Arts and Humanities › Visual Arts and Performing Arts

Visual Culture and Art Theory

Works Count: 40903

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This cluster of papers explores the interdisciplinary study of visual representation and communication, encompassing topics such as visual culture, intermediality, ekphrasis, iconic turn, media studies, sensory studies, cultural studies, art history, semiotics, and photography.

Keywords

Visual Culture; Intermediality; Ekphrasis; Iconic Turn; Media Studies; Sensory Studies; Cultural Studies; Art History; Semiotics; Photography

No caption needed: iconic photographs, public culture, and liberal democracy

2008-04-01

Robert Hariman , John Louis Lucaites

In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine … In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection. Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism's vital contribution to public life.

The Modalities of Media: A Model for Understanding Intermedial Relations

2010-01-01

Lars Elleström

Mega-events and modernity: Olympics and expos in the growth of global culture

2001-07-01

Maurice Roche

This analysis explores the social history and politics of mega-events from the late 19th century to the present. Through case studies of events such as the 1851 Crystal Palace Expo, … This analysis explores the social history and politics of mega-events from the late 19th century to the present. Through case studies of events such as the 1851 Crystal Palace Expo, the 1936 Berlin Olympics and the 1992 Barcelona Olympics, Maurice Roche investigates the impact Expos and Olympics have had on national identities, on the marking of public time and space, and on visions of national citizenship and international society in modern times. Historical chapters deal with the production of Expos by power elites, their impacts on mass culture, and the political uses and abuses of international sport and Olympic events. Chapters also deal with the impact of Olympics on cities, the growth of Olympics as media events and the current crisis of the Olympic movement in world politics and culture.

Reading images: the grammar of visual design

1996-12-01

Gunther R. Kress , Theo van Leeuwen

Introduction 1. The Semiotic Landscape 2. Narrative Representations: Designing Social Action 3. Conceptual Representations: Designing Social Constructs 4. Representation and Interaction: Designing the Position of the Viewer 5. Morality: Designing … Introduction 1. The Semiotic Landscape 2. Narrative Representations: Designing Social Action 3. Conceptual Representations: Designing Social Constructs 4. Representation and Interaction: Designing the Position of the Viewer 5. Morality: Designing Models of Reality 6. The Meaning of Composition 7. The Materiality of Meaning - Surface and Inscription 8. The Third Dimension

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The Problem of Social Reality

1996-01-01

Alfred Schütz

The Theory of the Photographic Process

1966-10-01

T. H. James , Mary McCarthy

Share Icon Share Twitter Facebook Reddit LinkedIn Reprints and Permissions Cite Icon Cite Search Site Citation T. H. James, M. F. McCarthy; The Theory of the Photographic Process. Physics Today … Share Icon Share Twitter Facebook Reddit LinkedIn Reprints and Permissions Cite Icon Cite Search Site Citation T. H. James, M. F. McCarthy; The Theory of the Photographic Process. Physics Today 1 October 1966; 19 (10): 95–97. https://doi.org/10.1063/1.3047790 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentPhysics Today Search Advanced Search

Art and Agency An Anthropological Theory

1998-09-01

Stephanie Takaragawa

Art and Agency: An Anthropological Theory. Alfred Gell. Oxford:Clarendon Press, 1998. 296 pp. 106 ill. Art and Agency: An Anthropological Theory. Alfred Gell. Oxford:Clarendon Press, 1998. 296 pp. 106 ill.

The Ontology of the Photographic Image

1960-01-01

André Bazin , Hugh Gray

Research Article| July 01 1960 The Ontology of the Photographic Image André Bazin, André Bazin Search for other works by this author on: This Site PubMed Google Scholar Hugh Gray … Research Article| July 01 1960 The Ontology of the Photographic Image André Bazin, André Bazin Search for other works by this author on: This Site PubMed Google Scholar Hugh Gray Hugh Gray Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1960) 13 (4): 4–9. https://doi.org/10.2307/1210183 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation André Bazin, Hugh Gray; The Ontology of the Photographic Image. Film Quarterly 1 July 1960; 13 (4): 4–9. doi: https://doi.org/10.2307/1210183 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. Copyright 1960 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.

Photography and Sociology

1974-09-01

Howard S. Becker

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The Image: Knowledge in Life and Society

1957-10-01

C. Addison Hickman , Kenneth E. Boulding

Essays on the Verbal and Visual Arts

1968-06-01

R. H. Robins , June Helm

Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality

2011-08-10

Irina O. Rajewsky

The concept of intermediality has come to be part of a fixed critical inventory in the debate on literature and the other arts and media. Although there is relative agreement … The concept of intermediality has come to be part of a fixed critical inventory in the debate on literature and the other arts and media. Although there is relative agreement with respect to a definition of intermediality in a broad sense, the research spectrum becomes much more complex, and often contradictory, when precise formal distinctions and the specification and definition of any one particular concept of intermediality are needed. Based on the current state of the question, the present essay specifies one particular approach to intermediality, introducing three more narrowly conceived subcategories, medial transposition, media combination, and intermedial references. By comparison with the genealogical “remediation” concept of Bolter and Grusin, it is shown with respect to which objects and specific research objectives this subdivided concept gains heuristic and practical value. This is particularly the case when detailed analyses of specific medial configurations, their respective meaning-constitutional strategies, and their overall signification are considered.

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Antagonism and Relational Aesthetics

2004-10-01

Claire Bishop

October 01 2004 Antagonism and Relational Aesthetics Claire Bishop Claire Bishop Search for other works by this author on: This Site Google Scholar Author and Article Information Claire Bishop Online … October 01 2004 Antagonism and Relational Aesthetics Claire Bishop Claire Bishop Search for other works by this author on: This Site Google Scholar Author and Article Information Claire Bishop Online Issn: 1536-013X Print Issn: 0162-2870 © 2004 October Magazine, Ltd. and Massachusetts Institute of Technology2004 October (2004) (110): 51–79. https://doi.org/10.1162/0162287042379810 Cite Icon Cite Permissions Share Icon Share Twitter LinkedIn Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Claire Bishop; Antagonism and Relational Aesthetics. October 2004; (110): 51–79. doi: https://doi.org/10.1162/0162287042379810 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAll JournalsOctober Search Advanced Search This content is only available as a PDF. © 2004 October Magazine, Ltd. and Massachusetts Institute of Technology2004 Article PDF first page preview Close Modal You do not currently have access to this content.

