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A growing body of research has shown that simple choices involve the construction and comparison of values at the time of decision. These processes are modulated by attention in a way that leaves decision makers susceptible to attentional biases. Here, we studied the role of peripheral visual information on the choice process and on attentional choice biases. We used an eye-tracking experiment in which participants (N = 50 adults) made binary choices between food items that were displayed in marked screen "shelves" in two conditions: (a) where both items were displayed, and (b) where items were displayed only when participants fixated within their shelves. We found that removing the nonfixated option approximately doubled the size of the attentional biases. The results show that peripheral visual information is crucial in facilitating good decisions and suggest that individuals might be influenceable by settings in which only one item is shown at a time, such as e-commerce. [ABSTRACT FROM AUTHOR]

Can visual data provide insights that words do not reveal? Meanings of objects in visual studies are usually captured through elicitation meetings. In this article, we propose to explore them from a purely visual standpoint and assess the methodological and substantive benefits of such denotative approach. We used a database of 660 photographs produced by 225 participants in a study of everyday religious practices in three Latin American cities. Following a 'lived religion' approach, respondents were asked to present an object (or photograph of it) that was 'meaningful' for them, in relation to their spiritual practices. Analyzing these pictures without resorting to the verbal content that accompanied them proved useful to operationalize such a large corpus of visual data, facilitate the transmission of the study's results, and build a representative classification of the types of objects most commonly brought by participants. From a substantive perspective, our analysis contributes to enlarge the spectrum of what is considered religious or spiritual in Latin American cultures, and to question certain assumptions established by conventional theories of religion, such as class stereotypes and the overstated influence of religious institutions. We conclude that a denotative analysis of participant-produced visuals 'beyond words' represents an untapped opportunity to challenge existing representations and elicit new research directions, which, in turn, require returning to verbal data to be elucidated. [ABSTRACT FROM AUTHOR]

This article analyzes Paul Scheerbart's (1863-1915) fantastic literature, particularly his novel Lesabéndio (1913) and the utopian work Glasarchitektur (1914), focusing on the changes in visual culture from the nineteenth century onwards. As an author, Scheerbart stands on a cultural threshold, since the First World War marked a clear transition in European societies. The way that the panoramic view, glass architecture, and other attributes of nineteenth-century visual culture are present in Scheerbart's works is illustrative of his position between the two forms of modernity before and after the war. The article also examines various readings of Scheerbart's works, most importantly the remarks of Walter Benjamin. With its panoramas, dioramas, and eventually photography, twentieth-century visual culture was characterized by the significance of technology--a quintessential aspect of modernity that was examined by Benjamin. Scheerbart's works entail key themes foregrounded by Benjamin, who develops them further into core motifs and concepts of his cultural theory. [ABSTRACT FROM AUTHOR]

Seeing with Palestine was a constitutive possibility in the anticolonial way of seeing from the moment of the Nakba, meaning "catastrophe," the destruction of Palestinian society in 1948. This article traces this way of seeing in the genealogy of visual culture that emerged in Britain in dialogue with Black British cultural studies and art practice, based on the practices of Stuart Hall, George Lamming, John Berger, and Jean Mohr. It then discusses Palestinian artist Randa Maddah, whose work Berger described as "landswept." The conclusion speculates on how to "see in the dark" via the Palestinian artists Basel Abbas and Ruanne Abou Rahme. [ABSTRACT FROM AUTHOR]

The memefication of Squid Game demonstrates the cultural dynamics of media reception in changing media environments. The dissemination of memes facilitates public participation and democratic use of media, however memes also aggravate cultural prejudice and contribute to the segregation of social groups. This study investigates ideological influences involved in spreading Squid Game memes. Squid Game and associated memes demonstrate the ambivalence of cultural dynamics at the global level and identity issues involved in consuming media and pop culture. Theories of postcolonialism and critical discourse analysis are applied to examine media production and distribution of Korean media, and its influence on the reproduction cultural prejudice in changing media environments. Online memes provide the particular impetus underlying contestations between cultural diversity and ideological conservation in our changing media environment. [ABSTRACT FROM AUTHOR]

