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This essay explores the various modes of visualities and visual production in Kashmir. It begins with mapping the existing state visualities that use hypervisibilization, victimization, criminalization, and depoliticization as modalities to represent Kashmir. In recent years, long-standing counternarratives to these representations have met with increasing repression, engendering a visual stagnancy. Earlier, countervisuals by photojournalists confronted state visualities by directing the gaze toward Kashmiri bodies. This essay argues that the repeated production and circulation of these realistic images have also reached a point of visual fatigue. At this juncture of a seeming visual impossibility, the essay proposes creative configurations and visual imaginaries through artistic visioning as a means to continue the work of visual production. [ABSTRACT FROM AUTHOR]

This article discusses Kei Miller's The Cartographer Tries to Map a Way to Zion through the lens of visuality and multisensory poetic performance. Reenacting the tradition of map critique in postcolonial poetry, Miller both decries the map's instrumentality to colonial dominance and reflects on the map's utility in creating and communicating spatial knowledge. The two purposes are intensively manifested in his deployment of the visual vis-à-vis other senses. Enmeshing its capacious trope of visuality within a synesthetic poetic texture, Cartographer both revolts against the visual scheme associated with colonial cartographic regulation and erasure, and refashions the eye into a crucial means to affirm and empower underprivileged peoples and cultures. Ultimately, Cartographer illustrates how poetry conducts postcolonial critique through animating and cultivating the senses in a way that gestures beyond the binary of domination and resistance. Miller's cartographic inquiry materializes in a geopoetics actively foregrounding its multisensory engagement, which begets "eye errant" as a paradigm of geo-cultural knowledge that negotiates rather than imposes, recognizes rather than misrepresents. [ABSTRACT FROM AUTHOR]

This paper argues that understanding the power of TikTok's visual discourse is a crucial part of conceptualising the character, inspiration, and ambition of Iran's Gen-Z-led uprising, both at home and across the diaspora. TikTok is a social media platform that depends on visuality. As such, it creates its own specific forms of messaging. This paper seeks to apply an innovative methodology of 'Visual Discourse Tracing' to the Iranian protests. It uses this carefully devised, process-driven method, to highlight the core ways in which TikTok has amplified the message of the Iranian protests, connecting to the grassroots movement and to the longer history of Iranian women's struggle for freedom. Visuality and social media have been crucial in shaping the character of these contemporary protests, necessitating proper theorisation when understanding the wider Iranian protest movement. [ABSTRACT FROM AUTHOR]

The growing presence of everyday visual materials, such as social media images and videos, raises new questions around the ways in which identities are made visible in contemporary contexts. 'Visually informed' critical discursive psychology can be productively leveraged to analyze the diverse intersections of visuality and gender in daily life. To guide future inquiries in this domain, a brief overview of discourse analysis, discursive psychology, and (visually informed) critical discursive psychology is provided. Applying this methodology to the study of gender, an explicit conceptualization of visual gender displays is detailed alongside complementary analytic objectives suitable for future inquiries. Lastly, three categories of visual features are outlined that could be attended to during close examinations of visual data, using extracts from a previous study to illustrate key points. To that end, scholars can visually investigate 'micro' level gender displays as they relate to 'macro' systems of inequality- grounded in a critical discursive psychology framework. [ABSTRACT FROM AUTHOR]

An Ugly Word is an important and timely work: it takes a frightening picture of our times, using interviews and a opportune sociological and critical race theory-based analysis of them to reveal how race thinking imbues perceptions, ideas, and conceptions of racialized Otherness in the mind of young white Italians. It fills a gap in flourishing research on Italian racism that in the last ten years has focused mostly on racist and colonial archives and how they are reproduced in Italian culture, society, and politics. My contribution to the debate opened by the journal on the book focuses on the pervasiveness of race in Italy, on my critique of categorization circulating within the international debate on race, and concludes advocating the importance of maintaining the concept of race and exploring its visual reproduction in Italian and European critical literature, to see racism and fight against it. [ABSTRACT FROM AUTHOR]