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Colour as a Secondary Quality1

1989-01-01

Paul Boghossian , J. David Velleman

Hence I think that these tastes, odors, colors, etc., on the side of the object in which they seem to exist, are nothing else than mere names, but hold their … Hence I think that these tastes, odors, colors, etc., on the side of the object in which they seem to exist, are nothing else than mere names, but hold their residence solely in the sensitive body; so that if the animal were removed, every such quality would be abolished and annihilated. Nevertheless, as soon as we have imposed names on them, particular and different from those of the other primary and real accidents, we induce ourselves to believe that they also exist just as truly and really as the latter.2

Meaning in the Visual Arts

1958-06-01

John Rupert Martin , Erwin Panofsky

Since its original publication, Erwin Panofsky's Meaning in the Visual Arts has been standard reading for students of art It is both an introduction to the study of art and, … Since its original publication, Erwin Panofsky's Meaning in the Visual Arts has been standard reading for students of art It is both an introduction to the study of art and, for those with more specialized interests, a profound discussion of art and life in the Middle Ages and Renaissance. Panofsky's historical technique reveals an abundance of detail, detail he skillfully relates to the life and work of individual painters and their times. papers in this volume represent a cross-section of Panofsky's major work. Included are selections from his well-known Studies in Iconology and The Life and Art of Albrecht Durer, plus an introduction and an epilogue-The History of Art as a Humanistic Discipline and Three Decades of Art History in the United States: Impressions of a Transplanted European-as well as pieces written especially for this collection. All display Panofsky's vast erudition and deep commitment to a humanistic conception of art and art history.

Art and Illusion: A Study in the Psychology of Pictorial Representation

1960-12-01

James J. Gibson , E. H. Gombrich

List of Illustrations ix Preface to the 2000 Edition xxv Preface xxxvii Preface to the Second Edition xli Introduction: Psychology and the Riddle of Style 3 PART ONE: The Limits … List of Illustrations ix Preface to the 2000 Edition xxv Preface xxxvii Preface to the Second Edition xli Introduction: Psychology and the Riddle of Style 3 PART ONE: The Limits of Likeness Chapter 1. From Light into Paint 33 Chapter 2. Truth and the Stereotype 63 PART TWO: Function and Form Chapter 3. Pygmalion's Power 93 Chapter 4. Reflections on the Greek Revolution 116 Chapter 5. Formula and Experience 146 PART THREE: The Beholder's Share Chapter 6. The Image in the Clouds 181 Chapter 7. Conditions of Illusion 203 Chapter 8. Ambiguities of the Third Dimension 242 PART FOUR: Invention and Discovery Chapter 9. The Analysis of Vision in Art 291 Chapter 10. The Experiment of Caricature 330 Chapter 11. From Representation to Expression 359 Retrospect 393 Notes 399 Index 443

The Power of Images: Studies in the History and Theory of Response

1991-01-01

Crispin Sartwell , David Freedberg

learned and heavy volume should be placed on the shelves of every art historical library. E. H. Gombrich, New York Review of Books is an engaged and passionate work by … learned and heavy volume should be placed on the shelves of every art historical library. E. H. Gombrich, New York Review of Books is an engaged and passionate work by a writer with powerful convictions about art, images, aesthetics, the art establishment, and especially the discipline of art history. It is animated by an extraordinary erudition. Arthur C. Danto, The Art Bulletin Freedberg's ethnographic and historical range is simply stunning. . . . The Power of Images is an extraordinary critical achievement, exhilarating in its polemic against aesthetic orthodoxy, endlessly fascinating in its details. . . . This is a powerful, disturbing book. T. J. Jackson Lears, Wilson Quarterly Freedberg helps us to see that one cannot do justice to the images of art unless one recognizes in them the entire range of human responses, from the lowly impulses prevailing in popular imagery to their refinement in the great visions of the ages. Rudolf Arnheim, Times Literary Supplement

Picture theory: essays on verbal and visual representation

1994-12-01

W. J. Thomas Mitchell

List of Illustrations Acknowledgments Introduction 1: The Pictorial Turn 2: Metapictures 3: Beyond Comparison: Picture, Text, and Method 4: Visible Language: Blake's Art of Writing 5: Ekphrasis and the Other … List of Illustrations Acknowledgments Introduction 1: The Pictorial Turn 2: Metapictures 3: Beyond Comparison: Picture, Text, and Method 4: Visible Language: Blake's Art of Writing 5: Ekphrasis and the Other 6: Narrative, Memory, and Slavery 7: Ut Pictura Theoria: Abstract Painting and Language 8: Word, Image, and Object: Wall Labels for Robert Morris 9: The Photographic Essay: Four Case Studies 10: Illusion: Looking at Animals Looking 11: Realism, Irrealism, and Ideology: After Nelson Goodman 12: The Violence of Public Art: Do the Right Thing 13: From CNN to JFK Conclusion: Some Pictures of Representation Index

Iconology: Image, Text, Ideology

1986-01-01

Lee B. Brown , William J. Mitchell

[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language. . . . The … [Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language. . . . The most lucid exposition of the subject I have ever read.--Rudolf Arnheim, Times Literary Supplement

What's In An Image

1985-01-01

Ernest Dichter

The concept of “image” can be applied to a political candidate, a product, a country. It describes not individual traits or qualities, but the total impression an entity makes on … The concept of “image” can be applied to a political candidate, a product, a country. It describes not individual traits or qualities, but the total impression an entity makes on the minds of others. It is a most powerful influence in the way people perceive things, and should be a crucial concept in shaping our marketing, advertising, and communications efforts. Thus, more attention must be paid to the overall impression, the “melody,” of an advertising or marketing campaign, rather than to its specific claims. An image is not anchored in just objective data and details. It is the configuration of the whole field of the object, the advertising, and, most important, the customer's disposition and the attitudinal screen through which he observes. A politician who suddenly starts wearing glasses can radically change his impression on others. Wearing dark glasses will do so even more. Yet he remains the same person. It is his aura, his image, that people have reacted to. By the same token, repackaging a product that has been on the market for decades can make it seem “young” again. The product hasn't changed, but its image has.

There Are No Visual Media

2005-07-26

William J. Mitchell

‘Visual media’ is a colloquial expression used to designate things such as television, film, photography and painting, etc. But it is highly inexact and misleading. On closer inspection, all the … ‘Visual media’ is a colloquial expression used to designate things such as television, film, photography and painting, etc. But it is highly inexact and misleading. On closer inspection, all the so-called visual media turn out to involve the other senses (especially touch and hearing). All media are, from the standpoint of sensory modality, ‘mixed media’. The obviousness of this raises two questions: (1) why do we persist in talking about some media as if they were exclusively visual? Is this just a shorthand for talking about visual predominance? And if so, what does ‘predominance’ mean? Is it a quantitative issue ( more visual information than aural or tactile?) or a question of qualitative perception, the sense of things reported by a beholder, audience, viewer or listener? (2) Why does it matter what we call ‘visual media’? Why should we care about straightening out this confusion? What is at stake?

