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La presente investigación ofrece un estudio sociocultural de la fotografía periodística en el escenario venezolano mediante la revisión de las imágenes que han recibido reconocimiento internacional en los premios World Press Photo y Pulitzer. A partir del análisis y contextualización de fotografías de corte periodístico y documental, el objetivo ha sido el de reflexionar sobre la función social y usos de la imagen en la contemporaneidad. El corpus ha estado integrado por imágenes de fotógrafos venezolanos o radicados en Venezuela que han sido premiadas con los mencionados galardones: dos fotografías individuales y dos series de fotografías. La más antigua es la foto de Héctor Rondón, de 1962, sobre el suceso conocido como “El Porteñazo”. La segunda de las fotografías y la primera serie tienen como contexto común las protestas y disturbios del 2017 contra el gobierno de Nicolás Maduro. Sus autores son Ronaldo Schemidt y Juan Barreto, respectivamente. La última serie muestra las víctimas del hambre y la desnutrición en Venezuela y fue publicada por The New York Times. Su autora es la fotoperiodista Meridith Kohut. Todas estas fotografías han sido estudiadas empleando una matriz de análisis que incluye la profundización de los conflictos y realidades que muestran, su valor intrínseco como imagen, así como la repercusión y proyección de las mismas. Las conclusiones del trabajo dan cuenta de cómo la visualización de los hechos a través de la fotografía y su reconocimiento internacional afirman las posibilidades de la imagen para aproximarse a la realidad y mostrar sus matices y contrastes. También su valor de denuncia. El que estos premios se otorguen tiempo después de los sucesos registrados permite retomar los temas que documentan, a veces olvidados o desplazados ante la vorágine de nuevos acontecimientos., This research offers a sociocultural study of journalistic photography in Venezuela by reviewing images internationally recognized with the World Press Photo and Pulitzer Prizes. From the analysis and contextualization of journalistic and documentary photographs, the objective is to reflect on the social function and uses of the image in contemporary times. The corpus comprises images by Venezuelan or Venezuela-based photographers awarded the prizes mentioned: two individual and two series of photographs. The oldest is Héctor Rondón’s 1962 picture of El Porteñazo. The second photograph and the first of the series shared the context of the 2017 protests and riots against the government of Nicolás Maduro; their authors are Ronaldo Schemidt and Juan Barreto, respectively. The second series showed the victims of hunger and malnutrition in Venezuela and was published in The New York Times ; its author is photojournalist Meridith Kohut. All these photographs have been studied using a matrix of analysis that delves into the conflicts and realities they portray, their intrinsic value as images, and their repercussion and projection. We conclude how the visualization of facts through photography and its international recognition affirms the possibilities of the image to approach reality and show its nuances and contrasts, as well as its denouncing value. The fact that these prizes were awarded long after the recorded events makes it possible to revisit the subjects they document, sometimes forgotten or displaced in the maelstrom of new events., Esta pesquisa oferece um estudo sociocultural da fotografia jornalística no cenário venezuelano mediante a revisão das imagens que ganharam reconhecimento internacional nos prêmios World Press Photo e Pulitzer. A partir da análise e contextualização de fotografias de corte jornalístico e documental, o objetivo é refletir sobre a função social e usos da imagem na contemporaneidade. O corpus foi integrado por imagens de fotógrafos venezuelanos ou radicados na Venezuela que foram premiadas com os mencionados prêmios: duas fotografias individuais e duas séries de fotografias. A mais antiga é a foto de Héctor Rondón, de 1962, sobre o acontecimento conhecido como “El Porteñazo”. A segunda das fotografias e a primeira série têm como contexto comum os protestos e distúrbios de 2017 contra o governo de Nicolás Maduro. Seus autores são Ronaldo Schemidt e Juan Barreto, respectivamente. A última série mostra as vítimas da fome e da desnutrição na Venezuela, e foi publicada pelo The New York Times. Sua autora é a fotojornalista Meridith Kohut. Todas essas fotografias são estudadas com a utilização de uma matriz de análise que inclui o aprofundamento dos conflitos e das realidades que mostram, seu valor intrínseco como imagem, bem como a repercussão e projeção delas. As conclusões deste trabalho evidenciam como a visualização dos fatos por meio da fotografia e seu reconhecimento internacional afirmam as possiblidades da imagem para se aproximar da realidade e mostrar suas nuances e contrastes, além de seu valor de denúncia. O fato de esses prêmios serem dados tempo depois dos acontecimentos registrados permite retomar os temas que documentam, às vezes esquecidos ou deslocados ante a voragem dos novos acontecimentos.

This dissertation examines how colonial force and political circumstance informed the material cultures of institutional care and contested spaces of everyday life in France and colonial North Africa between 1895 and 1962, during the decades associated with the rise of institutional, transcultural, and social psychiatry, and with national independence and deinstitutionalization movements. It focuses primarily on practices and events in and around several psychiatric institutions in France and Algeria, and secondarily in Italy and Libya, analyzing films, photographs, doctors’ accounts, objects, and secondary historical sources to better understand the place of material culture practices, and specifically practices with “soft” materials such as textiles, in the infrastructure of care. This dissertation argues that “soft” things such as sheets and tents are worthy of study in their roles in the negotiation of care as a form of social power in everyday life, evident in practices and processes ranging from disease treatment and transmission to the design of forms of shelter and the introduction of creative activities as a form of psychiatric therapy and emotional sustenance. Beyond presenting a history of material culture in institutional psychotherapy and introducing an aesthetic approach to the study of asylum objects such as garments and linens, this dissertation connects everyday materials to the transformation of social and cultural meaning. It proposes that we regard soft material forms as redemptive surfaces through which to study shifting relationships of power between the brutality and benevolence of institutional governance and across the creative practices and survival strategies of workers and institutionalized subjects during the period leading up to national independence in North Africa and the deinstitutionalization movement in European psychiatry. I address the scarcity of visual representations of institutional life as in itself a source of historical kn

Estudios sobre cultura visual japonesa, coordinated by Antonio Loriguillo-López, is comprised of nine chapters that reflect on video games, manga, and anime. The team of researchers who write this publication demonstrates the complexity of these objects of study throughout an interdisciplinary and enriching research for this field of study. This book deepens into Japanese visual culture, taking into account identity, history and industry, to name a few topics, which foster discussions around Japan., Estudios sobre cultura visual japonesa, coordinado por Antonio Loriguillo-López, contiene un total de nueve capítulos que reflexionan sobre videojuegos, manga y anime. El plantel de investigadores que conforman la publicación demuestra la complejidad de los objetos de estudio con unas investigaciones tan interdisciplinares como enriquecedoras para el campo. En este libro se profundiza en la cultura visual japonesa atendiendo a la identidad, la historia o la industria, por mencionar algunos temas, que promueven el pensamiento alrededor de Japón.

Visual experiences, eclecticism and social media platforms create new challenges for critical sociology and anthropology. The aim of this article is to reflect on the potential of Nethnography as an appropriate methodological tool with which to analyze the impact of digital structures on everyday social practices. To do so, this article takes a ‘behind-the-scenes’ look at the development of analytic categories in a case study on the impact of the design of the Instagram platform on the style of a sample of young female ‘trappers’. The nethnography’s structural-type analysis led to the establishment of three dimensions based on the uses the young trappers made of the different visual functionalities – or affordances – of the Instagram platform. In discussing how these dimensions were established, the article provides a technical analysis of this method as a way to investigate social changes and to establish analytic categories that emerge from digital environments themselves, and therefore avoids reproducing the logics and categories of traditional social research methods. As an approach, this method offers an alternative to the predominant logics of digital research based on Big Data., Las experiencias visuales, el eclecticismo y las redes sociales plantean nuevos retos a la sociología y la antropología críticas. Este artículo tiene como objetivo reflexionar sobre el potencial de la netnografía como una herramienta idónea para analizar la impronta de las estructuras de estos entornos en las prácticas cotidianas. Para ello vamos a desnudar el proceso de elaboración de categorías de un estudio de caso sobre el impacto del diseño de la plataforma Instagram en la construcción del estilo de una muestra de ‘traperas’. El carácter estructural de la netnografía nos llevó a establecer tres dimensiones basadas en los usos de estas jóvenes de las diferentes funcionalidades visuales de la plataforma –affordances–. Ofrecemos así una reflexión técnica sobre las posibilidades de este método para profundizar en los fenómenos sociales y establecer categorías analíticas que surjan desde los propios entornos digitales, para no reproducir las lógicas derivadas de las categorías tradicionalmente en la investigación social. Un ejercicio con el que buscamos ofrecer una alternativa a las lógicas mayoritarias de la investigación digital como el Big Data.

Since the declaration of the mandatory quarantine in Argentina, the course of Covid-19 was narrated by the National Government and the media not only through words but also, and perhaps in equal measure, through still and moving images. The objective of this work is to apply, to these technical productions, a series of theoretical frameworks belonging to art and social sciences, with the purpose of interpreting the visuality of the phenomenon that concerns us in an integral/interdisciplinary way. We conclude by highlighting the use of images as a substantive element in the narration of the disease., Desde la declaración de la Cuarentena Obligatoria en Argentina, el curso del Covid-19 fue narrado por el Gobierno Nacional y los medios de comunicación no sólo a través de las palabras sino además, y quizás en igual medida, con imágenes fijas e imágenes en movimiento. El objetivo de este trabajo consiste en aplicar, a dichas producciones técnicas, una serie de entramados teóricos pertenecientes al arte y a las ciencias sociales, con el propósito de interpretar la visualidad del fenómeno que nos ocupa de manera integral/interdisciplinaria. Se concluye destacando el uso de imágenes como elemento sustantivo de narración de la enfermedad.

