Pub Date : 1984-07-01DOI: 10.1111/J.2326-8492.1984.TB00107.X
C. Mukerji
{"title":"Visual Language in Science and the Exercise of Power: The Case of Cartography in Early Modern Europe","authors":"C. Mukerji","doi":"10.1111/J.2326-8492.1984.TB00107.X","DOIUrl":"https://doi.org/10.1111/J.2326-8492.1984.TB00107.X","url":null,"abstract":"","PeriodicalId":178408,"journal":{"name":"Studies in Visual Communication","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1984-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115473931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1984-07-01DOI: 10.1111/J.2326-8492.1984.TB00106.X
Erik Barnouw
{"title":"Torrentius and His Camera","authors":"Erik Barnouw","doi":"10.1111/J.2326-8492.1984.TB00106.X","DOIUrl":"https://doi.org/10.1111/J.2326-8492.1984.TB00106.X","url":null,"abstract":"","PeriodicalId":178408,"journal":{"name":"Studies in Visual Communication","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1984-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124794223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1984-07-01DOI: 10.1111/J.2326-8492.1984.TB00108.X
T. Liebes
{"title":"Ethnocriticism: Israelis of Moroccan Ethnicity Negotiate the Meaning of \"Dallas\"","authors":"T. Liebes","doi":"10.1111/J.2326-8492.1984.TB00108.X","DOIUrl":"https://doi.org/10.1111/J.2326-8492.1984.TB00108.X","url":null,"abstract":"","PeriodicalId":178408,"journal":{"name":"Studies in Visual Communication","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1984-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129474942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1984-04-01DOI: 10.1111/J.2326-8492.1984.TB00102.X
Virginia Brooks
{"title":"Why Dance Films Do Not Look Right: A Study in the Nature of the Documentary of Movement as Visual Communication","authors":"Virginia Brooks","doi":"10.1111/J.2326-8492.1984.TB00102.X","DOIUrl":"https://doi.org/10.1111/J.2326-8492.1984.TB00102.X","url":null,"abstract":"","PeriodicalId":178408,"journal":{"name":"Studies in Visual Communication","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1984-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122478675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1984-04-01DOI: 10.1111/J.2326-8492.1984.TB00103.X
S. Harrison
{"title":"Drawing a Circle in Washington Square Park","authors":"S. Harrison","doi":"10.1111/J.2326-8492.1984.TB00103.X","DOIUrl":"https://doi.org/10.1111/J.2326-8492.1984.TB00103.X","url":null,"abstract":"","PeriodicalId":178408,"journal":{"name":"Studies in Visual Communication","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1984-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133277782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1984-04-01DOI: 10.1111/J.2326-8492.1984.TB00101.X
Raymond Bial
Expressionism Avant-garde art has correspondingly been concerned less with the physical reproducton of visual and tangible realities than with psychic and cerebral processes . These have presented all the more challenge to the artist, in that the irrational components in them have surfaced, during world wars and other political crises, into social reality itself. In order to deal with this irrationalism, art has oscillated between extreme forms of abstraction and dematerialization on the one hand , and highly distorted and exagger~ted forms of realism and materiality on the other, not infrequently manifested in the same work. At the one pole, artists sought inner-directed mental and psychic energy; at the other, a sublimation of outer-directed p_hy~ical energy. In the postwar era, abstract expresSIOnism sought to reconcile the two poles with an art abstract in content and physically energized in form. This was believed to represent a kind of creative quintessence with the violence and gratuitousness of the physical gesture conveying pure and naked spiritual energy. The work of art stood as an emblem of the transformation of a once-material, once-functional object , ~ painti~g , into a state of pure creative gestur~ , which re~a1ned, however, highly sublimated symbol!~ ~onnect1ons _to the physical effort traditionally or atavJ_stJcally associated With nonartistic economic production-labor. The act of painting renders the idea of physical labor in a form as far removed as possible from the modern, labor-associated concepts of discimmmtt=: ttt'. t_:::_.r_:::~r.J_t~,:.~~?:iiSi -~~~~~~~~~~~~~~-----·,.