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IMPOSSIBLE OBJECTS: A SPECIAL TYPE OF VISUAL ILLUSION

1958-02-01

L. S. PENROSE , Roger Penrose

Audio-vision: sound on screen

1994-12-01

The Audiovisual Contract Projections of Sound on Image The Three Listening Modes Beyond Sounds and Images Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations The Audiovisual Scene The … The Audiovisual Contract Projections of Sound on Image The Three Listening Modes Beyond Sounds and Images Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations The Audiovisual Scene The Real and the Rendered Phantom Audio-Vision Sound Film--Worthy of the Name Television, Video Art, Music Video Toward an Audiologovisual Poetics Introduction to Audiovisual Analysis

Social Construction of Reality

2020-01-01

Publikacijoje apžvelgiama žinojimo sociologijos disciplinos raida, pateikiamos svarbiausios jos nagrinėjamos sąvokos ir tyrimo tikslai. Teigiama, kad tikrovė yra socialiskai konstruojama ir kad žinojimo sociologija turi analizuoti sio konstravimo procesus. Ji … Publikacijoje apžvelgiama žinojimo sociologijos disciplinos raida, pateikiamos svarbiausios jos nagrinėjamos sąvokos ir tyrimo tikslai. Teigiama, kad tikrovė yra socialiskai konstruojama ir kad žinojimo sociologija turi analizuoti sio konstravimo procesus. Ji turi aiskinti ne tik empirine žinojimo įvairove visuomenėse, bet taip pat ir procesus, dėl kurių bet kuris žinojimas tampa socialiskai pripažinta tikrove. K. Marxo tezė, kad žmogaus sąmone apsprendžia jo socialinė būtis, tapo bazine žinojimo sociologijos teze. Terminą „žinojimo sociologija“įvedė M. Scheleris. Jis teigė, kad visuomenė lemia idėjų būtį, bet ne jų prigimtį ir pabrėžė individualaus žmogiskojo žinojimo aprioriskumą, kuris prasmės sistemą įgyja visuomenėje. K. Mannheimas teigė, kad visuomenė sąlygoja ne tik žmogiskosios idealizacijos formą, bet ir turinį. Jam svarbiausias buvo ideologijos reiskinys. Skyrė partikuliarinės, totalinės ir bendrosios ideologijos sąvokas. R. Mertonas siekė sujungti žinojimo sociologijos ir struktūrinės funkcinės teorijos pozicijas. Autoriai isplecia sios sociolgijos tyrimo objektą teigdami, kad ji turi tirti ne tik idėjų istoriją, bet viską, kas visuomenėje laikoma žinojimu.

Narrate and Describe: The Problem of Ekphrasis

1991-11-01

Don Fowler

The subject of ekphrasis, and in particular of the ekphrasis of works of art, has recently begun to receive a great deal of attention from classical scholars. As will become … The subject of ekphrasis, and in particular of the ekphrasis of works of art, has recently begun to receive a great deal of attention from classical scholars. As will become clear, I believe that the reason for this is that many of the theoretical issues that are most pressing in classical studies — and indeed in cultural studies in general — are raised by the study of ekphrasis. The purpose of this note on the other hand is modest: I want to say a little about the narratological issues that are raised by set-piece description (I), and to look at one example in the Aeneid (II). But even so I have found it impossible not to offer some thoughts of a frighteningly general nature (III). I shall concentrate on the ekphrasis of works of art for reasons that will again become clear, but some at least of what I shall say will also be relevant mutatis mutandis to the ekphrasis of natural features and events.

The Modern System of the Arts: A Study in the History of Aesthetics Part I

1951-10-01

Paul Oskar Kristeller

Aesthetics; Problems in the Philosophy of Criticism

1959-03-01

Edward A. Lippman , Monroe C. Beardsley

Verbal Art as Performance

1986-01-01

Dale Jones , Richard Bauman

Suspensions of Perception

1999-01-01

Jonathan Crary

Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography.Suspensions of Perception … Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography.Suspensions of Perception is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century.Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle.Crary approaches these issues through multiple analyses of single works by three key modernist painters—Manet, Seurat, and Cezanne—who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices.Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.

Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art

1948-01-01

Albert Stephanides , Susan K. Langner

The Act of Reading: A Theory of Aesthetic Response

1979-01-01

Daniel T. O’Hara , Wolfgang Iser

Mimesis as Make-Believe: On the Foundations of the Representational Arts

1991-01-01

R. R. , Kendall L. Walton

Civil imagination: a political ontology of photography

2013-03-22

Ariella Azoulay , Louise Bethlehem

Photography, writes Ariella Azoulay in Civil Imagination, is an event and an encounter, irreducible to its end product: the photograph. This shift in focus to the practice of producing photographs … Photography, writes Ariella Azoulay in Civil Imagination, is an event and an encounter, irreducible to its end product: the photograph. This shift in focus to the practice of producing photographs (the Copernican Revolution in studying photography) brings to light how images can both reinforce and resist power regimes. Azoulay engages with Arendt and Benjamin, arguing that art-world concerns regarding authorship, intention and frameworks should be replaced with a discussion of what can be seen, and where the imagination can break through political boundaries. Showing how photographs from the occupied territories of Gaza and the West Bank recognize or deny the Palestinian disaster, Azoulay reconstructs the narrative of the responsible, ruling regime - and in so doing, also demonstrates how its power can be renegotiated through acts of imagining. Packaged beautifully with many color photographs, Civil Imagination is a provocative argument for photography as a civic practice, capable of reclaiming power for the purposes of critique, freedom and resistance.

Iconology

1986-01-01

William J. Mitchell

dopuszcza się delikatnych prowokacji pod adresem historyków sztuki badających twórczość Stanisława Igna cego Witkiewicza; twierdzi, że pomijają dopuszcza się delikatnych prowokacji pod adresem historyków sztuki badających twórczość Stanisława Igna cego Witkiewicza; twierdzi, że pomijają

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The Rules of Art: Genesis and Structure of the Literary Field

1997-09-01

Harrison C. White , Pierre Bourdieu , Susan Emanuel

Narrative Time

1980-10-01

Paul Ricœur

The Predicament of Culture: Twentieth Century Ethnography, Literature, and Art

1990-01-01

Terry Straus , NAES History and Culture Seminar , James Clifford

Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice

2016-04-29

Ruth Webb

Interpreting Objects and Collections

2010-02-16

Susan Pearce

This volume brings together for the first time the most significant papers on the interpretation of objects and collections and examines how people relate to material culture and why they … This volume brings together for the first time the most significant papers on the interpretation of objects and collections and examines how people relate to material culture and why they collect things. The first section of the book discusses the interpretation of objects, setting the philosophical and historical context of object interpretation. Papers are included which discuss objects variously as historical documents, functioning material, and as semiotic texts, as well as those which examine the politics of objects and the methodology of object study. The second section, on the interpretation of collections, looks at the study of collections in their historical and conceptual context. Many topics are covered such as the study of collecting to structure individual identity, its affect on time and space and the construction of gender. There are also papers discussing collection and ideology, collection and social action and the methodology of collection study. This unique anthology of articles and extracts will be of inestimable value to all students and professionals involved in the interpretation of objects and collections.