This study investigates the first films made by a female director, Kangdrun (T: Gangs sgron, གངས་ྒྲསྒྲོན་, Gangzhen, 岗珍, b. 1995) belonging to the Post-2000s Inland Tibet Class (ITC) generation. Following the experience of the Sinophone-Tibetan filmmaker Kangdrun in a Chinese language education environment, her films, and Tibetan cultural communities, this study discusses Kangdrun’s visual strategies for telling stories from the perspectives of children and youth through a feminine camera eye. The Chinese language education and Tibetan cultural community relations have reshaped the ethnic awareness of the post-2000s ITC generation regarding what can be called ‘a safe Chinese Tibetan citizenship’. This study contributes to a new understanding of modern Tibetan authors’ generational relationships, the expressive styles of the female Sinophone-Tibetan filmmaker, and how affective visuality mediates the cultural, political, and gender identity formation of female artists of the post-2000s ITC generation. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

The article reflects on the current significance of philological studies and attempts to develop a concept of literary studies that accounts for the visual and material forms of the observed and analyzed objects more comprehensively. To illustrate the potential that lies ahead for philology, the author draws on art history and its engagement with the socalled pictorial turn. The author argues that philology would benefit greatly if it became iconophilia as well, meaning if it could recognize the intrinsic entanglements of language/ textuality and visuality that arise from technological and social transformations. [ABSTRACT FROM AUTHOR]

Copyright of Odeere is the property of Edicoes UESB 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.)

Before 1900, in the Czech lands of the Habsburg Monarchy, the lean body of an athlete became a representation of strength, health, and beauty. Through Sokol gymnastics, the body of every Czech man was to be shaped into the form of the somatic mythotype Apollo. After 1900, in circuses, variety shows, and strength sports clubs, a new ideal man embodying somatic mythotype Hercules appeared: the strongman, who transformed a lightly muscled Apollonian shape into a modern Herculean form bulking massive shredded musculature. Strongman Gustav Frištenský in particular, whose body was eroticized, photogenized, nationalized, and racialized, embodied a mobilizing sports star who strengthened the Czech national community. Frištenský's body was shaped by Hellenistic idealism, which gave rise to his adherence to the somatic mythotype of Hercules. This subsequently gave birth to 'musculinity', a new kind of hegemonic masculinity. The perception of Frištenský's body was influenced by a physical resemblance to the Estonian wrestler Georg Lurich, by practices of othering, and the myth of white male supremacy. The steel and statuesque aesthetic of Frištenský's body and the voyeurism of the masses then undermined traditional middle-class prudery and patriarchal control over the distribution of visual pleasure. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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 focuses on Mike Flanagan's Haunting series and brings the pervasive background ghost to the foreground of analysis by studying that which is, as expressed by young Nell in The Haunting of Hill House, 'right here the whole time' and yet cannot be seen. Using Jacques Derrida's seminal notion of 'spectre' and its related 'visor effect' concept to build textual analyses of both The Haunting of Hill House and The Haunting of Bly Manor, this study demonstrates the ways in which the background ghost both reflects and challenges conventional horror dynamics of visuality and spectacularity. Such dynamics extend beyond the story space and involve the implied and near-sighted spectator, at once imperfect ghost-hunter and hunted by the background ghost. Such pervasive mechanics of haunting allow Flanagan to create a space of highly contemporary terror oozing from the screen to the implied viewer. [ABSTRACT FROM AUTHOR]

While practices of visibility, visuality, and visualization have long impacted migration, recently the drone's-eye view has become part of the iconology and iconography of mobility. With the European "migration crisis" of 2015, varieties of drones were used by states to securitize borders, by NGOs to increase accountability and to aid migrants, and by independent drone photojournalists to document the event. This article discusses how the politics of drone use involves understanding the homologies between militarism, securitization, and humanitarianism in the history of the aerial view, and why drone ethics are intertwined with drone aesthetics. Focusing on the photojournalism of Rasmus Degnbol and Rocco Rorandelli, it argues that, while humanitarian drone images are becoming increasingly mundane and unremarkable in news media, there is an aporia immanent to such images, which require confrontation with histories of racialization and colonialism. It seeks to cultivate "aesthetic literacy" in drone journalism by addressing the way humanitarian events are being revisualized through remote technologies that are underpinned by histories of targeting and racialization in which "the human" is often hardly visible at all. [ABSTRACT FROM AUTHOR]