In Chaharmahal and Bakhtiari province, palaces and castles were built during the Qajar era by Khans and feudal lords, who, while using ethnic and local image culture in the decoration of the building, later became a source for the use of local artificial arts artists and even Other artists have become local identity seekers in the contemporary era. In this process of “give and take” and metamorphosis, an interesting manifestation of Iranian ethno-local pictorial culture was reproduced in combination with official art, which was especially mixed with foreign patterns in Qajar art. Examining these luxurious buildings located in the center of the local governments of the noble Iranian peoples (Turks, Lors, Kurds, Bakhtiaris, etc.) in the Qajar period is very important. “Shalamzar Castle Palace” in Chaharmahal and Bakhtiari province is one of these examples. This article, using a descriptive-analytical method and the method of collecting field and library data, tries to show the evolution of the ethno-local image culture of that era by analyzing the decorations of this building as an example, in the intersection with the Qajari pattern. . In addition to trying to consider ourselves as a rich source for contemporary art, and then becoming especially artists who seek to represent local identity. In the future, it should be extended to other similar examples in all parts of Iran, both in terms of methodology and in order to be exemplary. The Qajar rule, not out of tolerance, but out of compulsion to give concessions to the local and subordinate powers, caused local transformations in official and central art to the architectural structure of magnificent feudal buildings in the lands of noble Iranian tribes. This opportunity to reproduce and mix with innovative patterns on the one hand, and borrowed from Farang on the other hand, provided for ethnic-local arts. [ABSTRACT FROM AUTHOR]

This article begins with the assumption that the specificity of metaphors used to discuss narration and mediation matter for understanding them. For instance, arguing for a paradigm shift in literature concomitant with the visual revolution of Meiji, critic Maeda Ai saw Mori Ōgai's famed early work of realism "Dancing Girl" (Maihime) as translating the effects of the panorama hall into literature. By the end of his career, Mori Ōgai's narrator of Wild Geese (Gan) compares his own storytelling to stereoscopy. These two different visual medial affordances suggest two different techniques. However, I argue that it is in a third visual medium (one that draws on the marketing of panorama and the visual techniques of stereography) that we may find a metaphor suggesting a continuity between these two modes of realism, between Ōgai's early career and his later opus, between Maeda's medial understanding and Ōgai's own. This third metaphor for understanding Ōgai's narration implies his mode of narration is never flat, always polyphonous, and advertising one aesthetic on the surface while providing another within. In the end, this view suggests a modernist realism that understood and expressed its own limitations and was, therefore, all the more realistic. [ABSTRACT FROM AUTHOR]

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Review of: Experimental Filmmaking and Punk: Feminist Audio Visual Culture in the 1970s and 1980s, Rachel Garfield (2022) London: Bloomsbury Academic, 274 pp., ISBN 978-1-78831-399-5, h/bk, £75 ISBN 978-1-35029-308-3, p/bk, £25.99 ISBN 978-1-35019-764-0, ebook, £23.39 [ABSTRACT FROM AUTHOR]

This paper attempts to define a visual culture of plate glass in Canadian exhibition buildings during the second half of the nineteenth century. I approach this material through descriptions and depictions in Canadian periodicals vernacular versions of the "Crystal Palace" exhibition building. In Canadian publications, their glass surfaces often take on certain metaphorical significance, coming to stand in for modernity, to signify purity by their clarity, or to promise a quintessentially modern honesty and openness, as their solid surfaces maintained visual limpidity. However, though glass is allusive in many ways, its signification also remained elusive. Any meaning that glass may encompass is always accompanied by its own opposite; glass can change in a moment from lucid to reflective, from refracting beams of bright light to darkening and dulling, and though it is a physically protective layer, it also permits unmitigated visual connection. The relationship of nineteenth-century Canadian periodicals to the material is marked by this ambiguity. I suggest that glass's physical capacity for dualism is an apt metaphor for the way that the meanings it signified were often contradictory, even when simultaneous. I argue that in the context of these buildings, which intended to put the industry of Canada on display in the service of defining and asserting an emerging nationalism, the paradoxes encompassed by the developing cultural imaginaries around glass are mirrored by the paradoxes of Victorian Canadians' ambiguous and conflicting relationships with nationalism and modernization. [ABSTRACT FROM AUTHOR]