Parables for the virtual: movement, affect, sensation

2002-12-01

Brian Massumi

Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor … Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, Parables for the Virtual tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. Parables for the Virtual will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general.

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Mimari Mekânın Sanatsal Üretime Etkisi: Little Frank and His Carp Performansının Video Analizi

2025-06-25

Emel Başarık Aytekin | Modular Journal

Sanat, bütünü oluşturan yapıları ve ilişkileri yeniden üreten söylemlerin ve göstergelerin yansımalarını içerir. Bu etkiler biçimsel, fenomenolojik, semiyotik yansımaların yanı sıra sosyal, ekonomik ve psikolojik boyutlara sahiptir. Çalışmanın amacı, kavramsallaştırılan … Sanat, bütünü oluşturan yapıları ve ilişkileri yeniden üreten söylemlerin ve göstergelerin yansımalarını içerir. Bu etkiler biçimsel, fenomenolojik, semiyotik yansımaların yanı sıra sosyal, ekonomik ve psikolojik boyutlara sahiptir. Çalışmanın amacı, kavramsallaştırılan sanatsal içeriklerin bir yansıması olduğu varsayılan mimari mekânın, sanat üretimine etkisinin araştırılmasıdır. Sanat-mekân etkileşimi, izleyici deneyimi ve sanat yapıtının sosyo-kültürel bağlamının ele alındığı çalışmada, performans sanatı ve mimari mekân ilişkisini yorumlamaya yönelik nitel bir araştırma gerçekleştirilmiştir. Durum çalışması yönteminin kullanıldığı araştırmanın nesnesi, 2001 yılında Bilbao Guggenheim Müzesi’nde Andrea Fraser tarafından gerçekleştirilen ‘Little Frank and His Carp’ adlı performansın videosudur. Bütüncül tek durum desenin tercih edildiği yorumlayıcı durum araştırmasında, Fraser’ın performansında işlediği güç ilişkileri, kimlik oluşumu gibi fenomenolojik konuların, semiyotik yansımaları müzenin biçimsel mimari mekânı bağlamında değerlendirilmiştir. Bu çalışmada, performans videosu sekanslara ayrılarak görsel-biçimsel analiz yöntemi uygulanmıştır. Sanatçının jestleri, kullandığı nesneler ve mekânın sembolik anlamları arasındaki ilişki, Roland Barthes’ın göstergebilimsel analiz yöntemi çerçevesinde değerlendirilmiştir. Analizde, Barthes’ın düz anlam (dénotation) ve yan anlam (connotation) kavramları temel alınarak, performansın anlam katmanları çözümlenmiş ve görsel öğelerin taşıdığı simgesel değerler incelenmiştir. Bu yaklaşım, performansın sanatsal ve kültürel bağlamda nasıl bir anlam inşası gerçekleştirdiğini açıklamaya katkıda bulunmuştur.

The Long Take and its Prototypes

2025-06-20

M. S. Bavykina | Journal of Film Arts and Film Studies

The article considers possible ways of describing the genesis of the form and function of the long take through the preceding experience of working with duration in static images and … The article considers possible ways of describing the genesis of the form and function of the long take through the preceding experience of working with duration in static images and other media. The long take becomes a form that accumulates the strategies developed for static images: multiple layers, stretching and compressing time and space, contemplative practices, dramaturgy of viewing, and so on, all of which is combined with the expressive potential of the “duration” of the moving image, thus achieving various aesthetic results — intensification of dramatic effect or, on the contrary, complete de-dramatization.

Digitale Bilderkämpfe

2025-06-19

| Digitale Gesellschaft

Internet-Meme sind mehr als nur humorvolle Bilder: Sie werden strategisch eingesetzt, um Weltbilder zu prägen und gesellschaftliche Grenzen zu verschieben. Besonders die extreme Rechte nutzt sie als Instrument der Metapolitik, … Internet-Meme sind mehr als nur humorvolle Bilder: Sie werden strategisch eingesetzt, um Weltbilder zu prägen und gesellschaftliche Grenzen zu verschieben. Besonders die extreme Rechte nutzt sie als Instrument der Metapolitik, um subtil Einfluss auf den öffentlichen Diskurs zu nehmen und ihre Ideologien in den Mainstream zu tragen. Mit den Mitteln des Humors verändern sie, was sagbar ist, und beeinflussen unser Denken. Die Beiträge beleuchten interdisziplinär, wie Meme funktionieren, wie sie analysiert werden können und warum sie eine zentrale Rolle in der politischen Kommunikation spielen.

Beyond the Lens: A Barthesian Perspective on the Meaning of Travel Photography

2025-06-19

Burak Atasoy | Journal of Tourism and Gastronomy Studies

Since the introduction of the camera, photography and tourism have had a major link. Tourism companies and regional administrators frequently emphasize the use of images in presenting idealized experiences. The … Since the introduction of the camera, photography and tourism have had a major link. Tourism companies and regional administrators frequently emphasize the use of images in presenting idealized experiences. The stories that these photographs tell have been studied by academics, but less is known about the individual viewpoints that travelers express through their own photos. Investigating whether travel photos by visitors contribute to national and international narratives is the goal of this study. 17 trip photos were chosen from the Travel Photographer of the Year 2024 (TPOTY) collection and analyzed using the semiotic technique of R. Barthes. The results show that these pictures effectively convey cultural elements, customs, legacy, and genuineness while simultaneously emphasizing the consequences of modernity and globalization. Travelers express changes in society and convey complex identities and perspectives through their photographs. The changing expectations and sensitivities in society are depicted in this visual narrative. Consequently, there is a dynamic interaction between tourism and imagery.

