Pub Date : 2020-06-10DOI: 10.37467/gka-visualrev.v2.2547
M. Rodrigues
Little has been discussed in academia about the close relationship between the Renaissance of the 16th century and melancholy humor, and esoteric elements arising mainly from Florentine Neoplatonism. The link between melancholy and esotericism becomes very clear when we analyze the gravure “Melencolia I” by Albrecht Dürer (1471-1528), composed of a significant number of symbols that refer to an esoteric religious culture that then emerged. Renaissance melancholy gained several nuances. On the one hand, it was considered a sin, a despicable mood characteristic of witches; on the other hand, a deep sense of inspiration typical of men of “genius”. This ambivalence also occurred in the firmament, as the melancholic people were guided by the dark planet Saturn, according to astrological belief. We also have the cultural scenario of the 16th century, especially in Dürer's Germany, which contributed to strengthening the melancholy issues.
学术界很少讨论16世纪文艺复兴与忧郁幽默之间的密切关系，以及主要来自佛罗伦萨新柏拉图主义的深奥元素。当我们分析Albrecht d rer(1471-1528)的凹版作品“Melencolia I”时，忧郁和神秘主义之间的联系变得非常清晰，该作品由大量符号组成，涉及当时出现的神秘宗教文化。文艺复兴时期的忧郁有所不同。一方面，它被认为是一种罪恶，一种女巫特有的卑鄙情绪;另一方面，有一种“天才”所特有的深刻的灵感。这种矛盾心理也出现在天空中，因为根据占星术的信仰，忧郁的人们受到黑暗行星土星的引导。我们也有16世纪的文化场景，特别是在德国，这有助于加强忧郁的问题。
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Pub Date : 2019-02-07DOI: 10.37467/GKA-VISUALREV.V1.1770
C. Barber
This article is evidence of a practice-based investigation into the imaginative worlds of mining and textiles as a starting point for transforming ways of thinking and creating in the locality. Featuring artist-in-residence and archival processes of research, and performative and site-responsive interventions, a number of recurring themes of enquiry will be developed that combine elements of clothing design, historical studies, nature studies, photography, inflatable construction and social anthropology. The article will draw from the authors artistic practice in the extraction of multi-narrative responses from textiles as an inventive method for engaging site-specifically with former mining locations in UK and Australia.
{"title":"Mining Textiles:Extracting multi-narrative responses from textiles to rethink a mining past","authors":"C. Barber","doi":"10.37467/GKA-VISUALREV.V1.1770","DOIUrl":"https://doi.org/10.37467/GKA-VISUALREV.V1.1770","url":null,"abstract":"This article is evidence of a practice-based investigation into the imaginative worlds of mining and textiles as a starting point for transforming ways of thinking and creating in the locality. Featuring artist-in-residence and archival processes of research, and performative and site-responsive interventions, a number of recurring themes of enquiry will be developed that combine elements of clothing design, historical studies, nature studies, photography, inflatable construction and social anthropology. The article will draw from the authors artistic practice in the extraction of multi-narrative responses from textiles as an inventive method for engaging site-specifically with former mining locations in UK and Australia.","PeriodicalId":388626,"journal":{"name":"The International Visual Culture Review","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115879488","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 : 2019-02-06DOI: 10.37467/gka-visualrev.v1.1747
Kristen Casey
This research makes a case for a shift from thinking of kitsch as a phenomenon extending from the industrial revolution, to one that is considered preternatural, existing as a state of being or a process of becoming. This re-theorization co-opts the pejorative connotations of ‘bad’, ‘trash’, and ‘imitation’ and ‘failure’ into positive processes and useful metaphors for contemporary aesthetics, particularly for feminist aesthetics. Its ultimate goal is to articulate an aesthetic theory for Posthuman Feminist Aesthetics and to redefine kitsch as it exists in media culture.