The improbable popularity of the “Kuflis” series by András Dániel raises questions about its causes. What makes this absurd and unlikely fairy-tale world captivating for both a five-year-old and an adult art historian or literature scholar? The “Kuflis” universe is unlike the conventional fairy-tale realm. Its main characters are amorphous, the plot is entirely arbitrary, and the illustrations deliberately defy the traditional beauty ideals of children’s books. Moreover, the moral lessons, or rather the lack thereof, go against the norm, as acknowledged even by the characters within the stories themselves. The series manages to engage the interests of both young children and adults, challenging conventional storytelling norms and aesthetic expectations. The author analyses patterns of the dialogue between text and visuality in the series, that may answer some of the questions discussed above. [ABSTRACT FROM AUTHOR]

The study explores the (re)negotiated visuality of television journalism during the first wave of the epidemic in Slovenia and on this basis examines the visibility of the COVID-19 crisis. Institutionalised procedures and relations of production together with the conventional visual-aural news form are analysed by assessing journalism's (cl)aims of bringing relevant events and disputes to public attention, uncovering hidden social realities, and enabling people to engage in public life. By combining qualitative interviews with journalists and editors of public television and the leading commercial broadcaster with ethnographic content analysis of the lead news packages, the study reveals "not as neat television like before the epidemic", albeit a detailed analysis of the mechanisms for ensuring veracity in the newscasts showed "business as usual" in television journalism. Although the two newsrooms (cl)aimed to be performing in line with the journalism's normative foundations, chiefly monitoring disputes, deviances and changes, making them visible for people in their public engagements and encounters with power, the study points to the emergence of "kaleidoscopic vision". Namely, television journalism provided a shifted, fractured and scrambled vision of the COVID-19 crisis defined by competing, conflicting and dysfunctional narratives articulated in the contradictory (dis)connect within the journalism–power–citizenry nexus. [ABSTRACT FROM AUTHOR]

AbstractThis methodological article introduces and evaluates the use of the ‘Goggle-box’ recording as an ethnographic data collection method. Simply put, the method means video-recording participants watching television within their own homes, as they experience the meanings and materialities that shape their belonging. I argue that the ‘Goggle-box’ recording provided a creative solution to exploring the mundanity of everyday life, which so often marks leisure experiences. This makes it a valuable method for researchers wishing to: explore the sensoriality of everyday leisure experiences, engage with the many interconnections involved in subjective belonging, and produce more substantiate and sustainable challenges to the privileged exclusivity certain subjectivities benefit from. Therefore, this article invites readers to foster their research imaginations, produce creative responses, and consider alternative ways of knowing in their own practice. [ABSTRACT FROM AUTHOR]

Literary critics often cast the English university novel as a traditionalist relic of the nineteenth century, one largely defensive of Oxbridge classics and masculinity. Yet the subgenre was a more subversive cultural nexus of sorts: an attempted reconciliation of novel form with the era's emerging and optically illusive technologies. These Bildungsromane , largely or exclusively set at universities, value letting undergraduates stare at and learn to enjoy outdoor vistas. In turn, they frequently compare those college landscapes to illusory devices like panoramas and magic lanterns. The fictions thus represent a struggle to bridge conventional Oxbridge education with innovative outdoor learning, and Romantic natural aesthetics with a visual subjectivism more akin to the early modernists. The essay begins by linking the so-called visual turn of nineteenth-century studies with the fewer book-length accounts of university fiction. The paper's second section then defines natural versus what I call illusory prospect gazing in English culture; where the former involved staring at outdoor vistas for pleasure, the latter offered this through indoor and often unsettlingly virtual landscapes. Finally, the essay turns to university novels, which combine both forms of prospect gazing for students' educative benefits. While earlier fictions liken college grounds to panoramas, later ones grow fascinated with photographic, phantasmagoric, and kaleidoscopic vistas. We can begin to re-evaluate the university novel, then, as one of the era's new optical technologies: it taught undergraduate characters and readers alike to visually enjoy and distrust their surroundings, and to confront the Romantic legacies and dizzying futures of novel form. [ABSTRACT FROM AUTHOR]