SOSYAL MEDYA İLE SANAT ESERİNİN DÖNÜŞÜMÜ

2025-06-19

Hatice Pınar Dönmez | Kadim Akademi SBD

Kitle iletişim araçlarının ve internet teknolojisinin gelişmesiyle sosyal medya, yaşamın her alanını etkisi altına alan bir kavram haline gelmiştir. Günümüzde kültürel, sektörel ve haber alma gibi birçok farklı amaç doğrultusunda … Kitle iletişim araçlarının ve internet teknolojisinin gelişmesiyle sosyal medya, yaşamın her alanını etkisi altına alan bir kavram haline gelmiştir. Günümüzde kültürel, sektörel ve haber alma gibi birçok farklı amaç doğrultusunda kullanılan sosyal medya, katılımcı kültürü oluşturmaktadır. Sanat eseri, sanatçılar ve ilgili kurumların da sosyal medyayı aktif bir şekilde kullanmasıyla sanat alanı da kavramsal olarak dönüşüm geçirmektedir. Bu sebeple literatüre dayalı olarak hazırlanan derlemenin amacı, sanat eserinin sosyal medya öncesi ve sonrası dönemlerine ait bilgiler sunarak sanatın bir iletişim aracı olarak kullanılmasının önemini ortaya koymaktır. Bu derlemede, sanat eserinin sosyal medya öncesi ve sonrası dönemlerine ait bilgiler verilerek sanatın bir iletişim aracı olarak kullanılmasının önemi açıklanmıştır. Sanat eserinin tarihsel bağlamı üzerinden yeni teknolojiler ile nasıl bir konumda olduğu ve sosyal medyanın da etkisiyle günümüz sanat dünyasından örnekler sunulmuştur. Buna göre; sanat eserinin sosyal medyada paylaşılması, dijitalleşmenin beraberinde getirdiği bir sonuç olarak ele alınarak bu konunun yorumlanmasına katkı sağlayabilir. Ayrıca bu konudaki araştırmalara kaynak oluşturarak daha kapsamlı nicel ve nitel araştırmaların yapılması önerilebilir.

Portre Fotoğraf Sanatında Göz İşaretleri ve Bakış: Anlam İnşası Üzerine Bir İnceleme

2025-06-17

Yavuz Alkaya | Yıldız Journal of Art and Design

Portre fotoğraf sanatında göz ve bakış kavramlarının anlam inşasındaki rolü bu çalışmanın odak noktasını oluşturmaktadır. Çalışmanın amacı, gözlerin ve bakışın fotoğraftaki anlatıyı nasıl yönlendirdiğini, izleyiciyle kurulan anlam ilişkisini nasıl etkilediğini … Portre fotoğraf sanatında göz ve bakış kavramlarının anlam inşasındaki rolü bu çalışmanın odak noktasını oluşturmaktadır. Çalışmanın amacı, gözlerin ve bakışın fotoğraftaki anlatıyı nasıl yönlendirdiğini, izleyiciyle kurulan anlam ilişkisini nasıl etkilediğini ve sözsüz iletişim bağlamında nasıl bir işlev üstlendiğini ortaya koymaktır. Araştırmanın kuramsal çerçevesi, Eckhard Heinrich Hess’in (1975) gözlerin duygusal ve bilişsel süreçlerdeki işlevlerine dair yaklaşımları ile Allan Pease (2002) ve Joe Navarro’nun (2021) bakışın sözsüz iletişimdeki anlamına ilişkin teorileri temel alınarak oluşturulmuştur. Araştırma, nitel analiz yöntemiyle yürütülmüş olup, veri toplama sürecinde literatür taraması ve görsel materyallerin analizi bir arada kullanılmıştır. Çalışmanın analiz yöntemi, Roland Barthes’in (1979) görüşleri çerçevesinde şekillenen göstergebilimsel analiz yaklaşımına dayanmaktadır. Literatür taraması, portre fotoğrafçılığı ve sözsüz iletişim alanındaki bilgi birikimini sistematik bir şekilde ortaya koymak ve önceki çalışmaları değerlendirmek amacıyla gerçekleştirilmiştir. Görsel analiz ise, bakış yönü, göz teması ve gözbebeği hareketlerinin fotoğraftaki anlatıyı nasıl biçimlendirdiğini ve izleyiciyle kurulan anlam ilişkisini nasıl etkilediğini belirlemek amacıyla yapılmıştır. Elde edilen bulgular, gözlerin ve bakışın, fotoğrafın anlatı gücünü nasıl yönlendirdiğini ve izleyicide nasıl bir algı oluşturduğunu ortaya koymaktadır. Bu bağlamda, göz ve bakışın fotoğrafik anlatının merkezinde yer alan sözsüz iletişim öğeleri olarak değerlendirilmesi ve görsel sanatlar alanındaki analizlerde bu unsurların dikkate alınması önerilmektedir.

Avrupa Resim Sanatında Hastane Teması

2025-06-17

Güliz Baydemir | Yıldız Journal of Art and Design

Bu makalede 16 ve 20. Yüzyıllar arasında Avrupa resim sanatında hastane temalı eser örnekleri incelenerek, hastane binalarının biçim ve içerik bakımından tarihsel olarak temsil ediliş biçimleri irdelenmektedir. Tıp, sağlık hizmetleri … Bu makalede 16 ve 20. Yüzyıllar arasında Avrupa resim sanatında hastane temalı eser örnekleri incelenerek, hastane binalarının biçim ve içerik bakımından tarihsel olarak temsil ediliş biçimleri irdelenmektedir. Tıp, sağlık hizmetleri tarihi ve toplumsal yapıya dair veriler sunan bu eserlerin; hastane yapılarının evrimine ışık tutarak, şehircilik ve mimarlık tarihine dair de belge niteliği taşıdığı görülür. Araştırmada, Avrupa’daki hastane binalarının tarihçelerine de yer verilerek, bu yapıların resimlerde ele alınış biçimleri “Avrupa Hastaneleri ve Resim Sanatındaki Temsilleri” ana başlığı altında incelenmiştir. Fransa, İspanya, İtalya, İngiltere ve Türkiye’de Hastane Temalı Resimler alt başlıkları altında Avrupa’da yer alan hastanelere ait tasvirler kronolojik olarak analiz edilmiştir. Orta Çağ’dan bu yana hastane yapılarının dış görünümleri ve iç mekanlarının resmedildiği eserlerde; sanatçıların, binaların mimari unsurlarını betimlemenin yanı sıra bu yapıların işlevlerini de ele alarak toplumun sosyal ve kültürel yapısını yansıttıkları izlenmiştir. Avrupa'da yer alan hastane binalarının resmediliş biçimleri, tarihi ve kültürel bağlama göre farklılık göstermekle birlikte hastane yapılarının resmedildiği eserler; özellikle büyük şehirlerdeki ikonik yapılarıyla ön plana çıkan simge niteliğindeki tarihi hastane binalarının dış cephelerinin resmedilişi ve ikonografik olarak sosyal, kültürel ve bazen de dramatik bağlamda ele alınan hastane iç mekan tasvirleri olarak ayrıştırılabilir. Hastane temasının Avrupa resim sanatında ele alınış biçimleri hastane iç ve dış mimarisinin evrimine ışık tutarken aynı zamanda tüm tarihsel süreçleri anlamak için önemli bir kaynak oluşturmaktadır.