This research offers a sociocultural study of journalistic photography in Venezuela by reviewing images internationally recognized with the World Press Photo and Pulitzer Prizes. From the analysis and contextualization of journalistic and documentary photographs, the objective is to reflect on the social function and uses of the image in contemporary times. The corpus comprises images by Venezuelan or Venezuela-based photographers awarded the prizes mentioned: two individual and two series of photographs. The oldest is Héctor Rondón’s 1962 picture of El Porteñazo. The second photograph and the first of the series shared the context of the 2017 protests and riots against the government of Nicolás Maduro; their authors are Ronaldo Schemidt and Juan Barreto, respectively. The second series showed the victims of hunger and malnutrition in Venezuela and was published in The New York Times; its author is photojournalist Meridith Kohut. All these photographs have been studied using a matrix of analysis that delves into the conflicts and realities they portray, their intrinsic value as images, and their repercussion and projection. We conclude how the visualization of facts through photography and its international recognition affirms the possibilities of the image to approach reality and show its nuances and contrasts, as well as its denouncing value. The fact that these prizes were awarded long after the recorded events makes it possible to revisit the subjects they document, sometimes forgotten or displaced in the maelstrom of new events., Esta pesquisa oferece um estudo sociocultural da fotografia jornalística no cenário venezuelano mediante a revisão das imagens que ganharam reconhecimento internacional nos prêmios World Press Photo e Pulitzer. A partir da análise e contextualização de fotografias de corte jornalístico e documental, o objetivo é refletir sobre a função social e usos da imagem na contemporaneidade. O corpus foi integrado por imagens de fotógrafos venezuelanos ou radicados na Venezuela que foram premiadas com os mencionados prêmios: duas fotografias individuais e duas séries de fotografias. A mais antiga é a foto de Héctor Rondón, de 1962, sobre o acontecimento conhecido como “El Porteñazo”. A segunda das fotografias e a primeira série têm como contexto comum os protestos e distúrbios de 2017 contra o governo de Nicolás Maduro. Seus autores são Ronaldo Schemidt e Juan Barreto, respectivamente. A última série mostra as vítimas da fome e da desnutrição na Venezuela, e foi publicada pelo The New York Times. Sua autora é a fotojornalista Meridith Kohut. Todas essas fotografias são estudadas com a utilização de uma matriz de análise que inclui o aprofundamento dos conflitos e das realidades que mostram, seu valor intrínseco como imagem, bem como a repercussão e projeção delas. As conclusões deste trabalho evidenciam como a visualização dos fatos por meio da fotografia e seu reconhecimento internacional afirmam as possiblidades da imagem para se aproximar da realidade e mostrar suas nuances e contrastes, além de seu valor de denúncia. O fato de esses prêmios serem dados tempo depois dos acontecimentos registrados permite retomar os temas que documentam, às vezes esquecidos ou deslocados ante a voragem dos novos acontecimentos., La presente investigación ofrece un estudio sociocultural de la fotografía periodística en el escenario venezolano mediante la revisión de las imágenes que han recibido reconocimiento internacional en los premios World Press Photo y Pulitzer. A partir del análisis y contextualización de fotografías de corte periodístico y documental, el objetivo ha sido el de reflexionar sobre la función social y usos de la imagen en la contemporaneidad. El corpus ha estado integrado por imágenes de fotógrafos venezolanos o radicados en Venezuela que han sido premiadas con los mencionados galardones: dos fotografías individuales y dos series de fotografías. La más antigua es la foto de Héctor Rondón, de 1962, sobre el suceso conocido como “El Porteñazo”. La segunda de las fotografías y la primera serie tienen como contexto común las protestas y disturbios del 2017 contra el gobierno de Nicolás Maduro. Sus autores son Ronaldo Schemidt y Juan Barreto, respectivamente. La última serie muestra las víctimas del hambre y la desnutrición en Venezuela y fue publicada por The New York Times. Su autora es la fotoperiodista Meridith Kohut. Todas estas fotografías han sido estudiadas empleando una matriz de análisis que incluye la profundización de los conflictos y realidades que muestran, su valor intrínseco como imagen, así como la repercusión y proyección de las mismas. Las conclusiones del trabajo dan cuenta de cómo la visualización de los hechos a través de la fotografía y su reconocimiento internacional afirman las posibilidades de la imagen para aproximarse a la realidad y mostrar sus matices y contrastes. También su valor de denuncia. El que estos premios se otorguen tiempo después de los sucesos registrados permite retomar los temas que documentan, a veces olvidados o desplazados ante la vorágine de nuevos acontecimientos.

This work will analyze three printed books published by the National Typography between 19554 and 1956. The selected corpus can be considered as part of a series of writings that exposed the for- mation of communist groups in Guatemala, and the transgressions and vexations they exercised on political power. The structure of this paper is focused on 3 objectives, the first is to present the front covers of these books to analyze their composition and elements. The second, iconotextual discourse will be exposed, delving into the use of photographic images as support for a policy of criticism and condemnation of communism and its actors. The circulation of these photographs and their use in other printed matter are of great interest for this research, since their analysis explains the articulation of the country ?s internal and external politics. Finally, the third, edito- rial production in Guatemala during those years will be approached in a tangential manner., O presente trabalho analisará três livros impressos publicados pela Tipografia Nacional entre 1954 e 1956. O corpus selecionado pode ser considerado parte de uma série de escritos que expõem a conformação dos grupos comunistas na Guatemala, e as transgressões e vexações que exerciam sobre o poder político. A estrutura deste artigo está centrada em três objetivos: o primeiro é apresentar as capas destes livros para analisar sua composição e elementos; em seguida expor-se-á seu discurso iconotextual, aprofundando-se no uso das imagens fotográficas como sustentáculo de uma política de crítica e condenação do comunismo e seus atores. A circulação destas fotografias e seu uso em outros impressos são de grande interesse para esta investigação, já que sua análise explica a articulação da política interna e externa do país. Finalmente, será abordada de maneira tangencial a produção editorial na Guatemala durante esses anos., Este trabajo analizara? tres libros impresos publicados por la Tipografi?a Nacional entre 1954 y 1956. El corpus seleccionado puede considerarse como parte de un serial de escritos que exponi?an la conformacio?n de los grupos comunistas en Guatemala, y las trasgresiones y vejaciones que ejer- ci?an sobre el poder poli?tico. La estructura de este arti?culo esta? centrada en 3 objetivos. El primero es presentar las portadas de estos libros para analizar su composicio?n y elementos. El segundo expondra? su discurso iconotextual, profundizando en el uso de las ima?genes fotogra?ficas como sustento de una poli?tica de cri?tica y condena al comunismo y sus actores. La circulacio?n de estas fotografi?as y su uso en otros impresos son de sumo intere?s para esta investigacio?n, ya que su ana?- lisis explica la articulacio?n de la poli?tica interna y externa del pai?s. Finalmente, el tercero aborda- ra? de manera tangencial la produccio?n editorial en Guatemala durante esos an?os.

The text addresses the conversation held with the Visual Culture theorist Nicholas Mirzoeff. Although the author is a central reference in the field of Visual Studies —with wide reception in the Ibero-American academy thanks to the publication of books in Spanish such as An introduction to visual culture or How to see the world. A new introduction to visual culture— a fundamental part of his most recent contributions, which present an eloquent colonial critique, has been scarcely reviewed in our region, including conceptual approaches around "visuality complexes", "counter-visuality" and "the right to look”. This interview recovers these notions with the aim of putting them into dialogue with the decolonial perspectives and the symbolic and material struggles of the global South., El texto recoge la conversación mantenida con el especia-lista en teoría y cultura visual Nicholas Mirzoeff.1 Si bien el autor constituye un referente en el campo de los estudios visuales —con amplia recepción en la comunidad iberoamericana gracias a publicación de libros en español como Una introducción a la cultura visual, o Cómo ver el mundo. Una nueva introducción a la cultura visual— parte fundamental de sus aportaciones más recientes, que contienen una marcada crítica colonial, han sido escasamente revisadas en nuestra región, incluyendo los planteamientos conceptuales en torno a los “complejos de visualidad”, la “contravisualidad” y “el derecho a mirar”. Esta entrevista busca retomar dichas nociones para ponerlas a dialogar con las perspectivas de-coloniales y las luchas simbólicas y materiales del Sur global

Visual experiences, eclecticism and social media platforms create new challenges for critical sociology and anthropology. The aim of this article is to reflect on the potential of Nethnography as an appropriate methodological tool with which to analyze the impact of digital structures on everyday social practices. To do so, this article takes a ‘behind-the-scenes’ look at the development of analytic categories in a case study on the impact of the design of the Instagram platform on the style of a sample of young female ‘trappers’. The nethnography’s structural-type analysis led to the establishment of three dimensions based on the uses the young trappers made of the different visual functionalities – or affordances – of the Instagram platform. In discussing how these dimensions were established, the article provides a technical analysis of this method as a way to investigate social changes and to establish analytic categories that emerge from digital environments themselves, and therefore avoids reproducing the logics and categories of traditional social research methods. As an approach, this method offers an alternative to the predominant logics of digital research based on Big Data., Las experiencias visuales, el eclecticismo y las redes sociales plantean nuevos retos a la sociología y la antropología críticas. Este artículo tiene como objetivo reflexionar sobre el potencial de la netnografía como una herramienta idónea para analizar la impronta de las estructuras de estos entornos en las prácticas cotidianas. Para ello vamos a desnudar el proceso de elaboración de categorías de un estudio de caso sobre el impacto del diseño de la plataforma Instagram en la construcción del estilo de una muestra de ‘traperas’. El carácter estructural de la netnografía nos llevó a establecer tres dimensiones basadas en los usos de estas jóvenes de las diferentes funcionalidades visuales de la plataforma –affordances–. Ofrecemos así una reflexión técnica sobre las posibilidades de este método para profundizar en los fenómenos sociales y establecer categorías analíticas que surjan desde los propios entornos digitales, para no reproducir las lógicas derivadas de las categorías tradicionalmente en la investigación social. Un ejercicio con el que buscamos ofrecer una alternativa a las lógicas mayoritarias de la investigación digital como el Big Data.

