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.
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.
Painting for Fools Soussloff, Catherine M.
Theory, culture & society,
01/2023, Letnik:
40, Številka:
1-2
Journal Article
Recenzirano
Manuscripts and notes by Michel Foucault on the visual arts recently deposited at the Bibliothèque Nationale reveal a reliance on canonical oil paintings by the ‘old masters’; a respect for the ...primary sources in the history of European art; an understanding of the necessity of research in both literary and visual sources, particularly self-portraits; and a sense of the value that a certain philosophical milieu – beginning with Sade and Nietzsche and expanding to his near contemporaries, Bataille, Blanchot, and Klossowski – could offer to an understanding of paintings. The essay argues that Pierre Klossowski’s monumental drawing La Nef des fous (1990) provides an essential key for understanding the place of Hieronymus Bosch’s painting of the same title in History of Madness and the centrality of theories of similitude to Foucault’s thinking about visuality ca. 1960–74. The later significance of the figure of the artist for Foucault can be traced to these earlier writings on painting and madness.
Este estudio analiza la representación de paisajes a través del claroscuro en la novela póstuma El Mocho (1997) de José Donoso, en diálogo con La letra escarlata (1850) de Nathaniel Hawthorne, y el ...modo en que esta técnica plástica motiva tanto una visualidad paisajística como la emergencia de subjetividades ensombrecidas y “mochas”. Superando la apophrades, o la influencia de un antecedente literario, Donoso difumina paisajes y subjetividades según una poética que redice el orden museal y la emergencia de las formas en el claroscuro.
Through its specific rhetorical potential that is distinct from verbal text, visual material facilitates and plays a pivotal role in linking novel phenomena to established and taken-for-granted ...social categories and discourses within the social stock of knowledge. Employing data from the worldwide news coverage of the global financial crisis in the Financial Times between 2008 and 2012, we analyse sensemaking and sensegiving efforts in the business media. We identify a set of specific multimodal compositions that construct and shape a limited number of narratives on the global financial crisis through distinct relationships between visual and verbal text. By outlining how multimodal compositions enhance representation, theorization, resonance, and perceived validity of narratives, we contribute to the phenomenological tradition in institutional organization theory and to research on multimodal meaning construction. We argue that elaborate multimodal compositions of verbal text, images, and other visual artifacts constitute a key resource for sensemaking and, consequently, sensegiving.
The paper analyses popular geographical imageries of the European migrant crisis. It focuses on visualities that shaped discussions about the event among Czech Facebook users with anti-immigration ...attitudes. The paper elaborates on the co-production of migrants' visibility and visualities that depict them in certain ways. Visuality influences visibility and shapes what it means for people (who are represented by images) to be visible in certain ways when seen by another people (who observe and consume the images). Here, we analyse how cartographic visualizations and the practice of montage of images produce meanings and affects that make migrants either visible only as abusers of the Czech social welfare system (linking migrants in a racist way to the Roma minority) or visible only as dehumanized raging Muslim invaders that resemble more machine-like beings. These interpretations are explained with references to historical specificities of the Czech context. A user-made, film-like sci-fi video of the crisis is also analysed carefully to demonstrate its imaginary of a collapsing Western Europe, where raging invaders dominate. Presenting migrants' visuality as invaders links these racist and Islamophobic attitudes to migrants' visibility as enemies and targets to be killed, not pitiable human beings to be helped.
A partir del concepto de dominios escópicos se estudian las visualidades hegemónicas (científica y social) que han intervenido en la construcción de la categoría “enfermedades raras”. Para ello se ...han investigado, entre 1940 y 2015, los tratados médicos —por su papel en la creación del concepto icónico de enfermedad y su transmisión mediante su uso pedagógico— y la prensa diaria, por la difusión social de las imágenes generadas. Entre los siete mil problemas de salud integrantes de la categoría se han seleccionado el Síndrome de Turner y las Enfermedades de Depósito Lisosomal. Metodológicamente se han adaptado las bases del análisis de contenidos con formulación de criterios de inclusión y exclusión a la investigación histórica, creación de corpus, de libro y hojas de códigos, su aplicación y análisis cuantitativo y cualitativo. El Síndrome de Turner se ha hallado en los tratados médicos entre 1952 y 2009, analizando el mecanismo de construcción icónica a través de la selección de mujeres representativas de la entidad, generando así una estereotipación, estigmatización e infantilización con consecuencias en la práctica médica, el entorno social y las propias pacientes. En la prensa diaria se han encontrado imágenes de enfermedades de depósito lisosomal entre 1982 y 2015, con una relevancia mediada por el valor noticiable de la proximidad y dos representaciones principales (la de las madres —como reivindicadoras de los derechos de sus hijos a la asistencia y el tratamiento— y la de los niños afectados como motivadores de campañas solidarias para recaudar fondos para ensayos clínicos de fármacos experimentales) condicionadas por coyunturas históricas como los recortes en las ayudas a la dependencia. Como conclusión, se han identificado dos tipos de visualidades necesarias y coexistentes: la de tipo biomédico, nosológica, que individualiza y fija las características de cada entidad y la de tipo mediático, única que puede construir el concepto de “enfermedad rara” por tratarse de una categoría cuyas características son exclusivamente sociales.
The article discusses the notion of the Anthropocene as a kind of anthropological machine, closely related to the regime of visuality. Giorgio Agamben points out that the anthropological machine is ...always an optical machine, which helps to induce visibility as an essential element of power. Similarly, Nicholas Mirzoeff discusses Anthropocene visuality as a technique which is always hierarchical and autocratic, helping to maintain the visualizer’s material power. Mirzoeff suggests that the biopolitical effects of visuality can be confronted by “countervisuality”, a strategy, which abandons visuality in order to achieve political equality. However, in this article I will argue that Anthropocene visuality should not be abandoned but rather reversed or redirected. In this regard, reversed visuality would mean not the replacement of the aesthetic with the political, but, on the contrary, the replacement of anthropocentric aesthetics with a different kind of aesthetics, which includes a non-human or not-quitehuman gaze. If Anthropocene visuality silently presumes that the place from which it represents will remain forever intact, then post-Anthropocene visuality demonstrates that the mechanisms of exclusion and subjection are easily interchangeable and that every living being can potentially bec ome “bare life”.
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