Image as Agency

2025-06-14

Jon Kelly | TheoLogica An International Journal for Philosophy of Religion and Philosophical Theology

This essay argues for a dual-aspect, substantival and functional, model of the image of God following the relation of image to agency and to Christ as the exemplar human agent … This essay argues for a dual-aspect, substantival and functional, model of the image of God following the relation of image to agency and to Christ as the exemplar human agent developed in two parts from exegesis to metaphysics. In part 1, I define agency and trace the functional aspect of the relation of image to agency through the arc of Scripture from the creation narrative to its fulfillment in Christ and Christian regeneration. In part 2, I define image metaphysically and highlight an inference of identity Jesus makes between himself and the Father founded upon their agencies; Jesus’ identity includes the image of God grounded in the divine person of the Son. I argue that Jesus’ inference extends the concept of image as agency to include an ontological entailment such that the agent is identical with an immaterial “person.” The model provides reason to think that agency is the fundamental operator of God’s image throughout Scripture and that divine and human “persons” are immaterial substances, powerful and responsible agents.

Specifics of Acting in Prose Literary Works and Poems in Audiovisual Art: Contemporary Practices

2025-06-13

Mychailo Barnych , Bohdan Virevchenko | Bulletin of Kyiv National University of Culture and Arts Series in Audiovisual Art and Production

The purpose of the article is to analyse the specifics of actor’s performance of prose literary works and poems in audiovisual art; to consider the peculiarities of actor's artistic reading … The purpose of the article is to analyse the specifics of actor’s performance of prose literary works and poems in audiovisual art; to consider the peculiarities of actor's artistic reading on camera in the psycho-emotional context, to establish the role of the monologue for the performer in cinema, to prove the importance of actor’s representation of prose works in the contemporary media space. The research methodology consists in the use of the following approaches: theoretical and analytical – to analyse acting abilities and psychological facts, based on the scientific basis of research by famous actors and master teachers, delving into the mental and practical stages of reading literary works and poems, analysing each component separately; observation method – to conduct analytical observation of behaviour and technique during acting reading by novice actors in a natural state; empirical – for experimental verification based on direct intervention with a subject who is in the process of reading literary works and poems, to create controlled and manageable conditions that allow to identify characteristic psycho-emotional signs during acting. Scientific novelty. For the first time, the psychotechnical actor’s analysis of reading fiction and poetry on camera is applied. The primary forms of artistic reading are studied and analysed in terms of the actor’s self-observation of their internal psycho-emotional state before recording. Conclusions. The article analyses the peculiarities of the actor’s reading of literary works and poems on camera in a psycho-emotional context. During the reading of a literary text, the role of the monologue, which is a characteristic component of an actor’s reading in audiovisual works, is established. The importance of the actor’s representation of prose works in the contemporary media space is studied in detail and proven.

Sculptural Knowing

2025-06-13

Barbara Knežević | Routledge eBooks

The Artist as Standards Bearer

2025-06-13

Desirée J. Garcia | Routledge eBooks

Oswald Spengler ja suuret kulttuurikaudet

2025-06-12

Marja Jalava | Ennen ja nyt Historian tietosanomat

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On the Aesthetic and Political Language of Art

2025-06-09

| Duke University Press eBooks

Moderated by Okwui Enwezor, this conversation between two South African artists, Kendell Geers and William Kentridge, accompanied the exhibition Kendell Geers, 1988–2012, curated by Clive Kellner for the Haus der … Moderated by Okwui Enwezor, this conversation between two South African artists, Kendell Geers and William Kentridge, accompanied the exhibition Kendell Geers, 1988–2012, curated by Clive Kellner for the Haus der Kunst, Munich, and shown there between February and May 2013. The artists discuss the origins and motivations of their distinctive practices as they emerged from the art institutions and political situation in Johannesburg during the 1970s in the case of Kentridge and the 1980s in the case of Geers.

The Judgment of Art

2025-06-09

| Duke University Press eBooks

This chapter is the introductory essay to the exhibition Postwar: Art between the Pacific and the Atlantic, 1945–1965, curated by Enwezor with Katy Siegel and Ulrich Wilmes and presented at … This chapter is the introductory essay to the exhibition Postwar: Art between the Pacific and the Atlantic, 1945–1965, curated by Enwezor with Katy Siegel and Ulrich Wilmes and presented at the Haus der Kunst from October 2016 to March 2017. While acknowledging the ways in which the United States consolidated its leading positions in both mass and high culture, the exhibition reveals the myriad ways in which artists in South America, Asia, Africa, the Middle East, eastern and central Europe, and Oceania developed new and alternative modernities to mirror the changed terms of geopolitical dialogue across the world.

Photography and reality. Reflections around the role of the photographer among photo students in Russia and Sweden

2025-06-09

Patrik Åker | Visual Studies

Resim sanatında Londra hastaneleri

2025-06-05

Güliz Baydemir | Journal of Awareness

İngiltere hastanelerinin resim sanatında temsil edilme biçimlerininin araştırıldığı bu makale; tıp tarihindeki gelişmelerin sanata yansıması ve hastane konulu resimlerin toplumsal yapı ve kültürel gelişmelerle ilişkili olarak, sanat tarihindeki yansımalarının belgelenmesini … İngiltere hastanelerinin resim sanatında temsil edilme biçimlerininin araştırıldığı bu makale; tıp tarihindeki gelişmelerin sanata yansıması ve hastane konulu resimlerin toplumsal yapı ve kültürel gelişmelerle ilişkili olarak, sanat tarihindeki yansımalarının belgelenmesini içermektedir. Avrupa’da hastane binalarının ortaya çıkışı, dini ve toplumsal ihtiyaçlardan kaynaklanmış, zamanla tıbbi bilimlerin gelişmesiyle evrilmiştir. Araştırmada, hastane sanat koleksiyonculuğunun büyük öneme sahip olduğu İngiltere’nin, Londra şehrindeki; Bethlehem (Bedlam) Kraliyet Hastanesi, Greenwich Hastanesi, Fondling Hastanesi, Savoy Hastanesi, St Thomas Hastanesi ve St Bartholomew Hastanesi gibi ikonik hastane yapılarının dış görünümleri ve iç mekanlarının resmedildiği 18. ve 19. yüzyıla tarihlenen eser örnekleri incelenmiştir. Genel Hastane binalarının isimleri ile alt başlıklar oluşturularak her hastane binasının tarihçesine değinilmiş ve farklı sanatçılar tarafından, kimi zaman farklı dönemler ve üsluplarda resmediliş biçimleri ele alınmıştır. Hastane binalarının dış cephe ve iç mekanlarını konu alan resimler, bu yapıların işlevlerini sanat aracılığıyla yansıtmakta ve hastane iç ve dış mimarisinin evrimine de ışık tutmaktadır. Londra’daki, Geç Orta Çağ ve Erken Modern Dönemde öne çıkan; asalet, şöhret ve güzellik simgesi haline gelen, çok sayıdaki büyük şehir hastanesinin dış cephelerinin resmedilişi; ayrıca ikonografik olarak sosyal, kültürel ve bazen de dramatik bağlamda ele alınan hastane iç mekan tasvirleri, bu çalışmada spesifik örneklerle incelenmiştir. Sanatçıların, hem mimari tasvirler hem de çok figürlü koğuş, avlu, ameliyathane gibi kompozisyonları ile sağlık hizmetleri tarihi ve sosyal yapının görsel temsillerine dair sundukları önemli bilgilerin yanı sıra; sağlık, acı, yaşam ve ölüm gibi evrensel temalara da değinerek, hastaneleri toplumun sosyal yapısının bir yansıması olarak da ele aldıkları saptanmıştır.