Contemporary art has insistently turned to the experience of migration with a view to making us see, and possibly to making us indirectly experience and reflect on the embodied politics of migration. The documentary mode has featured prominently in art's attempt at accounting for the reality of global migration. Other strategies have privileged a combination of allegory and empiricist experientiality, artists thus aiming at triggering an embodied thought experiment and pondering the brutal and tragic truth of migration. In order to analyze such thought experiments and the experiential contract they elaborate, the essay first turns to exhibitions that have explored the complex aesthetic experience entailed in a collective reflection on mass migration: Persona Grata, the 2019 show jointly imagined by MAC VAL and the Musée de l'histoire de l'immigration in Paris, and When Home Won't Let You Stay: Migration Through Contemporary Art, a show that toured, between 2019 and 2021, from the Institute of Contemporary Art in Boston, to the Minneapolis Institute of Arts, and the Cantor Center for Visual Arts at Stanford University. Building on the analysis of some of the works featuring in these two shows (works by Ben, Kader Attia, or Mona Hatoum), the essay then focuses on the works of Adel Abdessemed (Hope, 2011) and Enrique Ramírez (Les Incertains, 2012–2020), two artists who imagine spectatorial experience as the locus of a political self-reflexive confrontation with the "necropolitics" (Achille Mbembe) of global migration or forced exile. In the shows and works here explored, visual experimentation harnesses the sensorial to a rehistoricizing of the gaze. Art thus becomes the contested site of an embodied unhinging of spectatorship endowed with a renewed, if paradoxical, sense of collective political accountability. [ABSTRACT FROM AUTHOR]

In this essay, the notion of "the people behind the scenes" is used to build a bridge between the cognitive framework of film studies and migration research to describe those who are discursively categorized as "illegal" or "irregular" migrants and whose lives are exploited in the workforce and at risk in "Fortress Europe". As a natural southern border of the Schengen area, the Mediterranean region sometimes offers fleeting encounters between "illegal" migrants excluded by this border regime and foreign travellers courted by the tourism industry. These ephemeral juxtapositions of people with contrasting political and economic stakes create what we call "visual clashes", gathering in one frame antithetical human lived experiences of this maritime area. Drawing on Nicholas Mirzoeff's concept of the "right to look", which the visual culture theorist and activist uses as a bulwark against a dominant Western regime of visuality, this essay analyses a series of visual texts that bear witness to unwanted encounters by this dominant regime's visual system of classification and separation. The essay examines two press photographs and television images alongside Elleke Boehmer's short story "Synthetic Orange", and analyses a cartographic experiment and a film; each case opposes the authority of Western visuality and makes a claim for the autonomy of the right to look. [ABSTRACT FROM AUTHOR]

Proposals for large-scale technical interventions into the Earth system to mitigate global warming – or climate engineering – have sparked considerable debate about their potential implications for international security and global governance. The article furthers this debate by bringing it into dialogue with the literature on visual global politics to develop a more 'imagistic' concept of climate engineering imaginaries. Based on a novel visual dataset, three major visual clusters in the public discourse on climate engineering are identified: images of the human–nature relationship, of climate engineering as tangible infrastructure, and of the actors involved in climate engineering projects. The analysis shows how images and other visuals do not only shape the dominant understanding of climate engineering but also competing imaginaries of future political orders in which such approaches might be deployed. Three main results of this analysis stand out. First, dominant ways of seeing climate engineering can further reinforce already dominant discursive frames by adding 'visual proof' to their underlying claims. Second, climate engineering visuality can also enable the politicisation of climate engineering by rendering concrete projects visible and hence contestable. Third, climate engineering images can paradoxically limit the scope of imagination as they often revolve around powerful visual icons and symbols of the past and present. [ABSTRACT FROM AUTHOR]

