Pub Date : 2021-12-01DOI: 10.1177/14704129211072651
Oscar Pedraza, Hannah Meszaros Martin
In this article, the authors discuss their work in Coquitos from 2019–2021 with the Colombian Truth Commission and Forensic Architecture. They consider conflicts around land tenure, violent land dispossessions and land grabbing as the sedimented articulation of multiple environmental, legal, economic, and violent processes that are drawn out over decades. Their mode of analysis is based on a visual methodology using ‘situated testimony’ of ‘earthly memory’ that reflects the need to combine modes of seeing and understanding earth systems through the historicity of such slow violence. This focus on earthly memory allows for an approach to violence that resists the commodification of the environment and its reduction to an inert object, or a mere prize of war (what is often reduced to a ‘conflict over resources’). Rather, by focusing these situated testimonies on the theme of earthly memory, the authors pursue an analysis that underscores the environment as an active agent in the conflicts and forms of violence that are at the heart of land dispossession. The environment should be understood, they argue, as both a mode and medium through which violence is conducted, rather than a passive victim on which violence is executed. This is how they arrive at a method of situated testimony that could be employed as a way of addressing the role of earthly memory in the long history of the Colombian war.
{"title":"The memory of earth and land dispossession in Urabá","authors":"Oscar Pedraza, Hannah Meszaros Martin","doi":"10.1177/14704129211072651","DOIUrl":"https://doi.org/10.1177/14704129211072651","url":null,"abstract":"In this article, the authors discuss their work in Coquitos from 2019–2021 with the Colombian Truth Commission and Forensic Architecture. They consider conflicts around land tenure, violent land dispossessions and land grabbing as the sedimented articulation of multiple environmental, legal, economic, and violent processes that are drawn out over decades. Their mode of analysis is based on a visual methodology using ‘situated testimony’ of ‘earthly memory’ that reflects the need to combine modes of seeing and understanding earth systems through the historicity of such slow violence. This focus on earthly memory allows for an approach to violence that resists the commodification of the environment and its reduction to an inert object, or a mere prize of war (what is often reduced to a ‘conflict over resources’). Rather, by focusing these situated testimonies on the theme of earthly memory, the authors pursue an analysis that underscores the environment as an active agent in the conflicts and forms of violence that are at the heart of land dispossession. The environment should be understood, they argue, as both a mode and medium through which violence is conducted, rather than a passive victim on which violence is executed. This is how they arrive at a method of situated testimony that could be employed as a way of addressing the role of earthly memory in the long history of the Colombian war.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"543 - 562"},"PeriodicalIF":1.4,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47123572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1177/14704129211026358
Neta Alexander, Tali Keren
The teleprompter, invented in 1948 as a memory aid for show business, has become a ubiquitous technology in modern politics. Yet, the hidden ways in which this device shapes our understanding of performance, newscasting, and political rhetoric are rarely studied by media scholars. Recognizing this lacuna, this article traces the evolution of the teleprompter from a cumbersome, human-operated device to an invisible system of screens designed to conceal its own existence. The teleprompter has not only shaped the standardization of speech, but also restructured the televised spectacle by collapsing the sonic, the tactile, and the optical. By focusing on teleprompter fiascos and moments of breakdown from President Eisenhower to President Trump, we make a broader argument regarding the importance of failure and the accidental to the study of visual culture.
{"title":"Paper, glass, algorithm: teleprompters and the invisibility of screens","authors":"Neta Alexander, Tali Keren","doi":"10.1177/14704129211026358","DOIUrl":"https://doi.org/10.1177/14704129211026358","url":null,"abstract":"The teleprompter, invented in 1948 as a memory aid for show business, has become a ubiquitous technology in modern politics. Yet, the hidden ways in which this device shapes our understanding of performance, newscasting, and political rhetoric are rarely studied by media scholars. Recognizing this lacuna, this article traces the evolution of the teleprompter from a cumbersome, human-operated device to an invisible system of screens designed to conceal its own existence. The teleprompter has not only shaped the standardization of speech, but also restructured the televised spectacle by collapsing the sonic, the tactile, and the optical. By focusing on teleprompter fiascos and moments of breakdown from President Eisenhower to President Trump, we make a broader argument regarding the importance of failure and the accidental to the study of visual culture.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"395 - 417"},"PeriodicalIF":1.4,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47165082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1177/14704129211027325
Julietta Singh, C. Joynt
Writer Julietta Singh talks to filmmaker Chase Joynt about their unfolding collaborative work on a feature-length hybrid documentary, The Nest. Taking a majestic home in central Canada as its focus, the documentary looks to architecture as a portal through which to tell unexpected histories of Westward expansion, Indigenous uprising, ecopolitical activism, domestic violence, and the racialization of a nation. Mapping the structural, political, and intimate histories of the house, the film engages archival remnants and historical fabulation to illuminate forgotten feminist pasts and tell linked stories of its transhistorical occupants. The project asks: How can built environments reveal subjugated stories of the past? How are we affected by the historical traces that linger in our dwelling places? How are race, gender, class, sexuality, and physical ability embedded in architecture? And how might we ultimately understand ourselves as artifacts of space and place that are making and telling histories otherwise?