-....... ....... ,l2mll8888! ~ _ _._..,_ -M:::;::;::::':::::::::::::*~ David Kunzle is Professor of Art at the University of Caltf?rnta,_ Los Anr;;eles . He is the author of The Early Com1c Stnp, Fashion and Fetishism , Posters of Protest, and articles on popular protest and revolutionary art in the Americas. pline and uniformity . Abstract expressionist art attempts to replicate what is conceived of as the primal energy displayed by primitives in pretechnological labor, combined with the spontaneous aggressiveness of the hunter or tribal warrior. The appeal of abstract expressionism is as a form of cultural atavism. At the same time it imposes a unique body-autograph in an increasingly machinedominated and labor-alienated era, restoring the otherwise missing stamp of human personality to the human-made artifact. It arose in the United States at a time of rapid economic growth, increased personal affluence for the majority, and the global extension of United States military power. 2 All this was accompanied by an attrition , among American people at large, of a sense of social responsibility, of commitment to collective effort , which had been generated by the struggles against the Depression and Fascism. 3 The majority acquiesced in what appeared to be the unimpeded functioning of a natural law of the free market. In these circumstances, the solipsism an
{"title":"Frank Sadorus: Photographer (Photo Essay)","authors":"Raymond Bial","doi":"10.1111/J.2326-8492.1984.TB00101.X","DOIUrl":"https://doi.org/10.1111/J.2326-8492.1984.TB00101.X","url":null,"abstract":"Expressionism Avant-garde art has correspondingly been concerned less with the physical reproducton of visual and tangible realities than with psychic and cerebral processes . These have presented all the more challenge to the artist, in that the irrational components in them have surfaced, during world wars and other political crises, into social reality itself. In order to deal with this irrationalism, art has oscillated between extreme forms of abstraction and dematerialization on the one hand , and highly distorted and exagger~ted forms of realism and materiality on the other, not infrequently manifested in the same work. At the one pole, artists sought inner-directed mental and psychic energy; at the other, a sublimation of outer-directed p_hy~ical energy. In the postwar era, abstract expresSIOnism sought to reconcile the two poles with an art abstract in content and physically energized in form. This was believed to represent a kind of creative quintessence with the violence and gratuitousness of the physical gesture conveying pure and naked spiritual energy. The work of art stood as an emblem of the transformation of a once-material, once-functional object , ~ painti~g , into a state of pure creative gestur~ , which re~a1ned, however, highly sublimated symbol!~ ~onnect1ons _to the physical effort traditionally or atavJ_stJcally associated With nonartistic economic production-labor. The act of painting renders the idea of physical labor in a form as far removed as possible from the modern, labor-associated concepts of discimmmtt=: ttt'. t_:::_.r_:::~r.J_t~,:.~~?:iiSi -~~~~~~~~~~~~~~-----·,.-....... ....... ,l2mll8888! ~ _ _._..,_ -M:::;::;::::':::::::::::::*~ David Kunzle is Professor of Art at the University of Caltf?rnta,_ Los Anr;;eles . He is the author of The Early Com1c Stnp, Fashion and Fetishism , Posters of Protest, and articles on popular protest and revolutionary art in the Americas. pline and uniformity . Abstract expressionist art attempts to replicate what is conceived of as the primal energy displayed by primitives in pretechnological labor, combined with the spontaneous aggressiveness of the hunter or tribal warrior. The appeal of abstract expressionism is as a form of cultural atavism. At the same time it imposes a unique body-autograph in an increasingly machinedominated and labor-alienated era, restoring the otherwise missing stamp of human personality to the human-made artifact. It arose in the United States at a time of rapid economic growth, increased personal affluence for the majority, and the global extension of United States military power. 2 All this was accompanied by an attrition , among American people at large, of a sense of social responsibility, of commitment to collective effort , which had been generated by the struggles against the Depression and Fascism. 3 The majority acquiesced in what appeared to be the unimpeded functioning of a natural law of the free market. In these circumstances, the solipsism an","PeriodicalId":178408,"journal":{"name":"Studies in Visual Communication","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1984-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134422755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1984-04-01DOI: 10.1111/J.2326-8492.1984.TB00099.X
D. Shinar
{"title":"Art and Communications in the West Bank: Visual Dimensions of Palestinian Nation Building","authors":"D. Shinar","doi":"10.1111/J.2326-8492.1984.TB00099.X","DOIUrl":"https://doi.org/10.1111/J.2326-8492.1984.TB00099.X","url":null,"abstract":"","PeriodicalId":178408,"journal":{"name":"Studies in Visual Communication","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1984-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127252649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：