This article examines the visual politics of complicity within war, conflict, and military occupation in International Relations (IR). By arguing that complicity is a social relation through which actors navigate violence while drawing on power and resources that are distributed unevenly, it explores the production, articulation, and reception of complicity within the Israeli television series Fauda , which addresses complicit behaviour under the Israeli occupation of Palestine. By building on Feminist IR's engagement with emotions, gender, and visual representations, this article provides a twofold contribution to the study of complicity in international politics. Firstly, the complicit entanglement between creators, distributors, and viewers of Fauda spotlights the cultural workers' role in shaping public knowledge of war, violence, and military occupation, particularly by creating and circulating cultural representations that facilitate the complicity of audiences with the violence that they consume through certain emotional logics (empathy, compassion, fear). Secondly, this article examines representations of complicity within Fauda to shed light on complicit actors' embodied experiences of navigating between different identities while caught in the middle of violence (perpetrator, victim, witness, bystander). To this end, this article develops our understanding of emotions, resistance, and domination in international politics. [ABSTRACT FROM AUTHOR]

The war in Syria has been communicated to global audiences through images of dead and injured children, decapitated and tortured bodies, and ruined cities. The article shows how news media coverage of the war's impact on the city of Aleppo invoked a Gothic tradition. Drawing on Kristeva and Freud's concepts of the abject and the uncanny, the article argues that the Gothic tradition can further International Relations research on the constitution of Selves and Others. The Gothic Other is constituted through the (Gothic) Self's repulsion, fascination, and desire, and the Gothic tradition revolves around an understanding of the invisible as an in-between space of fear and anticipation. The ability to recognise Gothic themes in an image depends on one's familiarity with the Gothic tradition, hence images are theorised as having a Gothic potentiality. The article focuses on how the Anglo-Saxon Gothic tradition enabled Western readers to identify Gothic themes in news coverage of the war in Aleppo. The article adopts a multimethod strategy including a content analysis of 457 images published by Western news media; a discourse analysis of news stories; an analysis of three Gothic, uncanny iconic motifs; and an author-created comic drawing on Gothic elements from the published photographs. [ABSTRACT FROM AUTHOR]

Copyright of Ars is the property of Slovak Academy of Sciences, Institute of Art History of SAS 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 Artnodes is the property of Universitat Oberta de Catalunya 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.)

Increasingly we are faced with broad societal challenges that encourage us to rethink existing institutions. Yet many people also want to preserve institutions they cherish. This tension points to the need for change that can erode or discontinue unsustainable or problematic aspects of institutions while also maintaining what is sacred and valued. In this paper we ask how can organizations deinstitutionalize taken-for-granted practices while also preserving the institution? We answer this question by exploring how Trout Unlimited deployed visual and discursive tactics to push out unsustainable catch-and-harvest fly fishing practices and insert new catch-and-release practices. Our primary theoretical contribution is a model of repair-focused deinstitutionalization, illustrating how custodians utilize three forms of work to respond to threats—mending, caring, and restoring—all with an eye on deinstitutionalization via repair rather than disruption. Importantly, we show how the construct of repair is multipurpose, not limited to maintenance strategies, but can also be a catalyst for change. In addition, we extend research on deinstitutionalization by presenting a multimodal approach that goes beyond discourse, with particular attention to visuality and show how different modalities present different affordances in longer-term repair efforts. [ABSTRACT FROM AUTHOR]

Writing and visuality are inextricably linked, and not only in non-alphabetic writing systems. How can we look at writing from a semiotic point of view, in order to render its complexity as a multidimensional object between transcription and representation, between notation and image? On the one hand, it may be useful to retrace the path already taken by the history of writing systems and the linguistic, philosophical and anthropological traditions on the subject, trying to reflect on writing as a "semiotic place"; on the other hand, it is possible to draw attention to the constant short-circuits and frequent contaminations that exist between image and writing, in graphics and calligraphy, as well as in poetry and the visual arts, and to try to describe their underlying dynamics.