Pedro Vicente es una de las voces destacadas de la práctica y el pensamiento fotográfico en el ámbito español. Su amplia labor docente, en España y Reino Unido, y su dilatada labor curatorial sirve como soporte a la conversación mantenida con los editores del pre-sente número de ZARCH para ahondar en el papel de la cultura visual contemporánea, en sí misma y bajo el prisma de la labor investigadora., Pedro Vicente is one of the leading voices of photographic thought and practice in Spain. His long-term teaching experience, in Spain and the United Kingdom, and his extensive curatorial work serve as support for the conversation held with the editors of this issue of ZARCH to delve into the role of contemporary visual culture under the research scope.

Carlos Dionisio Neve was a graphic artist born in Xalapa, Veracruz at the end of the 19th century. In his style, symbolism and art nouveau converge, which is why he should be placed next to Julio Ruelas, Saturnino Herrán and Roberto Montenegro. This article has two objectives: 1) to situate Carlos Neve's work historically and 2) to analyze some of his artistic strategies as a graphic artist. I do not focus so much on the "grammar" of the illustrations as on the relationship of the illustrations and their textual referent with the surrounding cultural discourses; that is, I approach the commentary of the illustrations from the artistic and historical tradition., Carlos Dionisio Neve fue un artista gráfico nacido en Xalapa, Veracruz, a finales del siglo XIX. En su estilo confluyen el simbolismo y el art nouveau, por lo que hay que ubicarlo junto a Julio Ruelas, Saturnino Herrán y Roberto Montenegro. El presente artículo tiene dos objetivos: 1) situar históricamente la obra de Carlos Neve; y 2) analizar algunas de sus estrategias como artista gráfico. No nos enfocamos tanto en la ‘gramática’ de las ilustraciones como en la relación de estas y su referente textual con los discursos culturales circundantes; es decir, enfatizamos el comentario de las imágenes desde la tradición estética e histórica.

This article brings together conclusions obtained through the vision provided by the 3rd year subject of History of Art, Aesthetics and Design of the Everydayat the University of Malaga, as well as by the work The System of Objectsby Jean Baudrillard(1968). As an object, the Christmas lighting of Calle Larios is taken for the 2022 festivities, designed by Iluminaciones Ximénez, as a product of the main industrial engine of the city of Malaga today: the hospitality-tourismaxis.From this stagingare derived connotations, encrypted and symbolic values that go unnoticed bythe daily or idle gaze of the public who prostrate themselvesbefore them with no more interest, no more 'doubt', than that of the 'post-perfect'. In thisarticle we intendto decode the narratives that are extracted from these ephemeral works; designs that can be considered anachronistic withinthe modernization process that the capital of the Costa del Sol intends to undertake becauseof its bid to host the Universal Exposition in 2027. Precisely, the setting of the Malaga coastlineis ideal for a phenomenon related toother cultural products that have followed one another becauseof tourism, passingthrough categories such as kitsch or pastiche. Although, there is a patrimonial identity substrate in everything analyzed that, duly, will be contextualized., El presente artículo aglutina conclusiones obtenidas a través de la visión aportada por la asignatura de 3º de Historia del Arte Estética y Diseño de lo cotidiano, en la Universidad de Málaga, así como por la obra El Sistema de los Objetos, de Jean Baudrillard(1968). Como objeto, se toma la iluminación navideña de calle Larios para las fiestas de 2022, diseñada por Iluminaciones Ximénez, como producto del principal motor industrial de la urbe malagueña en la actualidad: el eje hostelería-turismo. De esa puesta en escena se derivan connotaciones, valores encriptados y simbólicos que pasan desapercibidos ante la cotidiana u ociosa mirada del público que se postra ante ellas sin más interés, sin más ‘duda’, que la del ‘post-perfecto’. En el presente artículo se pretenden decodificar las narrativas que se extraen de dichas obras efímeras; diseños que pueden estimarse como anacrónicos dentro del proceso de modernización que la capital de la Costa del Sol pretende acometer como consecuencia de su puja por ser sede de la Exposición Universal de2027. Precisamente, el marco del litoral malagueño resulta idóneo para un fenómeno relacionable con otros productos culturales que se han sucedido como consecuencia del turismo, transitando estos por categorías como lo kitsch o el pastiche. Si bien, existe un sustrato de identidad patrimonial en todo lo analizado que, debidamente, se contextualizará.

An Emblem is a graphic, rhetorical and symbolic “object”, and although its birth took place on a book, the mechanism that gave rise to its invention can be practiced in other «supports» like the Dramatic genre. The emblem comes to the theatrical text not only from an emblem already created but above all through a process of intertextuality in which Emblem Books and other shared sources are involved: Fables, Mythology, Naturalistic Treatises, paintings, etc. In this work we analyze the presence of the Emblematic Culture in the first shepherds Comedies by Lope de Vega., Un emblema es un producto gráfico, retórico y simbólico, y aunque su nacimiento se produjo en las páginas de un libro el mecanismo que da lugar a su invención se puede practicar en otros «soportes» y en otros géneros, entre ellos el dramático. El emblema llega al texto teatral no solo a partir de uno ya creado sino sobre todo mediante un proceso de intertextualidad en el que intervienen libros de emblemas y fuentes que también lo son para la emblemática: fábulas, mitología, tratados naturalistas, pinturas, etc. En este trabajo analizamos la presencia de la cultura emblemática en las primeras comedias pastoriles de Lope de Vega.

La presente investigación ofrece un estudio sociocultural de la fotografía periodística en el escenario venezolano mediante la revisión de las imágenes que han recibido reconocimiento internacional en los premios World Press Photo y Pulitzer. A partir del análisis y contextualización de fotografías de corte periodístico y documental, el objetivo ha sido el de reflexionar sobre la función social y usos de la imagen en la contemporaneidad. El corpus ha estado integrado por imágenes de fotógrafos venezolanos o radicados en Venezuela que han sido premiadas con los mencionados galardones: dos fotografías individuales y dos series de fotografías. La más antigua es la foto de Héctor Rondón, de 1962, sobre el suceso conocido como “El Porteñazo”. La segunda de las fotografías y la primera serie tienen como contexto común las protestas y disturbios del 2017 contra el gobierno de Nicolás Maduro. Sus autores son Ronaldo Schemidt y Juan Barreto, respectivamente. La última serie muestra las víctimas del hambre y la desnutrición en Venezuela y fue publicada por The New York Times. Su autora es la fotoperiodista Meridith Kohut. Todas estas fotografías han sido estudiadas empleando una matriz de análisis que incluye la profundización de los conflictos y realidades que muestran, su valor intrínseco como imagen, así como la repercusión y proyección de las mismas. Las conclusiones del trabajo dan cuenta de cómo la visualización de los hechos a través de la fotografía y su reconocimiento internacional afirman las posibilidades de la imagen para aproximarse a la realidad y mostrar sus matices y contrastes. También su valor de denuncia. El que estos premios se otorguen tiempo después de los sucesos registrados permite retomar los temas que documentan, a veces olvidados o desplazados ante la vorágine de nuevos acontecimientos., This research offers a sociocultural study of journalistic photography in Venezuela by reviewing images internationally recognized with the World Press Photo and Pulitzer Prizes. From the analysis and contextualization of journalistic and documentary photographs, the objective is to reflect on the social function and uses of the image in contemporary times. The corpus comprises images by Venezuelan or Venezuela-based photographers awarded the prizes mentioned: two individual and two series of photographs. The oldest is Héctor Rondón’s 1962 picture of El Porteñazo. The second photograph and the first of the series shared the context of the 2017 protests and riots against the government of Nicolás Maduro; their authors are Ronaldo Schemidt and Juan Barreto, respectively. The second series showed the victims of hunger and malnutrition in Venezuela and was published in The New York Times ; its author is photojournalist Meridith Kohut. All these photographs have been studied using a matrix of analysis that delves into the conflicts and realities they portray, their intrinsic value as images, and their repercussion and projection. We conclude how the visualization of facts through photography and its international recognition affirms the possibilities of the image to approach reality and show its nuances and contrasts, as well as its denouncing value. The fact that these prizes were awarded long after the recorded events makes it possible to revisit the subjects they document, sometimes forgotten or displaced in the maelstrom of new events., Esta pesquisa oferece um estudo sociocultural da fotografia jornalística no cenário venezuelano mediante a revisão das imagens que ganharam reconhecimento internacional nos prêmios World Press Photo e Pulitzer. A partir da análise e contextualização de fotografias de corte jornalístico e documental, o objetivo é refletir sobre a função social e usos da imagem na contemporaneidade. O corpus foi integrado por imagens de fotógrafos venezuelanos ou radicados na Venezuela que foram premiadas com os mencionados prêmios: duas fotografias individuais e duas séries de fotografias. A mais antiga é a foto de Héctor Rondón, de 1962, sobre o acontecimento conhecido como “El Porteñazo”. A segunda das fotografias e a primeira série têm como contexto comum os protestos e distúrbios de 2017 contra o governo de Nicolás Maduro. Seus autores são Ronaldo Schemidt e Juan Barreto, respectivamente. A última série mostra as vítimas da fome e da desnutrição na Venezuela, e foi publicada pelo The New York Times. Sua autora é a fotojornalista Meridith Kohut. Todas essas fotografias são estudadas com a utilização de uma matriz de análise que inclui o aprofundamento dos conflitos e das realidades que mostram, seu valor intrínseco como imagem, bem como a repercussão e projeção delas. As conclusões deste trabalho evidenciam como a visualização dos fatos por meio da fotografia e seu reconhecimento internacional afirmam as possiblidades da imagem para se aproximar da realidade e mostrar suas nuances e contrastes, além de seu valor de denúncia. O fato de esses prêmios serem dados tempo depois dos acontecimentos registrados permite retomar os temas que documentam, às vezes esquecidos ou deslocados ante a voragem dos novos acontecimentos.

