Difference between revisions of "Mondada2024a"
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|Author(s)=Lorenza Mondada; Burak S. Tekin; David Monteiro; | |Author(s)=Lorenza Mondada; Burak S. Tekin; David Monteiro; | ||
|Title=Instructing Hugs for the Photograph: The Local Achievement of Haptic Compositions and Their Public Visibility | |Title=Instructing Hugs for the Photograph: The Local Achievement of Haptic Compositions and Their Public Visibility | ||
| − | |Tag(s)=EMCA | + | |Tag(s)=EMCA; Photography; Haptics |
|Key=Mondada2024a | |Key=Mondada2024a | ||
|Year=2024 | |Year=2024 | ||
|Language=English | |Language=English | ||
| + | |Journal=Discourse Processes | ||
| + | |Volume=61 | ||
| + | |Number=3 | ||
| + | |Pages=117-141 | ||
|URL=https://www.tandfonline.com/doi/full/10.1080/0163853X.2023.2293445 | |URL=https://www.tandfonline.com/doi/full/10.1080/0163853X.2023.2293445 | ||
|DOI=10.1080/0163853X.2023.2293445 | |DOI=10.1080/0163853X.2023.2293445 | ||
|Abstract=Hugs are a pervasive practice characterizing human sociality. They involve the persons engaged in hugging as well as other persons who might witness it for various purposes. This article examines the social organization of hugging in family photography sessions. This organization integrates instructions to hug, orchestrated by photographers and sometimes by third parties, and their responses; it also relies on constitutive details of local contexts as well as global projects of the photographing activity. By concentrating on the organization of hugs in photography sessions, this study highlights the movement trajectories of hugging parties and their projectability and visibility. Relying on their professional vision, photographers identify, arrange, and shoot photographable haptic compositions. The ways in which hugs are produced index different familial relationships among hugging parties, shedding light on issues such as agency, participation and entitlement. | |Abstract=Hugs are a pervasive practice characterizing human sociality. They involve the persons engaged in hugging as well as other persons who might witness it for various purposes. This article examines the social organization of hugging in family photography sessions. This organization integrates instructions to hug, orchestrated by photographers and sometimes by third parties, and their responses; it also relies on constitutive details of local contexts as well as global projects of the photographing activity. By concentrating on the organization of hugs in photography sessions, this study highlights the movement trajectories of hugging parties and their projectability and visibility. Relying on their professional vision, photographers identify, arrange, and shoot photographable haptic compositions. The ways in which hugs are produced index different familial relationships among hugging parties, shedding light on issues such as agency, participation and entitlement. | ||
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Latest revision as of 00:12, 3 June 2024
| Mondada2024a | |
|---|---|
| BibType | ARTICLE |
| Key | Mondada2024a |
| Author(s) | Lorenza Mondada, Burak S. Tekin, David Monteiro |
| Title | Instructing Hugs for the Photograph: The Local Achievement of Haptic Compositions and Their Public Visibility |
| Editor(s) | |
| Tag(s) | EMCA, Photography, Haptics |
| Publisher | |
| Year | 2024 |
| Language | English |
| City | |
| Month | |
| Journal | Discourse Processes |
| Volume | 61 |
| Number | 3 |
| Pages | 117-141 |
| URL | Link |
| DOI | 10.1080/0163853X.2023.2293445 |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
Hugs are a pervasive practice characterizing human sociality. They involve the persons engaged in hugging as well as other persons who might witness it for various purposes. This article examines the social organization of hugging in family photography sessions. This organization integrates instructions to hug, orchestrated by photographers and sometimes by third parties, and their responses; it also relies on constitutive details of local contexts as well as global projects of the photographing activity. By concentrating on the organization of hugs in photography sessions, this study highlights the movement trajectories of hugging parties and their projectability and visibility. Relying on their professional vision, photographers identify, arrange, and shoot photographable haptic compositions. The ways in which hugs are produced index different familial relationships among hugging parties, shedding light on issues such as agency, participation and entitlement.
Notes