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Pub Date : 2021-08-01DOI: 10.1177/14704129211026298
G. Kleege
This article describes three collaborative projects designed to explore tactile and haptic encounters with visual art. As a blind person, the author takes advantage of touch tours offered in many of the world’s museums. As rewarding as these can be, she often leaves feeling that there is something missing. She is aware that people who witness a touch tour for blind people, both companions who might be with them and strangers who might observe it, are curious, even envious. It seems only right that she, and other blind people who enjoy this privilege, have a responsibility to share the experience as a way to expand cultural knowledge about art. The projects described here enable her to begin to establish a taxonomy and vocabulary of tactile and haptic aesthetics, and model tactile descriptions of art that can benefit anyone. She does this both to reciprocate for the privilege cultural institutions bestowed on her, as well as to show that touch is not merely a poor substitute for sight, but rather a different mode of inquiry and appreciation. She hopes this work will support challenges to the ocularcentrism of the museum sector by showing how art can engage the full human sensorium. These projects all took place in the years leading up to the Covid-19 global pandemic and were a small part of initiatives at arts institutions to promote equity and inclusion by drawing on the knowledge and expertise of members of marginalized communities. As these institutions reopen post-pandemic and restructure their staff and programming, it remains to be known if they will continue the progress toward greater inclusion or return to previous models designed to serve only normative audiences. In her conclusion, the author speculates on the kind of systematic changes that will need to happen to continue to diversify museum audiences and increase multisensory access to art.
{"title":"The art of touch: lending a hand to the sighted majority","authors":"G. Kleege","doi":"10.1177/14704129211026298","DOIUrl":"https://doi.org/10.1177/14704129211026298","url":null,"abstract":"This article describes three collaborative projects designed to explore tactile and haptic encounters with visual art. As a blind person, the author takes advantage of touch tours offered in many of the world’s museums. As rewarding as these can be, she often leaves feeling that there is something missing. She is aware that people who witness a touch tour for blind people, both companions who might be with them and strangers who might observe it, are curious, even envious. It seems only right that she, and other blind people who enjoy this privilege, have a responsibility to share the experience as a way to expand cultural knowledge about art. The projects described here enable her to begin to establish a taxonomy and vocabulary of tactile and haptic aesthetics, and model tactile descriptions of art that can benefit anyone. She does this both to reciprocate for the privilege cultural institutions bestowed on her, as well as to show that touch is not merely a poor substitute for sight, but rather a different mode of inquiry and appreciation. She hopes this work will support challenges to the ocularcentrism of the museum sector by showing how art can engage the full human sensorium. These projects all took place in the years leading up to the Covid-19 global pandemic and were a small part of initiatives at arts institutions to promote equity and inclusion by drawing on the knowledge and expertise of members of marginalized communities. As these institutions reopen post-pandemic and restructure their staff and programming, it remains to be known if they will continue the progress toward greater inclusion or return to previous models designed to serve only normative audiences. In her conclusion, the author speculates on the kind of systematic changes that will need to happen to continue to diversify museum audiences and increase multisensory access to art.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"433 - 451"},"PeriodicalIF":1.4,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45467603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-01DOI: 10.1177/1470412921995222
Katerina Korola
In the prologue to Walid Raad’s Hostage: The Bachar Tapes (2001), the speaker asks that his words appear against a grey background. Or, he continues after a pause, ‘use a blue background . . . blue just like the Mediterranean’. Beginning with this colourful riddle, this article investigates the work of the monochrome in the Atlas Group Archive. With this attention to the monochrome as a format, the author’s goal is to move away from the categories of documentary and fiction that dominate discussions of Raad and parafictional work more generally, towards the formal infrastructure through which such works command belief and emotion. This attention to the aesthetic form of the archive not only brings into focus the constituent role of design in the construction of knowledge, but it also reveals the transformation of the monochrome in its encounters with the archive, technical media, and the chromatics of affective capitalism.