Oriented by visual, gender and ethnographic studies, and broadening the focus from the film itself to the reviews in the cinema press of the period, this article offers a new interpretation of the Russian film Bela, a work that has been largely overlooked by critics, directed by Andrej Gromov and written by Marija Kallaš in 1913. Despite being a cinematic adaptation of a 19th century short story composed by Michail Lermontov bearing the same title, and therefore presenting itself as a paradigmatic example of classic narrative cinema, Bela challenges the typical features and conventions of the genre, reversing the standards and experimenting with the peculiarities of the documentary genre, particularly with the aesthetics of the coeval cinematic travelogues. Additionally, Kallaš’s screenplay puts the female character at the very centre of the narrative, and transforms Bela, an exotic Circassian princess depicted through ethnic and gender stereotypes, from a passive icon into an active and mobile figure, immersed in the landscape, able to observe the world around her.

This work will analyze three printed books published by the National Typography between 19554 and 1956. The selected corpus can be considered as part of a series of writings that exposed the for- mation of communist groups in Guatemala, and the transgressions and vexations they exercised on political power. The structure of this paper is focused on 3 objectives, the first is to present the front covers of these books to analyze their composition and elements. The second, iconotextual discourse will be exposed, delving into the use of photographic images as support for a policy of criticism and condemnation of communism and its actors. The circulation of these photographs and their use in other printed matter are of great interest for this research, since their analysis explains the articulation of the country ?s internal and external politics. Finally, the third, edito- rial production in Guatemala during those years will be approached in a tangential manner., O presente trabalho analisará três livros impressos publicados pela Tipografia Nacional entre 1954 e 1956. O corpus selecionado pode ser considerado parte de uma série de escritos que expõem a conformação dos grupos comunistas na Guatemala, e as transgressões e vexações que exerciam sobre o poder político. A estrutura deste artigo está centrada em três objetivos: o primeiro é apresentar as capas destes livros para analisar sua composição e elementos; em seguida expor-se-á seu discurso iconotextual, aprofundando-se no uso das imagens fotográficas como sustentáculo de uma política de crítica e condenação do comunismo e seus atores. A circulação destas fotografias e seu uso em outros impressos são de grande interesse para esta investigação, já que sua análise explica a articulação da política interna e externa do país. Finalmente, será abordada de maneira tangencial a produção editorial na Guatemala durante esses anos., Este trabajo analizara? tres libros impresos publicados por la Tipografi?a Nacional entre 1954 y 1956. El corpus seleccionado puede considerarse como parte de un serial de escritos que exponi?an la conformacio?n de los grupos comunistas en Guatemala, y las trasgresiones y vejaciones que ejer- ci?an sobre el poder poli?tico. La estructura de este arti?culo esta? centrada en 3 objetivos. El primero es presentar las portadas de estos libros para analizar su composicio?n y elementos. El segundo expondra? su discurso iconotextual, profundizando en el uso de las ima?genes fotogra?ficas como sustento de una poli?tica de cri?tica y condena al comunismo y sus actores. La circulacio?n de estas fotografi?as y su uso en otros impresos son de sumo intere?s para esta investigacio?n, ya que su ana?- lisis explica la articulacio?n de la poli?tica interna y externa del pai?s. Finalmente, el tercero aborda- ra? de manera tangencial la produccio?n editorial en Guatemala durante esos an?os.

This writing aims to highlight the child's potential, understood here as what it can become, associated with childhood - time/moment/ground of multiple possibilities and free from prejudice, in national short film productions that explore and present different representations of childhoods in contemporary times, to think about education. It is problematic: what do these childhoods still have to tell us? What do these infant bodies of contemporaneity still instigate and invite to think about education? The research is carried out and remade amidst discursive patches, images, speeches, narratives and intervals, powers that generate reflections, move thought in the face of relationships made possible by the methodology of bricolage. The generated results point to a (re)elaboration that is done not only in the writing of a final work of the Specialization Course, but also in the corporeal experience plotted the intended theme., Esta escrita visa destacar a potencialidade infante, compreendida aqui como sendo aquilo que pode vir a ser, associada à infância - tempo/momento/terreno de possibilidades múltiplas e livres de preconceitos, em produções de curtas-metragens nacionais que exploram e apresentam diferentes representações de infâncias na contemporaneidade, para pensar a educação. Tem-se como problemática: o que essas infâncias têm ainda a nos dizer? O que esses corpos infantes da contemporaneidade ainda instigam e convidam a pensar a educação? A pesquisa se faz e refaz em meio a retalhos discursivos, imagens, falas, narrativas e intervalos, potências que geram reflexões, movimentam o pensamento diante de relações possibilitadas pela metodologia da bricolagem. Os resultados gerados apontam para uma (re)elaboração que se faz não somente na escrita de um trabalho final de Curso de Especialização, mas também na experiência corpórea tramadas a temática pretendida.

Films, soap operas, toys, advertisements, literature and other artifacts of visual culture, when elaborated based on racist values, confer violence on black existences. We are interested, therefore, in seeking artifacts that make positive the aesthetics and experiences characteristic of blackness. From this, this article aims to problematize the racist aspects linked to the education conferred by the visual culture addressed to childhoods. For this, in a first topic, it will be sustained in other academic elaborations, from which, they are based on the studies of the visual culture to highlight the educational and pedagogical aspects of the images. The discussion is directed to the meanings that are visually taught in terms of ethnic-racial relations. Then, the literary work Little Red Riding Hood (2016) by Daniel Wu will be analyzed. The visual characterization made about good and evil is considered unusual and the protagonism attributed to the black character is positive., Filmes, novelas, brinquedos, publicidades, literatura e demais artefatos da cultura visual, quando elaborados a partir de valores racistas, conferem violências às existências negras. Interessamo-nos, pois, por buscar artefatos que positivem as estéticas e experiências características das negritudes. A partir disso, esse artigo objetiva problematizar os aspectos racistas atrelados à educação conferida pela cultura visual endereçada às infâncias. Para isso, adota, primeiro, uma abordagem bibliográfica e, depois, analítica/documental, ambas respaldadas nos estudos da cultura visual. Num primeiro tópico, sustenta-se em outras elaborações acadêmicas, a partir das quais destacam os aspectos educativos e pedagógicos das imagens. A discussão é direcionada aos significados que, visualmente, são ensinados no que tange às relações étnico-raciais. Em seguida, analisa a obra literária Chapeuzinho Vermelho (2016) de Daniel Wu, a partir de procedimentos metodológicos advindos do mesmo campo de investigação. Considera-se inusitada a caracterização visual feita sobre bem e mal e positivo o protagonismo atribuído à personagem negra.