Copyright of Material Culture Review is the property of Cape Breton University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A problem facing art historians and scholars of visual and material culture studies is the white patriarchy that undergirds most visual culture produced in the western world, at least until recent times: whether paintings, book illustration, sculpture, advertising, or the environments that nourish and house these creations, both the producer and the intended viewer for the most part came from one demographic category. Building upon the concept of affordance, this essay questions object-human interactions to propose methodological approaches to visual culture that privilege the inclusion of otherwise siloed or marginalized people (women and people of colour, but also non-western people). By centering on the object represented in or through an image, this essay explores ways of detecting marginalized presence so to foment a more inclusive visual culture while formulating new types of questions that can be asked of our visualized world. [ABSTRACT FROM AUTHOR]

The article offers information on the depiction and significance of glaciers in the 18 century in France and Switzerland, focusing on artworks that depict glaciers and their impact. It explores the portrayal of glaciers in artwork, their dynamic nature, ecological implications, and their significance in shaping landscapes and impacting water levels, indicating the interconnection between glaciers and human life in various contexts.

This book review discusses "Humour in Self-Translation," a collection edited by Margherita Dore. The book focuses on the intersection of Humour Studies and Translation Studies, specifically examining self-translation in the context of multilingualism, mockery, wordplay, social injustice, and television controversial humor. The review highlights the diverse perspectives and topics covered in the book, including literary texts, picture book self-translation, battles against untranslatability, and self-translation of humorous discourse in visual macro memes. The review also emphasizes the importance of creative manipulation and compensation in self-translation to bridge linguistic and cultural gaps. Overall, the review suggests that further research in this area could yield interesting findings on humor in self-translation. [Extracted from the article]

Copyright of Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

How do specific sociopolitical cultural contexts influence the image-making strategies of heads of state on social media? Through a hybrid visual quantitative and qualitative analysis, this study highlights the ways in which political leaders of two countries with vastly different cultural contexts – Spanish President Pedro Sánchez and Indian Prime Minister Narendra Modi – used the social, political, geographical, and cultural particularities of their countries to present themselves visually on Instagram and appeal to the public. The findings suggest that Sánchez and Modi have leveraged Instagram's structural and functional properties to stage political performances infused with cultural markers, to spotlight specific facets of their identity attributes and character traits, as well as to roll out strategic visual narratives conveying their political values and stances on political and policy issues of importance to their target audiences. This study contributes to understanding the role of visual politics in social media-based politicking and how this type of strategic communication builds on cultural cues to frame personalized political identities. [ABSTRACT FROM AUTHOR]

This paper comments on five articles in the special issue "Circulating Images in the Life Sciences." It sees the papers as unified by two themes. The first is their attention to the processes of legitimation. The second is the embedding of the images in textual cultures, which changed over time from the mid‐nineteenth century to the very recent past, most notably with the recent advent of digital culture. [ABSTRACT FROM AUTHOR]