The ways of representing violence and the role of this category in constructing socialist realist discourse are considered. The novel “The Librarian” by Mikhail Elizarov is chosen as the research material. It is established that the novel synthesizes the tradition of socialist realist novels and genre elements of popular literature, with the author placing emphasis on the representation of violence. The article highlights that violence in the novel is visual and cinematic. It is revealed that the protagonist of the novel plays a significant role in such representation, as the artistic world is demonstrated through their perspective. The article shows that the acts of violence presented in the novel become indexes of a particular “Gromovian” world and contribute to the visual and ideological transformation of characters, as well as an inversion of familiar oppositions. The authors of the article determine that the “Gromovian” world is formed around the Book, which actualizes ideas of the periphery and the “golden age”: it is here where violence becomes a legitimate means of communication with characters from both the “Gromovian” and ordinary worlds. It is noted that violence, both physical and psychological, forms fundamental oppositions in the “Gromovian” world, such as “own” versus “other”, “senseless world” versus “ideal world”, and so on. Finally, it is pointed out that through violence, the socialist realist plot about the “remaking” of the hero and their rejection of their own self for the collective “we” is realized.

The article discusses the right to look as an outstanding perspective in General Education Science. It emphasizes that the right to look in education is supported by critical reflections on education and the methods that lead to conclusions about it. The text analyzes the scene of the "Eiertanz" (egg dance) in Goethe's work "Wilhelm Meister's Apprenticeship" and highlights the importance of the gaze and the right to look in this scene. It argues that visuality functions as a hegemonic medium and the right to look is often restricted. The story of Mignon and Meret in the novels "Wilhelm Meister's Apprenticeship" and "The Green Henry" shows how education can be shaped in different ways. [Extracted from the article]

The poetry of ekphrasis by Northern Irish poet, Derek Mahon, is both a creative choice of intermedial writing and an esoteric poetic strategy, which is tied with his thoughts on the autonomy and social function and other related issues as well. This device of "alienation" can be attributed to the social woes in Northern Ireland since the 1960s. It amounts to a reuse and diversified transplantation of shared visual resources, thus "now" and "history", "here" and "there" are juxtaposed and interlocked as a "significant form" of art to counter the breaking down of social norms. The common mechanism of viewing it accomplished in the process provides a way of mending social fissures and incubating an aesthetic community, while cultivating one more thinking path for understanding the visuality of ekphrastic poetry. [ABSTRACT FROM AUTHOR]

This essay explores the development of visual appeal, particularly color, as a key driver of demand in the American food sector between the 1920s and the 1940s. It analyzes, through case studies of oranges and fresh meat, how food producers and retailers sought to create a standardized food color that many consumers would recognize and eventually take for granted as "natural." The creation of "natural" color was a process of standardization, facilitating a new kind of visual regime. This dramatic transformation of visuality in the early twentieth-century American foodscape laid the groundwork for creating standardized, albeit artificial, notions of naturalness and freshness of foods today. [ABSTRACT FROM AUTHOR]

In the context of heightened worldwide migration, emotion-based discourses portraying migrants as fearsome and dangerous continue to regulate nation-state boundaries. This paper reports on a critical visual research study in which migrant youth living in New York City were given digital cameras and asked to take pictures of places they thought were important in their school, neighborhood, and family. The study's research methodology was designed to explore the role of emotion in how migrant youth enacted citizenship and used photography to construct visual counternarratives. In order to challenge emotion-based discourse that excluded migrants, the youth in this study mobilized feelings of care and cultivated transnational affective ties to assert their right to belong in public spaces. Implications for participatory qualitative research methods and school-based civic education practices are explored. [ABSTRACT FROM AUTHOR]