Around 1880, a photography studio in Buenos Aires produced a catalogue containing samples of the cartes-de-visite for sale in the locale. The first image of this book is a copy of a painted miniature of Juan Manuel de Rosas, the former leader of the Argentine Confederation (1829-1852). The conspicuous inclusion of his portrait is surprising, as it defies the exclusion of Rosas from the liberal historiography that the ruling elite of the moment were fiercely promoting. Carefully examining this little studied artifact sheds light on how the practices of consuming, collecting, and exhibiting mass-produced photographic images permitted the articulation of conservative sensibilities. By means of the unspoken and the senses, the visual culture of everyday life made it possible to conceive of an organicist vision of society in times of convulsive modernization., Hacia 1880, un estudio fotográfico de Buenos Aires publicó un muestrario de las tarjetas fotográficas que vendía. La primera imagen del libro es la reproducción de una miniatura pintada de Juan Manuel de Rosas, antiguo líder de la Confederación Argentina (1829-1852). Sorprende la conspicua inclusión de su retrato, ya que va a contracorriente de la exclusión de Rosas de la historiografía liberal fuertemente promovida por la elite dirigente del momento. Examinar detenidamente este artefacto poco estudiado arroja luz sobre cómo las prácticas de consumir, coleccionar y exhibir imágenes fotográficas de producción masiva permitían articular sensibilidades conservadoras. En lo entre-dicho y por medio de los sentidos, la cultura visual cotidiana hacía posible concebir de una imagen organicista de la sociedad argentina en tiempos de una modernización convulsionada.

An Emblem is a graphic, rhetorical and symbolic “object”, and although its birth took place on a book, the mechanism that gave rise to its invention can be practiced in other «supports» like the Dramatic genre. The emblem comes to the theatrical text not only from an emblem already created but above all through a process of intertextuality in which Emblem Books and other shared sources are involved: Fables, Mythology, Naturalistic Treatises, paintings, etc. In this work we analyze the presence of the Emblematic Culture in the first shepherds Comedies by Lope de Vega., Un emblema es un producto gráfico, retórico y simbólico, y aunque su nacimiento se produjo en las páginas de un libro el mecanismo que da lugar a su invención se puede practicar en otros «soportes» y en otros géneros, entre ellos el dramático. El emblema llega al texto teatral no solo a partir de uno ya creado sino sobre todo mediante un proceso de intertextualidad en el que intervienen libros de emblemas y fuentes que también lo son para la emblemática: fábulas, mitología, tratados naturalistas, pinturas, etc. En este trabajo analizamos la presencia de la cultura emblemática en las primeras comedias pastoriles de Lope de Vega.

Throughout the 19th century, most countries were immersed in complex processes of nationalization. That is to say, the different powers tried to make the citizens naturalise and assume their belonging to a nation. And the monarchies were no strangers to this phenomenon; therefore, the kings and queens of the century tried to assume or lead the nationalizing project. The different nationalizing agents made use of all kinds of mechanics, channels and media. Nevertheless, images played a fundamental role. And considering that, in its most elementary expression, the concept of nation refers to a specific population and customs, as well as to a specific territory, we believe that its visual representations are resolved as a privileged vantage point to understand the complex phenomenon of Spanish nationalization. Especially in the case of the monarchy of Isabella II (1833-1868). Our work analyzes the way in which the monarchy understood and developed this nationalizing process from the visual representations of the nation's territory, as well as its population and customs. However, we will focus on the Galería de costumbres de todas las provincias de España that Isabella commissioned the costumbrista painter Manuel Rodríguez de Guzmán (1818-1867) in 1853, to be exhibited in the Royal Palace. A project that reflected the new territorial division by provincias approved in 1833. Likewise, both the analysis of the paintings made for the set and the explanatory texts that were created for it, allow us to study the different aspects that were emphasized at the time of visually representing the nation. &nbsp, A lo largo del siglo XIX, la mayoría de países se vieron sumidos en complejos procesos de nacionalización. Es decir, se trató de que la ciudadanía de esos países naturalizara y asumiera su pertenencia a una nación. Y las monarquías no fueron ajenas a este fenómeno; pues los reyes y reinas de la centuria intentaron asumir o encabezar el proyecto nacionalizador. Los distintos agentes nacionalizadores se valieron de todo tipo de mecánicas, canales y soportes. No obstante, las imágenes jugaron un papel fundamental. Y atendiendo a que, en su expresión más elemental, el concepto nación refiere a una población y a unas costumbres determinadas, así como a un territorio concreto, creemos que sus representaciones visuales se resuelven como una atalaya privilegiada para comprender el complejo fenómeno de nacionalización española. Especialmente, en el caso de la monarquía isabelina (1833-1868). Nuestro trabajo analiza el modo en que el trono desarrolló este proceso nacionalizador desde las representaciones visuales del territorio de la nación, así como su población y costumbres. Sin embargo, nos centraremos en la Galería de costumbres de todas las provincias de España que Isabel II encargó al pintor costumbrista Manuel Rodríguez de Guzmán (1818-1867) en 1853, para exhibir en Palacio. Un conjunto que reflejaba la nueva división territorial por provincias, aprobada en 1833. Igualmente, tanto el análisis de los lienzos realizados para el conjunto como los textos explicativos que para él se crearon, permiten estudiar los distintos aspectos que fueron enfatizados a la hora de representar visualmente la nación.

An Emblem is a graphic, rhetorical and symbolic “object”, and although its birth took place on a book, the mechanism that gave rise to its invention can be practiced in other «supports» like the Dramatic genre. The emblem comes to the theatrical text not only from an emblem already created but above all through a process of intertextuality in which Emblem Books and other shared sources are involved: Fables, Mythology, Naturalistic Treatises, paintings, etc. In this work we analyze the presence of the Emblematic Culture in the first shepherds Comedies by Lope de Vega., Un emblema es un producto gráfico, retórico y simbólico, y aunque su nacimiento se produjo en las páginas de un libro el mecanismo que da lugar a su invención se puede practicar en otros «soportes» y en otros géneros, entre ellos el dramático. El emblema llega al texto teatral no solo a partir de uno ya creado sino sobre todo mediante un proceso de intertextualidad en el que intervienen libros de emblemas y fuentes que también lo son para la emblemática: fábulas, mitología, tratados naturalistas, pinturas, etc. En este trabajo analizamos la presencia de la cultura emblemática en las primeras comedias pastoriles de Lope de Vega.

This research explores how an emulative and practice-based approach can develop a closer understanding of the mysticism of Teresa of Avila. Drawing upon her mystical practice of recogimiento and the inherent visuality of her texts, this thesis seeks to map the psychological form and function of her soul and its relationship with language, word, and image. To do it so presents an innovative methodology for reading her texts which asks: what new vision of Teresa’s mysticism can be developed by approaching her texts in an emulative parallel to the way in which she approached the Divine through Scripture? Drawing upon the centrality of imitatio and meditative visualisation within Teresa’s practice of recogimiento, this parallel emulation focuses upon her textual imagery as an interface for “entering-into” and exploring the mystical topography of her soul and is performed through my artistic practice. This practice weaves together feminist philosophy, visual culture, religion, language, and psychoanalysis into an interdisciplinary lens through which to approach Teresa’s texts through drawing, performance, dialogue, painting, and sculpture. This novel “practice-to-practice” approach draws together key aspects of Teresa’s practice and the creative and interdisciplinary perspectives of my practice to navigate the mystical landscape that lies beyond the threshold of her texts. From this embodied position the thesis traces the function of language within her mysticism – both for Teresa the writer, and Teresa the reader -, and looks to map the functional structure of her soul through notions of word, image, and vision. The resulting map reveals a pattern of word and image that characterises both her practice of recogimiento and the nature of the soul itself. In doing so this project demonstrates how Fine Art practice can function as a methodology for interdisciplinary research.

Aquest treball de final de màster té com a objectiu principal la creació d'un spot publicitari per a englobar el contingut de la unitat didàctica "Organització, disseny i producció d'informació digital", inclosa a l'assignatura TIC (Informàtica) de 4t d'ESO. L'objectiu d'aquesta unitat és ensenyar als alumnes les diferents fases del procés de producció d'una campanya publicitària, des de la idea fins a la postproducció, i així capacitar-los per a crear les seves pròpies campanyes publicitàries. En aquesta memòria s'exposa la metodologia utilitzada per a la creació del spot publicitari, a través de la qual s'ajuda a millorar el treball i l'aprenentatge autònom dels alumnes, i sobretot, afavorir el desenvolupament de la seva creativitat. Un aspecte que en molts casos és deixat de banda en els centres educatius.

This dissertation presents the first architectural history of American hackerspaces, a project designed to explore and understand the evolution of a countercultural form of architecture and entrepreneurial social space that has become common in postindustrial and post-recession US cities. Examining six hackerspaces of varied sizes and constituencies established in the Detroit and San Francisco metropolitan areas between 2007 and 2013, the dissertation considers how hackerspaces interface with American public life and public space. It argues that while nonprofit hackerspaces position themselves as public resources to ameliorate post-recession economic and social precarity, spatially and socially they tend to repeat the exclusionary politics of public space that permeate US urban and architectural history, where spaces that strive to be all-inclusive alternatives to state and market structures fracture along identity lines and unevenly allocate their resources. The dissertation examines, for example, how predominantly white and masculine cultures in the first US hackerspaces led to communal reckonings, increasing insularity, and offshoot hacker spaces that center women, LGBTQIA communities, and other marginalized constituents. Using fieldwork and engagement with vernacular architecture, global urbanism, and media studies literature, the dissertation explores the tension-filled transition of hacker communities from diffuse countercultural scenes to formal participants in the urban fabric. Using interdisciplinary methods to interpret original photographs, architectural documentation, and ethnographic data collected between 2018 and 2022, the dissertation demonstrates how hackerspace communities active in the San Francisco and Detroit areas inscribe digital and political utopianism in physical space. Hackerspace cultures and buildings thus offer microcosms of how aspirations of openness, diversity, and access to public resources outside the bounds of corporate culture, a