Copyright of SPORMETRE: The Journal of Physical Education & Sport Sciences / Beden Eğitimi ve Spor Bilimleri Dergisi is the property of SPORMETRE: The Journal of Physical Education & Sport Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comunicação, Mídia e Consumo is the property of Escola Superior de Propaganda e Marketing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tempo (1413-7704) is the property of Universidade Federal Fluminense, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Dillem Wilis Agrotourism is a tourist location that is currently the focus of the development of cooperation between the State University of Malang and the Government of Trenggalek Regency. This destination focuses on using regional development to convert the region into a tourism development pilot area. Publication is a major problem that does not have a solution to the problem yet. The publication strategy is to increase public awareness through various methods, such as visual identity design. One form of branding implementation carried out by web design includes features, destination locations, and cafe marketing management in Dillem Wilis. The steps that need to be done in web design are: (1) designing the interface design for the Dilem Wilis agrotourism website, (2) designing a ready-to-access published website program, (3) integrating social media with the designed website. To create the right brand awareness, it is very much determined by a consistent visual identity. The visual identity will describe non-physical attributes such as vision and mission, tourism value, and tourism culture. This study aims to: (1) produce a website design for Dilem Wilis Agrotourism, (2) a ready-to-access website that accommodates various features and strategies for publication of tourist destinations, (3) generate brand awareness through the implementation of web design results into social media projects or promotions of Agrotourism Dilem Wilis Trenggalek. [ABSTRACT FROM AUTHOR]

Dillem Wilis plantation tour is a coffee bean processing company owned by the Dutch government with an area of 40 hectares. The location is in Dompyong Village, Bendungan District, Trenggalek Regency. This company has the potential for clove plantations, dairy farming, and nature tourism with natural potential surrounded by rivers and locations in hilly areas with attractive views. The ancient buildings of the Dutch government still stand strong with the revitalization that has been carried out by the local government. Agrotourism development is currently a priority program for local governments with the construction of road access and supporting infrastructure. Dillem Wilis Agrotourism also has superior products, such as packaged pasteurized milk and Dillem coffee. The visual architecture of the building, packaging of superior products, and sign systems as well as media for publication of tourist destinations do not have unity. To get the attention and awareness of tourists, a creative strategy is needed through the design of the Dillem Wilis agro-tourism brand. The steps that need to be taken in brand design are: (1) designing a visual identity for Dillem Wilis agrotourism, (2) designing physical communication media, (3) designing digital communication media, and (4) marketing visual property and stationary. To create the right brand awareness, it is very much determined by a consistent visual identity. The visual identity will describe non-physical attributes such as vision and mission, tourism value, and tourism culture. This study aims to: (1) produce a brand identity for Dillem Wilis Agrotourism, (2) Integrate the resources owned by Dillem Wilis Agrotourism in order to form a tourism ecosystem, and (3) generate brand awareness through the implementation of the visual identity design into the Dillem Wilis Trenggalek Agrotourism promotion media project using Tim Brown’s design thinking method which refers to Simon Anholt’s regional branding model for the city branding hexagon. [ABSTRACT FROM AUTHOR]

This article considers the appeal of immersive recreations of old London for nineteenth-century audiences. When discussed by scholars now, they are most often presented as conduits of official ideology engaged in promoting a triumphalist narrative of bourgeois ascendance. Here, I explore their appeal to popular audiences, arguing that they presented a more ambivalent set of meanings than is generally recognised and highlighting instances in which the beholders' experience departed from the stated intentions of the makers or organisers. The article draws out the pervasiveness of the riverside motif, which I argue carried a subtext of yearning for a lost harmony between urban and natural environments in the modern metropolis. The immersive illusionism of these reconstructions has been associated with the idea of "passive" spectatorship in which the viewer is enthralled and their critical faculties dulled or immobilised. I argue against this that the immediacy of old London attractions allowed them to become part of the dream geography of modern spectators severed from their own past. As "mind's eye" images, they functioned as phantasmagoric interstitial spaces that could be called upon to inform and transform the real urban environment, and in which emotions such as loss, trauma and desire could be worked out through the free play of the imagination. [ABSTRACT FROM AUTHOR]