{"title":"On Kitsch in Nature & Technology: Redefining Kitsch for Posthuman Feminist Aesthetics","authors":"Kristen Casey","doi":"10.37467/gka-visualrev.v1.1747","DOIUrl":"https://doi.org/10.37467/gka-visualrev.v1.1747","url":null,"abstract":"This research makes a case for a shift from thinking of kitsch as a phenomenon extending from the industrial revolution, to one that is considered preternatural, existing as a state of being or a process of becoming. This re-theorization co-opts the pejorative connotations of ‘bad’, ‘trash’, and ‘imitation’ and ‘failure’ into positive processes and useful metaphors for contemporary aesthetics, particularly for feminist aesthetics. Its ultimate goal is to articulate an aesthetic theory for Posthuman Feminist Aesthetics and to redefine kitsch as it exists in media culture.","PeriodicalId":388626,"journal":{"name":"The International Visual Culture Review","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133167036","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 : 2019-02-06DOI: 10.37467/gka-visualrev.v1.1729
N. Seth
Key Words - Perception, Perfection, Stereotypes, Appearance, Transformation What do we perceive as beautiful and why? Is it a reflection of the social scenarios, economic backgrounds or perhaps our history that influences us? The paper investigates and analyses the reasons for the stereotypical perceptions of beauty and discusses the slow but evident transformation that is taking place in our country. With access to the world via social media there is an interesting emergence that seems to have gained momentum in the last decade. This instantaneous and uninterrupted access to all forms of media has left one either trapped in the hope to achieve superficial perfection or towards a sense of liberation. There is enough evidence that the hurried homogenized half-digested content being offered has led to an overwhelming obsession with one’s appearance. Feeding on the insecurities has benefited many organizations and individuals. The advent of this digital culture has also led to a change in the cosmopolitan ideal and the millennial woman of India does not want to conform to norms. Whether the consumption of both print and digital media as well as the visually illustrious embodiment of the shift in social power to the developing lifestyle results in a new wave for the legacy of perfection remains to be seen.
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Pub Date : 2019-02-06DOI: 10.37467/GKA-VISUALREV.V1.1775
A. García Martínez
People who are not in the game world often comment that they will numb players, rob them of any sense of empathy and create a generation of isolated and antisocial loners. In this article we will try to affirm the opposite: that games can play a powerful role in the creation of empathy, as well as other positive emotional experiences thanks to their own structural processes and how this empathy is the necessary one to make up for the lack of involvement of society in artistic creation. We will deal with the persuasive properties of games as media and what differentiates them from other media. Also, we will explain what these qualities of the games can bring to the activist and social art.
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Pub Date : 2019-02-06DOI: 10.37467/GKA-VISUALREV.V1.1751
Yunus Emre Ökmen
The traditional storytelling has begun to disappear, as the modern culture seizes every aspect of life (Ramsden and Hollingsworth, 2017: 14). The narrators began to take the place of digital media such as photography, cinema, television and internet. At the same time, basic cultural periods in communication can be handled in five different ways. These; Oral culture, written culture, printed culture, electric and electronic culture were finally added to these cultures or periods Digital culture, different media tools were introduced in the forms of communication between people and people (Baldini, 2000: 6). The traditional storytelling that started in the oral culture period has been moved to a different dimension with the applications on the web during the digital culture period. Thus, storytelling has experienced many changes and transformations in structural and content. When the digital culture era and the "Imagery Age" were considered, narrators tried to convey how they were changing through storytelling, exploration, new forms of communication and use of new media tools. In particular, the work of Guy Debord's "Show Society" has been utilized. This study was carried out by the scanning model of qualitative research methods. Since the phenomenon "Barış Özcan" was studied as a Youtuber, it was realized by using Case Study Model (Karasar, 2014: 77-86). Rogers “Diffusion of Innovation Theory" has become the most theoretical basis for his work. At the end of the study, it has been determined that there are structural and content differences between traditional media tools and traditional narrative style, digital media tools and digital narration style. With this changing and transforming narrative, the position of narrator and listener has been changed in many ways. The concept of time and space has been specifically addressed in this study. Traditional and digital narratives have changed in terms of time and space.
传统的讲故事已经开始消失，因为现代文化抓住了生活的方方面面(Ramsden和Hollingsworth, 2017: 14)。叙述者开始取代摄影、电影、电视和网络等数字媒体。同时，交际中的基本文化时期可以用五种不同的方式来处理。这些;口头文化，书面文化，印刷文化，电子和电子文化最终被添加到这些文化或时期数字文化，不同的媒体工具被引入人与人之间的交流形式(巴尔迪尼，2000:6)。在口头文化时期开始的传统讲故事已经移动到一个不同的维度，在数字文化时期在网络上的应用。因此，讲故事在结构和内容上经历了许多变化和转变。当考虑到数字文化时代和“图像时代”时，叙述者试图通过讲故事、探索、新的传播形式和新媒体工具的使用来传达他们是如何变化的。特别是利用了居伊·德波(Guy Debord)的作品“Show Society”。本研究采用扫描模型的定性研究方法。由于“Barış Özcan”现象是作为Youtuber来研究的，所以使用了Case Study Model (Karasar, 2014: 77-86)来实现。罗杰斯的“创新扩散理论”成为他工作的最具理论基础。在研究结束时，已经确定了传统媒体工具与传统叙事风格，数字媒体工具与数字叙事风格之间存在结构和内容上的差异。随着这种叙事的变化和转化，叙述者和听者的地位也在许多方面发生了变化。在这项研究中，时间和空间的概念得到了具体的解决。传统和数字叙事在时间和空间上都发生了变化。
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