This dissertation examines cults of personality from the perspective of cognitive linguistics. Focusing on the cults of Benito Mussolini of Fascist Italy (in power 1922-1943) and Nicolae Ceauşescu of communist Romania (in power 1965-1989), it offers a novel framework for understanding and accounting for longstanding observations regarding such cults’ expressly communicative nature (see e.g. Wedeen 1999; Leese 2007; Márquez 2020; Postoutenko 2022) grounded in an adaptation of Construction Grammar (Goldberg 1995, 2006, 2019; Hoffmann & Trousdale 2013). At its core, Construction Grammar views the entirety of language to be made up of constructions, which are understood as “conventionalized pairings of form and function” that are stored and organized in an interrelated, hierarchical, mental ‘constructional’ network (Goldberg 2006: 1). Although originally devised specifically with human language in mind, Construction Grammar has recently been applied to broader swaths of communication and semiosis beyond language ‘proper’ such as co-speech gesture, image-text configurations, and other patterns that highlight the frequently multimodal nature of human interaction (see e.g. Steen & Turner 2013; Dancygier & Vandelanotte 2017a; Hoffmann 2017b, 2021; Zima & Bergs 2017a,b; Turner 2020, 2022). Aligning itself with such recent extensions, this dissertation considers cultic production (e.g. various conceptually-structured and materially-manifested representations of both Mussolini and Ceauşescu) to constitute cultic constructions that, although operating across communicative modalities, nevertheless often take shape visually in the form of images. To this end, this study explores the possibility of expanding the constructionist enterprise to include not only linguistic or multimodal but also specifically visual constructions into its theoretical apparatus.Within the present approach, such constructions are taken as the basis for all cultic semiosis and communicativ

The aim of this thesis is to study the structures and contents of art paraphrases during the first year of the Covid-19 pandemic through semiotics, intertextuality and intermediality, to create an understanding of what the reuse, or appropriation, of art can mean and which roles it could play in a contemporary visual culture. To achieve this, six “Covid paraphrases” are analysed alongside a rich complementary material collected from November 2021—February 2023 through netnographic methods focused on the social media platform Instagram. The study is centred around three categories of Covid paraphrases: positively modified paraphrases, negatively modified paraphrases and paraphrases modified through the act of substitution. The study finds that Covid paraphrases often build upon famous classical art works that contain human figures. These figures, as well as other elements of the image, are shown to be removed, relocated or replaced in the paraphrase. In other Covid paraphrases, new details are added to the image, often portraying objects connected to the pandemic, such as face masks or toilet paper. Most often, they are created, distributed and viewed through digital media, unlike the art works they build upon which generally take the shape of physical paintings. Surprisingly, the study of art paraphrases during the pandemic shows that the visual culture of Covid-19 consists of a considerable amount of humour despite the unstable state of the world. In this context, the Covid paraphrases play the role of the entertainer, and by reminding the public of the authorities’ restrictions in the fight against the new coronavirus, as well as of the long history of art, the paraphrases can also be seen as a source for information. Together with other new images, the Covid paraphrases create a new visual language filled with pandemic-specific signs. This reuse of images updates classical art works and gives them a new meaning in a modern setting, while simultaneously attaching

Denna studie undersöker och diskuterar möjligheterna som finns för att tala om ett icke-verbalt visuellt identitetsspråk för kammaterial från perioden ca 700–900 e.v.t. Studien utgår från och analyserar arkeologisk forskning som utförts i olika miljöer. Syftet är att se till potentialen som finns för vidare forskning gällande kammar, råmaterial och ornamentiks delaktighet i identitetsprocesser. Genom att studera vardagliga föremål som kammar med nya metoder och teknologi ökar möjligheterna att studera subtila sociala och kulturella fenomen. Undersökningen ämnar därför att även belysa hur nya frågor kan tillkomma och ställas till äldre väl undersökt material., The aim of this study is to discuss and explore the possibility of a non-verbal language based on visuality in comb material dating to c. 700-900 C.E. The study analyses different archaeological research done in different locales within and outside of Scandinavia. The aim is to understand the potential of further research into identity studies based on previously made associations and interpretations regarding combs, raw material and decoration. Through new technologies, the study of everyday objects of the past can be given new context and meaning. This study aims to bring forth the potential in old well documented material.

This essay investigates how the United States has been portrayed by Swedish artists in the 1960´s and 1970’s. The aim is to discover what signs and attributes these posters utilize and how these signs and attributes given to America is reflective of the culture and conception of America in Sweden during this time period. Firstly, using Mieke Bal and Norman Brysons semiotic methodology, presented in Semiotics and art history from 1991, to analyze the signs and connect them to the right contexts in each poster. Secondly, to identify reoccurring themes and conceptions about America, visual culture theory based on Nicholas Mirzoeffs An introduction to visual culture will be used. In these posters USA is visualized in different ways, sometimes expressively with just the text “USA”, but most commonly through representative signs likes the American flag, presidents and pictures from Vietnam. USA is depicted as an imperialistic, capitalistic, militaristic nation with a double standard. The posters are created and contributes to a visual culture. And these negative signs are reflective of the Swedish culture and opinions about the United States that could be found during this time period. The political and social commentary in art is also reflective of the 1960´s and 1970´s Sweden and the changing landscape of the Swedish artworld.

Denna studie undersöker och diskuterar möjligheterna som finns för att tala om ett icke-verbalt visuellt identitetsspråk för kammaterial från perioden ca 700–900 e.v.t. Studien utgår från och analyserar arkeologisk forskning som utförts i olika miljöer. Syftet är att se till potentialen som finns för vidare forskning gällande kammar, råmaterial och ornamentiks delaktighet i identitetsprocesser. Genom att studera vardagliga föremål som kammar med nya metoder och teknologi ökar möjligheterna att studera subtila sociala och kulturella fenomen. Undersökningen ämnar därför att även belysa hur nya frågor kan tillkomma och ställas till äldre väl undersökt material., The aim of this study is to discuss and explore the possibility of a non-verbal language based on visuality in comb material dating to c. 700-900 C.E. The study analyses different archaeological research done in different locales within and outside of Scandinavia. The aim is to understand the potential of further research into identity studies based on previously made associations and interpretations regarding combs, raw material and decoration. Through new technologies, the study of everyday objects of the past can be given new context and meaning. This study aims to bring forth the potential in old well documented material.

The aim of this thesis is to study the structures and contents of art paraphrases during the first year of the Covid-19 pandemic through semiotics, intertextuality and intermediality, to create an understanding of what the reuse, or appropriation, of art can mean and which roles it could play in a contemporary visual culture. To achieve this, six “Covid paraphrases” are analysed alongside a rich complementary material collected from November 2021—February 2023 through netnographic methods focused on the social media platform Instagram. The study is centred around three categories of Covid paraphrases: positively modified paraphrases, negatively modified paraphrases and paraphrases modified through the act of substitution. The study finds that Covid paraphrases often build upon famous classical art works that contain human figures. These figures, as well as other elements of the image, are shown to be removed, relocated or replaced in the paraphrase. In other Covid paraphrases, new details are added to the image, often portraying objects connected to the pandemic, such as face masks or toilet paper. Most often, they are created, distributed and viewed through digital media, unlike the art works they build upon which generally take the shape of physical paintings. Surprisingly, the study of art paraphrases during the pandemic shows that the visual culture of Covid-19 consists of a considerable amount of humour despite the unstable state of the world. In this context, the Covid paraphrases play the role of the entertainer, and by reminding the public of the authorities’ restrictions in the fight against the new coronavirus, as well as of the long history of art, the paraphrases can also be seen as a source for information. Together with other new images, the Covid paraphrases create a new visual language filled with pandemic-specific signs. This reuse of images updates classical art works and gives them a new meaning in a modern setting, while simultaneously attaching

This essay investigates how the United States has been portrayed by Swedish artists in the 1960´s and 1970’s. The aim is to discover what signs and attributes these posters utilize and how these signs and attributes given to America is reflective of the culture and conception of America in Sweden during this time period. Firstly, using Mieke Bal and Norman Brysons semiotic methodology, presented in Semiotics and art history from 1991, to analyze the signs and connect them to the right contexts in each poster. Secondly, to identify reoccurring themes and conceptions about America, visual culture theory based on Nicholas Mirzoeffs An introduction to visual culture will be used. In these posters USA is visualized in different ways, sometimes expressively with just the text “USA”, but most commonly through representative signs likes the American flag, presidents and pictures from Vietnam. USA is depicted as an imperialistic, capitalistic, militaristic nation with a double standard. The posters are created and contributes to a visual culture. And these negative signs are reflective of the Swedish culture and opinions about the United States that could be found during this time period. The political and social commentary in art is also reflective of the 1960´s and 1970´s Sweden and the changing landscape of the Swedish artworld.