This article urges a reorientation in thinking about AI art (and AI more generally), shifting from the common focus on computational 'intelligence' to the embodied, metabolic processing that takes place in our encounters with (moving-image) artworks produced with machine-learning algorithms. Drawing on Merleau-Ponty's corporeal phenomenology, the article argues that spectators' bodies act as filters, distilling visual phenomena from a range of extraperceptual facets of these works; in particular, bodies react to invisible algorithmic infrastructures, which, in the case of machine learning algorithms, also operate as filters in their own right. The collision of metabolic and computational microtemporal operations calls forth a number of embodied affects, ranging from sublime awe to disorientation, cringe, and uncanny feelings of relational and environmental entanglement. These themes are explored through the work of four contemporary artists working with AI: Ian Cheng, Refik Anadol, Jon Rafman, and Yvette Granata. In conversation with these artists, the author explores our bodily responses to AI-generated imagery in an attempt to better understand the stakes, as well as the underlying mechanisms, of the new technology's transformation of our visual culture. [ABSTRACT FROM AUTHOR]

This article situates Lu Xun at the intersection of late‐Qing folkloric discourse and medical science by studying his 1925 essay "Lun zhaoxiang zhilei" ("On Photography"). "On Photography" is a rich yet enigmatic piece of writing that has yet to receive critical attention on its own terms in the scholarship of either Lu Xun or Chinese visual culture. Lu Xun's essay includes a folklore account of "foreign devils" plucking out locals' eyes and pickling them in a jar. Bracketing the magic lantern incident held by many as the primal scene of modern Chinese literature, this article suggests that Lu Xun's account of the eyeball offers a no less significant example of how an alternate optical device can be employed to reflect China's encounter with colonial modernity. Adopting the method of media archaeology, this article argues that Lu Xun's essay holds the key to tracing a genealogy of the eyeball from its embedment in feudal superstition to its embodiment of antimissionary sentiments, from figurative representation in Chinese medical classics to physiological simulation in anatomical treatises, and from anatomical visualization to optical abstraction and modulation. This genealogy constructs the eye as a historically valid subject that morphs from the eye to the eyeball and then to the eye again, a genealogy that is revealing of how China grappled through a crucial period of political, cultural, and scientific sea changes. [ABSTRACT FROM AUTHOR]

This essay casts new light on Aphra Behn's poetry and practice by exploring her preoccupation with human eyes. Behn repeatedly references eyes as objects in her verse, whilst also evoking the visual senses through the use of related verbs and metaphors. I argue that to better understand Behn's fixation with eyes we need to look beyond her verse to visual culture of the period, especially to the portraiture of Sir Peter Lely. Behn's verse and Lely's portraits return repeatedly to the setting of the locus amoenus, an arcadian space populated by amorous swains and shepherdesses. By reading Behn's and Lely's work in dialogue we can better understand a wider philosophy about human desire at work across their œuvres. This approach provides new answers to key questions related to their artistic practice. It explains why Lely repeatedly depicted his sitters with the same "sleepy eyes", an approach oft critiqued but, when understood alongside Behn's poetry, becomes a deliberate move that indicates the conquest of sitter over viewer. The evidence assembled here also suggests that Behn's poetry was directly influenced by portraiture, which had become far more accessible through the introduction of mezzotint engraving in the 1670s and 80s. [ABSTRACT FROM AUTHOR]

This article explores pre-Covid-19 vaccine sentiment through pro-vaccine (pro-vaxx) internet memes with a focus on anti-vaxx mom and Karen figures. We argue that pro-vaxxers on the popular social news aggregate site Reddit employed Karen and other variations on the anti-vaxx mom as a subversion of the mother warrior figure originally meant to be empowering for vaccine sceptics. While anti-vaxx mom and Karen memes were humorous and participatory, they also presented vaccine attitudes in moralistic and reductive terms via the mother valour/blame binary. The study allows us to understand a trajectory of modern vaccine hesitancy and responses to it leading up to Covid-19. Moreover, it explores the emergence of the Karen figure as a manifestation of moral outrage and indicative of broader struggles related to authoritative knowledge. [ABSTRACT FROM AUTHOR]