By going through a history of electronic visuality, from fluorescence glows in European laboratories in the nineteenth century to the computer screen in the twentieth century, this paper discusses technical image operations in the interaction between media machines and media people. Examining this set of apparatus from the evolution of a neglected technical object – the vacuum tube, it traces the history of the screen and the temporal-spatial composition of electronic graphics in television, radar, and early computer systems. In doing so, it outlines the entangled history of analog and digital displays and demonstrates the impossibility of neglecting the role of the human observer in the technical invention of visuality. [ABSTRACT FROM AUTHOR]

This proposal presents a transdisciplinary pedagogical project on writing and illustration, framed within the formal teaching of Portuguese Language and Drawing subjects in the 12th grade of the Portuguese public education system. Innovative learning methodologies are proposed which aim to enrich educational experiences, to reinforce knowledge networks and social ties, to encourage paths of (self)discovery and to strengthen autonomous, complex, multidisciplinary and creative thinking. This approach, within the scope of the study of narrative-descriptive and poetic texts, was triggered by the handwritten notes the writer Eça de Queiroz kept in his cabinet and which constituted a fundamental strategy in his creative writing process. Thus, this project aims to develop in students from two different courses, the ability to freely transcribe something observed, to draw the visual imaginary after reading a colleague’s text, to produce an illustration with a free theme and style and to write a text based on a colleague's drawing, assuming subjectivity and identity as determining dimensions in the creation of intertextual relations. The virtual presence of Eça de Queiroz Foundation on social networks was used to access and work with the writer's own materials.

Nature conservation in Namibia today depends on the commercialization of wildlife, which combines conservation efforts with touristic and thus market-oriented targets. In our paper, we frame this trade as an economy of the visual, in which the production of visual encounter value and the sale of particular visual experiences with wild animals are essential. Employing a ‘posthuman political ecology of the visual’ we critically analyze guided game views and forced presentation of animals, and elucidate how the powerful constitution and reproduction of colonial, predominantly male, and bourgeois imaginaries is involved in the commercializing process. We conclude that commercialization of visual wildlife encounter leads to the hegemonic creation of a standardized and exclusive nature worth seeing and, hence, worth conserving. Besides, we expound the problems that commercializing visual encounter entails for the animals, their daily (and nightly) routines, their privacy and their freedom not to be seen. [ABSTRACT FROM AUTHOR]

This article shares the uncertainties, curiosities and disciplinary promiscuities from which the methodolo(R)gy of the doctoral research that I am carrying out about the visualities and sensitive experiences of the menstrual cycle in secondary schools is developed. The narrative and (auto)biographical approach with a situated and queer feminist positioning, in resonance with the visual rhetoric, the gazes and the performance sheltered from Art as a vital language configures the (aesthetic) political proposal that is shared here and from the which this thesis is built. At the same time, this proposal seeks to be a contribution to the demarcation of the understanding of colonial modern science with an objective, empirical and universal claim. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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.)

The following article is an inquiry into the aesthetic valences of the concept of pattern as informed by the contrasting frameworks of Gestalt psychology and information theory. On the trail of its object, it evokes the historical context of the Post-War American aesthetic theory and technological culture and enters into a critical dialogue with texts by its main interlocutors Rudolf Arnheim and György Kepes. The article demonstrates that both theorists grapple with the challenges issued by advances in computation and the epistemological implications of visions of data processing (even machine learning research) ascendant in their time. The discussion has a philosophical orientation in paying particular attention to matters of abstraction underlying patterns, the temporality of pattern formation, and the dimension of subjectivity; it highlights the fundamental oppositions between discrete and holistic coding, as well as quality and quantity. Finally, in its departure from Kepes’s intervention in the relationship between science and art, the article situates the question of pattern in the context of the history of science, putting it in contact with influential treatments of objectivity in the discourse of Lorraine Daston and Peter Galison, but more critically, in the work of Donna Haraway. [ABSTRACT FROM AUTHOR]

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Copyright of Sur le Journalisme, About Journalism, Sobre Jornalismo is the property of Sur le journalisme, About journalism, Sobre jornalismo 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.)