This thesis paper explores the relationship between museums and movies, as well as movies as teaching tools that construct worldviews and knowledge about museums and museum studies. I discuss the exhibition I curated, Screen Education (January 23- February 3, 2023), in the Lionel Rombach Gallery at the School of Art, University of Arizona. For the exhibition, I looked at three films, Black Panther (2018), Museo (2018), and Russian Ark (2002), which also act as my review of the literature to better understand how movies function to teach viewers critical museum studies and history. The exhibition displayed and presented my research to the public, but I also collected data through gallery participation. However, the exhibition does not just act as a container for the research; as I argue in the paper, it is actually situated within arts-based research methodology. I analyze participant responses discovering the kind of worldviews that participants constructed from movies and television shows related to museums and art, and beyond. The visitor participation and interpretation created emergent points in the research process that led to new questions and avenues for study. I use Hein’s constructivist learning theory and Hall’s reception theory as a framework to analyze the relationship between museums, movies, and visitors/viewers. Keywords: museums, movies, visual culture education, arts-based research, reception theory, emergent methods

This article brings together conclusions obtained through the vision provided by the 3rd year subject of History of Art, Aesthetics and Design of the Everydayat the University of Malaga, as well as by the work The System of Objectsby Jean Baudrillard(1968). As an object, the Christmas lighting of Calle Larios is taken for the 2022 festivities, designed by Iluminaciones Ximénez, as a product of the main industrial engine of the city of Malaga today: the hospitality-tourismaxis.From this stagingare derived connotations, encrypted and symbolic values that go unnoticed bythe daily or idle gaze of the public who prostrate themselvesbefore them with no more interest, no more 'doubt', than that of the 'post-perfect'. In thisarticle we intendto decode the narratives that are extracted from these ephemeral works; designs that can be considered anachronistic withinthe modernization process that the capital of the Costa del Sol intends to undertake becauseof its bid to host the Universal Exposition in 2027. Precisely, the setting of the Malaga coastlineis ideal for a phenomenon related toother cultural products that have followed one another becauseof tourism, passingthrough categories such as kitsch or pastiche. Although, there is a patrimonial identity substrate in everything analyzed that, duly, will be contextualized., El presente artículo aglutina conclusiones obtenidas a través de la visión aportada por la asignatura de 3º de Historia del Arte Estética y Diseño de lo cotidiano, en la Universidad de Málaga, así como por la obra El Sistema de los Objetos, de Jean Baudrillard(1968). Como objeto, se toma la iluminación navideña de calle Larios para las fiestas de 2022, diseñada por Iluminaciones Ximénez, como producto del principal motor industrial de la urbe malagueña en la actualidad: el eje hostelería-turismo. De esa puesta en escena se derivan connotaciones, valores encriptados y simbólicos que pasan desapercibidos ante la cotidiana u ociosa mirada del público que se postra ante ellas sin más interés, sin más ‘duda’, que la del ‘post-perfecto’. En el presente artículo se pretenden decodificar las narrativas que se extraen de dichas obras efímeras; diseños que pueden estimarse como anacrónicos dentro del proceso de modernización que la capital de la Costa del Sol pretende acometer como consecuencia de su puja por ser sede de la Exposición Universal de2027. Precisamente, el marco del litoral malagueño resulta idóneo para un fenómeno relacionable con otros productos culturales que se han sucedido como consecuencia del turismo, transitando estos por categorías como lo kitsch o el pastiche. Si bien, existe un sustrato de identidad patrimonial en todo lo analizado que, debidamente, se contextualizará.

During the Puerto Rican 20th century, the disease metaphor predominates to analyze Puerto Rico's colonial political relationship with the United States. This metaphor manifests itself in various ways in Puerto Rican literature and visual culture. This dissertation analyzes the mechanisms that have done and undone biopolitical bodies and their relationship with historical time and tropical space in three Puerto Rican novels and documentary films. In addition, I analyze how advances in technoscience reinforce colonial status. Given the biopolitical panorama in Puerto Rico, I propose the culture of suspicion to redirect the biopolitical gaze, and the term trance literature to account for a discursive change in 21st century literature that transforms the political dimension of the body and dismantles the metaphor of the illness. In addition, other political forms are presented that distance us from the hegemonic technobiopower and bring us closer to other ways of understanding conviviality.

During the War of Resistance against Japan (1937–1945), cartoons constituted an important type of cultural production in Japanese-occupied China. Most scholar-ship focuses on the political stances shown in such cartoons. However, this article explores Chinese cartoons that seldom directly addressed political issues in wartime North China. In 1935, Zhang Guangyu created the first Folk Love Songs cartoon, which has been seen as representative of Sinicized cartoons, emphasizing the national characteristics shown in Chinese folk culture. With changes in formal and ideological matters, Folk Love Songs cartoons continued to appear in Japanese-occupied North China, featuring quotidian topics. This article argues that, by visualizing everyday life, Folk Love Songs cartoons displaced and de/politicized (depoliticized and simultaneously repoliticized) the national characteristics embedded in prewar Sinicized cartoons. The motif showcases the complexity of wartime cultural production that was not totally occupied by political propaganda. © 2023 Twentieth Century China Journal, Inc.

This research explores prisoners’ illicit use of digital-media technology during their incarceration in Lebanon. Prisoners smuggle cellphones and access internet and telecommunication connection to produce and mediate videos, images, and voice recordings documenting quotidian experiences of imprisonment, violent events, and the COVID-19 Pandemic inside the notorious and overcrowded Roumieh Central Prison. Fragmentary prison amateur cellphone media messages make their way from behind bars to various media ecologies, from social media to local and international news-media platforms, where they are (re)mediated and often appropriated to feed partisan and sectarian media narratives. In this dissertation, I investigate prison cellphone recordings and their political and testimonial possibilities by tracing the prison media practices responsible for their production and circulation. Influenced by Amel’s (1976, 1988) intellectual project of theorizing from the periphery and the lo popular approach to theorizing media with and from individuals’ media practices in their territory (Martín-Barbero, 1998), I propose a framework for the conceptualization of prisoners’ illicit use of digital-media technologies and the recordings they produce as media from the prison. Based on a foundation of media-practice theory, more specifically the articulation of activist media practices and mediation theory (Martín-Barbero, 1993; Mattoni, 2012; Mattoni & Treré, 2014), I introduce three overarching and overlapping conceptual themes: media witnessing, media mobilization, and vulnerability in resistance. Using this theoretical framework, I examine the categories, characteristics, and modes of framing reflected in prison cellphone recordings, explore their alignment with mechanisms of mobilization and organized protest, and consider them as visual and sonic recorded testimonies that document and communicate personal impressions and the conditions of quotidian life in confinement. The ana

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of St

La presente investigación ofrece un estudio sociocultural de la fotografía periodística en el escenario venezolano mediante la revisión de las imágenes que han recibido reconocimiento internacional en los premios World Press Photo y Pulitzer. A partir del análisis y contextualización de fotografías de corte periodístico y documental, el objetivo ha sido el de reflexionar sobre la función social y usos de la imagen en la contemporaneidad. El corpus ha estado integrado por imágenes de fotógrafos venezolanos o radicados en Venezuela que han sido premiadas con los mencionados galardones: dos fotografías individuales y dos series de fotografías. La más antigua es la foto de Héctor Rondón, de 1962, sobre el suceso conocido como “El Porteñazo”. La segunda de las fotografías y la primera serie tienen como contexto común las protestas y disturbios del 2017 contra el gobierno de Nicolás Maduro. Sus autores son Ronaldo Schemidt y Juan Barreto, respectivamente. La última serie muestra las víctimas del hambre y la desnutrición en Venezuela y fue publicada por The New York Times. Su autora es la fotoperiodista Meridith Kohut. Todas estas fotografías han sido estudiadas empleando una matriz de análisis que incluye la profundización de los conflictos y realidades que muestran, su valor intrínseco como imagen, así como la repercusión y proyección de las mismas. Las conclusiones del trabajo dan cuenta de cómo la visualización de los hechos a través de la fotografía y su reconocimiento internacional afirman las posibilidades de la imagen para aproximarse a la realidad y mostrar sus matices y contrastes. También su valor de denuncia. El que estos premios se otorguen tiempo después de los sucesos registrados permite retomar los temas que documentan, a veces olvidados o desplazados ante la vorágine de nuevos acontecimientos., This research offers a sociocultural study of journalistic photography in Venezuela by reviewing images internationally recognized with the World Press Photo and Pulitzer Prizes. From the analysis and contextualization of journalistic and documentary photographs, the objective is to reflect on the social function and uses of the image in contemporary times. The corpus comprises images by Venezuelan or Venezuela-based photographers awarded the prizes mentioned: two individual and two series of photographs. The oldest is Héctor Rondón’s 1962 picture of El Porteñazo. The second photograph and the first of the series shared the context of the 2017 protests and riots against the government of Nicolás Maduro; their authors are Ronaldo Schemidt and Juan Barreto, respectively. The second series showed the victims of hunger and malnutrition in Venezuela and was published in The New York Times ; its author is photojournalist Meridith Kohut. All these photographs have been studied using a matrix of analysis that delves into the conflicts and realities they portray, their intrinsic value as images, and their repercussion and projection. We conclude how the visualization of facts through photography and its international recognition affirms the possibilities of the image to approach reality and show its nuances and contrasts, as well as its denouncing value. The fact that these prizes were awarded long after the recorded events makes it possible to revisit the subjects they document, sometimes forgotten or displaced in the maelstrom of new events., Esta pesquisa oferece um estudo sociocultural da fotografia jornalística no cenário venezuelano mediante a revisão das imagens que ganharam reconhecimento internacional nos prêmios World Press Photo e Pulitzer. A partir da análise e contextualização de fotografias de corte jornalístico e documental, o objetivo é refletir sobre a função social e usos da imagem na contemporaneidade. O corpus foi integrado por imagens de fotógrafos venezuelanos ou radicados na Venezuela que foram premiadas com os mencionados prêmios: duas fotografias individuais e duas séries de fotografias. A mais antiga é a foto de Héctor Rondón, de 1962, sobre o acontecimento conhecido como “El Porteñazo”. A segunda das fotografias e a primeira série têm como contexto comum os protestos e distúrbios de 2017 contra o governo de Nicolás Maduro. Seus autores são Ronaldo Schemidt e Juan Barreto, respectivamente. A última série mostra as vítimas da fome e da desnutrição na Venezuela, e foi publicada pelo The New York Times. Sua autora é a fotojornalista Meridith Kohut. Todas essas fotografias são estudadas com a utilização de uma matriz de análise que inclui o aprofundamento dos conflitos e das realidades que mostram, seu valor intrínseco como imagem, bem como a repercussão e projeção delas. As conclusões deste trabalho evidenciam como a visualização dos fatos por meio da fotografia e seu reconhecimento internacional afirmam as possiblidades da imagem para se aproximar da realidade e mostrar suas nuances e contrastes, além de seu valor de denúncia. O fato de esses prêmios serem dados tempo depois dos acontecimentos registrados permite retomar os temas que documentam, às vezes esquecidos ou deslocados ante a voragem dos novos acontecimentos.