In mythological periods, many gods are highlighted with their physical characteristics, as we can see from paintings and sculptures. The strong, strong and large structures of the gods in the physical context strengthen their representation on earth. This situation, which is shaped by the physical patterns of mythological gods, is continued by emphasizing the advertisements that form a column of the culture industry with the "male body image" today. In a context parallel to the mythological gods, in today's advertisements, the "male body image" is emphasized in visual forms and brought to the fore with its physical characteristics (width, height, muscular, strong, large structure, etc.). The culture industry is effective in the increase in advertisements based on physical appearance for the male body image, and this also determines the gender boundaries. For this reason, the main question of the study is how the image of the male body is constructed through the culture industry today. The sub-questions of the study are; "with which mythological expressions the image of the male body was constructed from the mythological period to the present; Answers were sought to the questions of how the image of the male body is constructed today and what kind of similarities and differences exist when the mythological periods and the male body image produced today are compared. In addition, in the study, Bartes' semiotic analysis method was used by scanning the images of certain advertisements that highlight the male body suitable for the purpose of the research. [ABSTRACT FROM AUTHOR]

This article analyzes the Minimalism in the social life of Sarıkeçili Nomads under the influence of Western society, which is popular as a Minimalist lifestyle. It also emphasizes the relationship of Sarıkeçili Nomads, who live in the southern regions of Turkey, with the philosophy of Minimalism. Sarıkeçili Nomads have adopted a simple lifestyle as a nomadic community for centuries, making principles such as simplicity and functionality the basic elements of their daily lives. The nomadic lifestyle they have chosen can be passed on to future generations by ensuring the continuity of traditions, customs, and culture. In this article, the aim is to prepare a short documentary film and create documentation by recording the lifestyle and culture of Sarıkeçili Nomads, reinterpreting it according to today's documentary elements. Initially, a literature review was conducted, and the regions where Sarıkeçilis live were determined. Then, the necessary equipment, team, and resources were provided, and fieldwork commenced. Documentary filming was conducted, and simultaneously, fieldwork was carried out to observe the life and cultural style in the regions where Sarıkeçili Nomads reside. The article aims to visually convey the life of Sarıkeçili Nomads and the philosophy of Minimalism to the audience, illustrating their beauty. y combining the power of visual expression with literary content, it attempts to reveal how Minimalism can be realized in harmony with natural life, offering deep meaning and peace to individuals. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article investigates the use of visual communication in sexual and reproductive health information resources produced by an Australian Family Planning organization for different populations – people from culturally and linguistically diverse backgrounds (especially recent immigrants from Syria and Afghanistan), Aboriginal and Torres Strait Islander people, and young people from both these groups. Co-authored by a semiotician and the manager of the organization's Health Promotion Team, it combines visual analysis of semiotic products with firsthand experience of the organization's semiotic practices. The article shows how the same medical information leads to different health information products for different groups on the basis of ideas about what can be considered culturally acceptable to these groups. In this way, it demonstrates a social semiotic approach to the analysis of visual communication in which the findings of analysing visual products are understood in relation to the practices of their production. [ABSTRACT FROM AUTHOR]

The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim's work challenges the racial category of Mizrahi women as "natural workers", constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category's paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim's work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter's camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually. [ABSTRACT FROM AUTHOR]

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Balan's work sets certain parameters in advance of Grgi'c's study, in conjunction with other research undertaken elsewhere. Grgi'c explores the work of Marioara Voiculescu, the first Romanian woman directing a film in 1913 (221), as well as an early Croatian film magazine with the telling title: I Balkan Film i (107-108). Grgi'c manages to produce a synthesis of the Balkans via early cinema, thereby making a significant contribution to both the study of early moving images as well as those still preoccupied with the peninsula as one coherent space. [Extracted from the article]

The article attempts to clarify collage as a popular design practice in art as well as in contemporary visual culture with regard to its factual demands and its educational potential for art lessons. For this purpose, design features as well as perceptual, imaginative and representational abilities are elaborated in order to derive didactic guidelines for tasks in the field of collage. Finally, a curricular learning sequence of collage tasks from primary school to upper school is sketched out using examples. [ABSTRACT FROM AUTHOR]