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• W85676174 abstract "One succeeded--he lifted the goddess of Sais' veil--but what did he see? Wonder of wonder--himself. (Novalis) Novalis' Dichtichon from Mai 1798 (a preliminary work for the 'Lehrlinge zu Sais') pictures the youngling's discovery when he disclosed Isis' secret (Kurzke, 2001, p.110). Abstract In this article I discuss the dialogical method which is used to study the idea of perception among individuals, especially to understand the question of perception toward the veil in Yemen in 2007. Furthermore I elaborate on my exploration of as an art form which lies at the basis of my approach. To be occupied with matters of the veil means to deal with of image and gaze. Therefore I also try to give a basic overview on this topic. The article ends with a short description of a corresponding experiment I carried out in Germany one year later. By comparing the Western and Eastern responses to the veiled female body, this experiment reveals typical culturally shaped preconceptions. Keywords: Identity, Visual Art, Dialogical Portrait, Image, Gaze, Veil, Culture Introduction Among a hundred women I recognised my sister! exclaimed Mohammed, our driver, suddenly when we passed a group of women wearing the veil, on a holiday trip to Yemen in 2005. I was baffled, since for me all women looked alike under their black cover. Mohammed's ability to distinguish one single woman out of a group of many figures hidden under a full-body cover resonated with a question I have been grappling with for many years --namely, how we perceive ourselves and others. And Mohammed's comment triggered in me a series of research questions for a new art project: Who do we see when we look at a veiled person? Can we (especially when raised in a covering culture) attribute specific looks and characteristics to a veiled person? I forwarded these to thirty-one Yemeni men and women in Sana'a, the capital of Yemen in 2007. With this survey the basis was set for a new art project I called 'Imagine Me'. Concepts of identity and the artistic approach to portrayal have been changing during the past centuries from the development of archetypes (not to offend the gods) to identifiable individuals (Idols) and to the psychological exploration of temperament and character. In the same vein the negation of identity has taken on many different forms (Calabrese, 2006). Photography freed portraiture from its indexical, representational range of tasks. Likeness was no more a matter of mere representation but proved to be highly dependent on the consciously or unconsciously assimilated concepts of individuality, which in turn are contingent upon the humanist or scientific ideas prevalent at a particular moment. In Die Wirklichkeit des Bildes (1999) Reinhard Brandt asks whether physiognomy reveals a person's character and whether an image is able to depict a person's soul (the painter Basil Hallward in Oscar Wilde's novel 'The Picture of Dorian Gray' believes he revealed his own inner self in Dorian's portrait). He reminds us that the act of representation differs from the act of realization as the latter, depending on conclusions, generates what is deduced (Brandt, 1999). The question of internal and external representation in portrayal also brings about the double (inner and outer) nature of the image. According to the art historian Hans Belting this fact is inseparable from of the 'concept of the image' and reveals its anthropological foundation (Belting, 2002:11). The image of the human, especially the depiction of the individual, fascinates us until today because it bears witness to how humans have perceived and represented themselves over the course of time. Review of Literature Visual material, which is at the core of the production of art, can take on a different significance in scientific field studies. Images can be both, the basis or product of the research. …" @default.
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• W85676174 date "2012-10-01" @default.
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• W85676174 title "Looking at me, are you? Social status and the veil" @default.
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