Visual experiences, eclecticism and social media platforms create new challenges for critical sociology and anthropology. The aim of this article is to reflect on the potential of Nethnography as an appropriate methodological tool with which to analyze the impact of digital structures on everyday social practices. To do so, this article takes a ‘behind-the-scenes’ look at the development of analytic categories in a case study on the impact of the design of the Instagram platform on the style of a sample of young female ‘trappers’. The nethnography’s structural-type analysis led to the establishment of three dimensions based on the uses the young trappers made of the different visual functionalities – or affordances – of the Instagram platform. In discussing how these dimensions were established, the article provides a technical analysis of this method as a way to investigate social changes and to establish analytic categories that emerge from digital environments themselves, and therefore avoids reproducing the logics and categories of traditional social research methods. As an approach, this method offers an alternative to the predominant logics of digital research based on Big Data., Las experiencias visuales, el eclecticismo y las redes sociales plantean nuevos retos a la sociología y la antropología críticas. Este artículo tiene como objetivo reflexionar sobre el potencial de la netnografía como una herramienta idónea para analizar la impronta de las estructuras de estos entornos en las prácticas cotidianas. Para ello vamos a desnudar el proceso de elaboración de categorías de un estudio de caso sobre el impacto del diseño de la plataforma Instagram en la construcción del estilo de una muestra de ‘traperas’. El carácter estructural de la netnografía nos llevó a establecer tres dimensiones basadas en los usos de estas jóvenes de las diferentes funcionalidades visuales de la plataforma –affordances–. Ofrecemos así una reflexión técnica sobre las posibilidades de este método para profundizar en los fenómenos sociales y establecer categorías analíticas que surjan desde los propios entornos digitales, para no reproducir las lógicas derivadas de las categorías tradicionalmente en la investigación social. Un ejercicio con el que buscamos ofrecer una alternativa a las lógicas mayoritarias de la investigación digital como el Big Data.

Architects not only produce images of their projects but also take pictures of the reality around them, eventually appropriating of pictures made by others. In particular, this process of mediated assimilation of reality is quite hard to define as it follows many different criteria that tend to turn the pictures themselves into analogical devices oriented to the design development. Often, a fundamental step of the process is to make them wordless images by removing (intentionally or not) the caption. This action opens the pictures to a wide range of interpretations and uses (as well as misinterpretations and abuses) that are part of the omnivorous creative process of the architects. In order to frame the phenomenology of this process in the extended field of the 20th century art production, this article proposes a chaotic assemblage of major and minor episodes whose considerations indirectly reflects both the mostly unconscious process of the architects and the ‘under-construction’ mental scheme of the author. In this sense, this early, partial, subjective map provides no answers but questions and conjectural work-areas to be tested through further connections and developments.

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of St

This research explores prisoners’ illicit use of digital-media technology during their incarceration in Lebanon. Prisoners smuggle cellphones and access internet and telecommunication connection to produce and mediate videos, images, and voice recordings documenting quotidian experiences of imprisonment, violent events, and the COVID-19 Pandemic inside the notorious and overcrowded Roumieh Central Prison. Fragmentary prison amateur cellphone media messages make their way from behind bars to various media ecologies, from social media to local and international news-media platforms, where they are (re)mediated and often appropriated to feed partisan and sectarian media narratives. In this dissertation, I investigate prison cellphone recordings and their political and testimonial possibilities by tracing the prison media practices responsible for their production and circulation. Influenced by Amel’s (1976, 1988) intellectual project of theorizing from the periphery and the lo popular approach to theorizing media with and from individuals’ media practices in their territory (Martín-Barbero, 1998), I propose a framework for the conceptualization of prisoners’ illicit use of digital-media technologies and the recordings they produce as media from the prison. Based on a foundation of media-practice theory, more specifically the articulation of activist media practices and mediation theory (Martín-Barbero, 1993; Mattoni, 2012; Mattoni & Treré, 2014), I introduce three overarching and overlapping conceptual themes: media witnessing, media mobilization, and vulnerability in resistance. Using this theoretical framework, I examine the categories, characteristics, and modes of framing reflected in prison cellphone recordings, explore their alignment with mechanisms of mobilization and organized protest, and consider them as visual and sonic recorded testimonies that document and communicate personal impressions and the conditions of quotidian life in confinement. The ana

In the context of an environmental crisis, photography and its related practices can be part of an emancipatory project, challenging techno-utopian solutions and envisioning alternative possibilities for sustaining life on this planet. This anthology critically addresses the geopolitics of environmental devastation from the perspective of photographers, artists, curators and theorists. The contributors engage with recent debates about the Anthropocene and the need to identify the socioeconomic and political causes of climate change. The essays question the validity of images within which ecological crisis is seen as the consequence of undifferentiated human activity.

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of St

This research explores prisoners’ illicit use of digital-media technology during their incarceration in Lebanon. Prisoners smuggle cellphones and access internet and telecommunication connection to produce and mediate videos, images, and voice recordings documenting quotidian experiences of imprisonment, violent events, and the COVID-19 Pandemic inside the notorious and overcrowded Roumieh Central Prison. Fragmentary prison amateur cellphone media messages make their way from behind bars to various media ecologies, from social media to local and international news-media platforms, where they are (re)mediated and often appropriated to feed partisan and sectarian media narratives. In this dissertation, I investigate prison cellphone recordings and their political and testimonial possibilities by tracing the prison media practices responsible for their production and circulation. Influenced by Amel’s (1976, 1988) intellectual project of theorizing from the periphery and the lo popular approach to theorizing media with and from individuals’ media practices in their territory (Martín-Barbero, 1998), I propose a framework for the conceptualization of prisoners’ illicit use of digital-media technologies and the recordings they produce as media from the prison. Based on a foundation of media-practice theory, more specifically the articulation of activist media practices and mediation theory (Martín-Barbero, 1993; Mattoni, 2012; Mattoni & Treré, 2014), I introduce three overarching and overlapping conceptual themes: media witnessing, media mobilization, and vulnerability in resistance. Using this theoretical framework, I examine the categories, characteristics, and modes of framing reflected in prison cellphone recordings, explore their alignment with mechanisms of mobilization and organized protest, and consider them as visual and sonic recorded testimonies that document and communicate personal impressions and the conditions of quotidian life in confinement. The ana

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of St

This research explores prisoners’ illicit use of digital-media technology during their incarceration in Lebanon. Prisoners smuggle cellphones and access internet and telecommunication connection to produce and mediate videos, images, and voice recordings documenting quotidian experiences of imprisonment, violent events, and the COVID-19 Pandemic inside the notorious and overcrowded Roumieh Central Prison. Fragmentary prison amateur cellphone media messages make their way from behind bars to various media ecologies, from social media to local and international news-media platforms, where they are (re)mediated and often appropriated to feed partisan and sectarian media narratives. In this dissertation, I investigate prison cellphone recordings and their political and testimonial possibilities by tracing the prison media practices responsible for their production and circulation. Influenced by Amel’s (1976, 1988) intellectual project of theorizing from the periphery and the lo popular approach to theorizing media with and from individuals’ media practices in their territory (Martín-Barbero, 1998), I propose a framework for the conceptualization of prisoners’ illicit use of digital-media technologies and the recordings they produce as media from the prison. Based on a foundation of media-practice theory, more specifically the articulation of activist media practices and mediation theory (Martín-Barbero, 1993; Mattoni, 2012; Mattoni & Treré, 2014), I introduce three overarching and overlapping conceptual themes: media witnessing, media mobilization, and vulnerability in resistance. Using this theoretical framework, I examine the categories, characteristics, and modes of framing reflected in prison cellphone recordings, explore their alignment with mechanisms of mobilization and organized protest, and consider them as visual and sonic recorded testimonies that document and communicate personal impressions and the conditions of quotidian life in confinement. The ana

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of St