Film Analysis: Raymond Bellour’s Methodology

2025-06-01

Tatiana I. Kozhokaru | Art & Culture Studies

The article is devoted to the identification of the algorithm for analysing a feature film used by the French film and literary theorist Raymond Bellour (b. 1939) when analysing a … The article is devoted to the identification of the algorithm for analysing a feature film used by the French film and literary theorist Raymond Bellour (b. 1939) when analysing a fragment of Alfred Hitchcock’s The Birds (1963). Not only are the analytical tools employed by the French scholar presented as a step-by-step procedure, but they are also displayed in the form of a diagram, which makes it easier to apply in practice and to adapt for different research tasks. The study of R. Bellour’s analysis of the sequence of shots from the film The Birds reveals that the French researcher uses an analytical scheme based on a detailed systematization of form and content elements followed by a frame-by-frame analysis accompanied by the identification of key principles of narrative construction by visual means. In addition, the paper describes the specifics of R. Bellour’s approach to film analysis and traces the evolution of the author’s views on the art of the moving image. This study is relevant because the analytical schemes used by R. Bellour remain virtually out of sight in Russian film studies: only one article by the French scholar, Le texte introuvable (1975), has been translated into Russian. His fundamental collection of articles and essays L’Analyse du film (1979) is only listed in the encyclopaedic dictionary on cinema edited by S.I. Yutkevich among the most famous works referring to ‘film textology’ — a theoretical trend whose foundations were formulated in R. Bellour’s work Pour une stylistique du film (1966).

Dramaturgy of Book and Screen Space by Boris Dekhterev and Grigory Kozintsev in William Shakespeare’s Tragedy Hamlet

2025-06-01

O.A. Evdokimova | Art & Culture Studies

The article examines the series of book illustrations created by B.A. Dekhterev for W. Shakespeare’s The Tragedy of Hamlet, Prince of Denmark in the early 1960s. This is an outstanding … The article examines the series of book illustrations created by B.A. Dekhterev for W. Shakespeare’s The Tragedy of Hamlet, Prince of Denmark in the early 1960s. This is an outstanding work by a mature master which reflects the creative credo of the artist and teacher. The author analyses the compositional solution and the master’s style in the context of contemporary art. The period in which the book was created was characterized by the increased interest in Shakespeare’s tragedy, which was hardly put on stage during Stalin’s time. The publication of the book coincided with the release of G.M. Kozintsev’s film Hamlet (1964) which had a great influence on the creative pursuits of the masters of Soviet art. With almost no appeal to colour, through black and white, the artist and the director were looking for a laconic and precise language for a conversation with their contemporaries. Thus, in different forms of art, the masters expressed the pulse of their time through the realization of the same masterpiece. Parallels inevitably arise, since the two works existed in a single cultural space of the Thaw period. In different types of art — book graphics and cinema — a creative vector of searching for new interactions with the audience arose and manifested itself. A complex cultural field was being created in which the image of Hamlet was designated as a symbol of the era. The search for a new artistic language, the boldness of expression, and the accuracy of the created images help to identify the special rhythm of the tragedy and to align Shakespeare’s dramaturgy with modern life.

A Moment Stretched and Stopped: Long Take vs Photographs

2025-06-01

M. S. Bavykina | Art & Culture Studies

The article is devoted to studying the influence of the aesthetic properties of the photographic image on the strategies of using the long take in cinema. The unifying conceptual component … The article is devoted to studying the influence of the aesthetic properties of the photographic image on the strategies of using the long take in cinema. The unifying conceptual component for both types of images is the category of ‘moment’, which corresponds to both moving (as a ‘torn’ fragment from the general duration of reality) and static shots. The analysis of a number of films that use the long take as a basic technique allows identifying a range of authorial approaches that reinterpret the dialogue between statics and movement in the context of the phenomenon of image as a copy of a fragment of reality. Meanwhile, the form of the work may aspire to a conceptual gesture or remain within the boundaries of the narrative gravitating towards a realistic nature. The idea of the importance of the dialogue between static and moving images, especially in the context of the long take, is not new. However, it is critical to identify specific strategies of the director’s exploration of the category of ‘moment’, such as: a close dissection of the ‘moment of transition’ of one type of an image into another (static into dynamic or vice versa, as in the films by A. Kiarostami); fixation of the ‘instant-failure’ of space or time (as in the films by Ch. Akerman and Ts. Ming-liang); and attention to working with the fixation of the ‘image of fact’ while addressing the dialogue of statics and movement (R. Depardon and G. Panfilov). This suggests a special transitional state of ‘statics-movement’ which is formed at the boundary of the properties of the photographic and the long cinematographic take. This state can also be identified as an aesthetic property of the long take as a film language technique.

“Religious Posters” and “The Impact of the Printing Press on Other Arts”

2025-05-30

Parviz Tanavoli , Golriz Farshi | Art In Translation

Noir + noir = couleur : François Truffaut 1967-1970

2025-05-28

Marc Cerisuelo | Critique

Chapter Nine. The End of Aesthetic Experience

2025-05-28

Van Sickle, John, The Designs of Virgil's Bucolics

2025-05-28

Hugo F. Bauzá | Argos

Managing the Digital Image Restoration Amidts the Faith-Based Crisis : Semiotics and Ethical Decision Making Analysis

2025-05-27

Kholifatul Fauziah , Zainal Arifin

Faith-based crises pose significant challenges to global franchise brands, requiring strategic communication approaches to mitigate reputational risks. This study examines McDonald's Indonesia's crisis response amidst the boycott movement triggered by … Faith-based crises pose significant challenges to global franchise brands, requiring strategic communication approaches to mitigate reputational risks. This study examines McDonald's Indonesia's crisis response amidst the boycott movement triggered by its alleged affiliation with McDonald's Israel during the escalation of the Palestinian-Israeli conflict. Utilizing Roland Barthes' semiotic analysis and Parsons' Ethical Decision-Making (EDM) framework, this research analyzes the representation of messages and ethical considerations in McDonald's Indonesia's official press release on Instagram. Findings reveal that the company employs a neutrality and non-partisanship strategy, emphasizing its independent ownership structure, local employment contributions, and national identity to distance itself from the global franchise network. While this approach aligns with the EDM principles of veracity, non-malfeasance, and beneficence, gaps in transparency and fairness remain potential challenges in public perception. The study contributes to the theoretical understanding of digital image restoration in faith-based crises and offers practical insights for corporate crisis management in profit-oriented organizations. Future research should explore audience reception and public sentiment to provide a more comprehensive assessment of crisis communication effectiveness.

