The Public

All parts of the criminal justice system should be accountable to the public at large, to the victim, and to the offender. More over, each subpart of the system should be accountable to the immediately preceding subpart. The democratic process requires public officials and organizations to be on public display.

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