The rhetorical turn in contemporary art and ethnography

2025-05-27

Kris Rutten , An van Dienderen , Ronald Soetaert

Repetition in Painting and Photographs

2025-05-27

Talking Art as the Spirit Moves Us

2025-05-27

Marit Grøtta: Reading Portrait Photographs in Proust, Kafka and Woolf: Modernism, Media and Emotion MaritGrøtta Reading Portrait Photographs in Proust, Kafka and Woolf: Modernism, Media and Emotion Edinburgh University Press2024232 sider

2025-05-26

Charles I. Armstrong

Plebs, pedagogy, and praxis: Reflections on research at Ruskin College

2025-05-26

H. Llewellyn Smith , Ian Manborde

The critical approach to the study of international labour and trade unions, as advocated for and practiced by the Critical Labour Studies network, once had an institutional home at Ruskin … The critical approach to the study of international labour and trade unions, as advocated for and practiced by the Critical Labour Studies network, once had an institutional home at Ruskin College, Oxford. In light of the demise of the International Labour and Trade Union Studies (ILTUS) programme, and Ruskin as an independent home for working-class education, in this article, we – a former student and a former member of teaching staff at Ruskin – argue that Ruskin was a site for the production of ‘really useful knowledge’ for labour and social movements. We conclude with a consideration of the role that the Critical Labour Studies network can play in a radical and collaborative working-class education and research agenda.

From the funds of the Museum of Anthropology of Moscow State University. Photographs of the peoples of the North Caucasus in the exposition of the Anthropological Exhibition of 1879: Abazins

2025-05-24

Alevtina V. Stepanova , Alla V. Sukhova | Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta Seria XXIII Antropologia)

Introduction. The publication continues the series of articles devoted to the description of the collection of photographs of representatives of the peoples of the Kuban region, and is devoted to … Introduction. The publication continues the series of articles devoted to the description of the collection of photographs of representatives of the peoples of the Kuban region, and is devoted to the study of photographic images of the Abaza. The method of anthropological photography is not only a visual way to preserve information over time, but also plays a significant role in shaping scientific heritage. Materials and methods. The work was based on a collection of photographs collected by E.D. Felitsyn (1848-1903), presented by him at the Anthropological Exhibition of 1879 in Moscow and stored in the collections of the D.N. Anuchin Research Institute and Museum of Anthropology of Lomonosov Moscow State University. Results. Describe and analyze the photographic images of the Abaza people who lived in the Batalpashinsky district of the Kuban region in the villages of Loovo-Kubansky and Dudarukovsky. Discussion. The authorship of the studied Abaza photographs has been established: A.K. Engel, a famous photographer in the Caucasus in the late 19th and early 20th centuries made them. The article presents literary information on the problems of studying the origin, ethnic history, and cultural traditions of this nationality, as well as data on the study of the anthropological features of the Abaza. Conclusion. The first published photographic images of Abaza, which are part of the collection provided by E.D. Felitsyn at the Anthropological Exhibition in 1879, are unique and have scientific, historical and documentary value and significance as visual material. With the development of modern society, photographs, along with museum exhibits, become the only witnesses of past times and events, an essential addition to the study of the indigenous peoples of the North Caucasus, which requires persistent joint efforts by anthropologists, ethnographers, geneticists, historians and linguists. © 2025. This work is licensed under a CC BY 4.0 license

Propaganda Aracı Olarak Sanat ve Jean-Michel Basquiat Örneği

2025-05-22

Mehmet Erkan Turan

İki farklı disiplin olan sanat ve siyaset, insanlık tarihi kadar eski sayılabilecek olgulardır. Bu iki olgu zaman zaman birbiri ile ilişkili olarak kullanılmıştır. Bu durum sanat tarihindeki eserlere bakıldığında görülebilmektedir. … İki farklı disiplin olan sanat ve siyaset, insanlık tarihi kadar eski sayılabilecek olgulardır. Bu iki olgu zaman zaman birbiri ile ilişkili olarak kullanılmıştır. Bu durum sanat tarihindeki eserlere bakıldığında görülebilmektedir. Bu makalenin amacı; sanat ve siyaset ilişkisini açıklamak ve bu konu temelinde Jean-Michel Basquiat’nın propaganda içerikli eserlerini incelemek olmuştur. Yeni dışavurumcu tarzda önemli eserler üreten bu sanatçının eserlerinin bu açıdan incelendiği bir çalışmaya rastlanılmamıştır. Bu bağlamda bu makalenin literetürde önemli ve özgün bir kaynak olacağı düşünülmektedir. Makale, giriş bölümü hariç 2 farklı bölüme ayrılmıştır. Birinci Bölüm’de birbiri ile yakından ilişkili olan siyaset, politika ve propaganda gibi kavramlar üzerine durulmuştur. Ayrıca sanat ve siyaset ilişkisine dair önemli eserler incelenmiştir. İkinci Bölüm’de ise bu yazının temel amacı olan Jean-Michel Basquiat ve propaganda içerikli eserleri üzerine durulmuştur. Sonuç bölümünde ise araştırmadan elde edilen tespitler ve yargılar açıklanmaya çalışılmıştır.

Literature and the Visual

2025-05-22

Daniela Brogi

Abstract This chapter proposes a study of literature and visuality through a close reading of two key examples. The focus will be on how the relationship between literature and visuality … Abstract This chapter proposes a study of literature and visuality through a close reading of two key examples. The focus will be on how the relationship between literature and visuality may offer further insight into cultural history and literary forms. Examples will be taken from two of the most influential books in Italian literature, which are in some ways related to each other: the first, I promessi sposi (The Betrothed, 1827; 1840–42) by Alessandro Manzoni, is likely the best-known Italian novel; the second, Anna Banti’s Artemisia (1947), is set in Renaissance Italy. Both works will be considered primarily in terms of “ecosystem”—i.e., a system combining both verbal and visual elements. In the case of Manzoni, by focusing on issues ranging from the structure of the text to cultural history and visual habits, the author connects his work to Caravaggio’s in the light of the proposed category of “Christian Realism”—related to “addressing the eyes.” In the case of Banti, the combination of visual situations and writing will introduce an innovative manner of observing historical memory and biographies.