{"title":"Blue like the Mediterranean: the work of the monochrome in the Atlas Group Archive","authors":"Katerina Korola","doi":"10.1177/1470412921995222","DOIUrl":"https://doi.org/10.1177/1470412921995222","url":null,"abstract":"In the prologue to Walid Raad’s Hostage: The Bachar Tapes (2001), the speaker asks that his words appear against a grey background. Or, he continues after a pause, ‘use a blue background . . . blue just like the Mediterranean’. Beginning with this colourful riddle, this article investigates the work of the monochrome in the Atlas Group Archive. With this attention to the monochrome as a format, the author’s goal is to move away from the categories of documentary and fiction that dominate discussions of Raad and parafictional work more generally, towards the formal infrastructure through which such works command belief and emotion. This attention to the aesthetic form of the archive not only brings into focus the constituent role of design in the construction of knowledge, but it also reveals the transformation of the monochrome in its encounters with the archive, technical media, and the chromatics of affective capitalism.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"455 - 477"},"PeriodicalIF":1.4,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65413582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1177/1470412921994616
Cajetan Iheka
African ecologies and the various media forms devoted to them remain marginal in the bourgeoning discourse of ecomedia studies despite the implication of the continent in mineral extraction, wildlife conservation, and the dumping of toxic wastes, just to mention a few examples. Turning to media focusing on Nigeria’s Niger-Delta region, the author argues that African cultural forms are crucial for extending the frontiers of ecomedia studies and for apprehending the perversities of oil culture. His analysis of a mural in Ireland’s Mayo County featuring the environmental activist Ken Saro-Wiwa (2005), the music video for Timaya’s ‘Dem Mama’ (2006), and Victor Ehikhamenor’s art installation, The Wealth of Nations (2015), shows that they deploy the visual in protesting the commodifying logic of oil extraction. This article adopts an infrastructural approach toward media as it underscores how oil consecrates the selected cultural objects as network forms. Focusing on African materials extends the geography and archive of ecomedia studies, but it has methodological implications too. The author orients scholarship in the environmental humanities toward working across media, encouraging the field to adopt ecological relationality as both the matter and the method.
{"title":"The media turn in African environmentalism: the Niger Delta and oil’s network forms","authors":"Cajetan Iheka","doi":"10.1177/1470412921994616","DOIUrl":"https://doi.org/10.1177/1470412921994616","url":null,"abstract":"African ecologies and the various media forms devoted to them remain marginal in the bourgeoning discourse of ecomedia studies despite the implication of the continent in mineral extraction, wildlife conservation, and the dumping of toxic wastes, just to mention a few examples. Turning to media focusing on Nigeria’s Niger-Delta region, the author argues that African cultural forms are crucial for extending the frontiers of ecomedia studies and for apprehending the perversities of oil culture. His analysis of a mural in Ireland’s Mayo County featuring the environmental activist Ken Saro-Wiwa (2005), the music video for Timaya’s ‘Dem Mama’ (2006), and Victor Ehikhamenor’s art installation, The Wealth of Nations (2015), shows that they deploy the visual in protesting the commodifying logic of oil extraction. This article adopts an infrastructural approach toward media as it underscores how oil consecrates the selected cultural objects as network forms. Focusing on African materials extends the geography and archive of ecomedia studies, but it has methodological implications too. The author orients scholarship in the environmental humanities toward working across media, encouraging the field to adopt ecological relationality as both the matter and the method.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"20 1","pages":"60 - 84"},"PeriodicalIF":1.4,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1470412921994616","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44988180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-01DOI: 10.1177/1470412921996295
Susana S. Martins
Imagine you open a thin, large-format book in your hands, eager to discover the story it tells. The title, Une fille comme toi, is not particularly revealing. After a discreet white cover, you suddenly encounter an uncanny visual archive: on the second page, a colour-saturated Brigitte Bardot looks you in the eye, and you recognize old visual codes. It looks like the cover of a popular vintage magazine. You continue further, discovering several pages in which photographic images and text are organized in a familiar grid layout. Your common sense tells you that you must be holding a photonovel. But the title corrects you: it is a film photonovel. But which film is it about? Things get a bit more confusing as you turn the pages trying to find out. Ingrid Bergman here, Jean-Paul Belmondo there; Rita Hayworth, Tippi Hedren, Marcello Mastroianni, all sharing the same fictional space.
想象一下，你打开手中一本薄薄的、大幅面的书，渴望发现它告诉的故事。标题“Une fille comme toi”并不是特别能说明问题。在一个谨慎的白色封面之后，你会突然遇到一个神秘的视觉档案：在第二页上，一个色彩饱和的碧姬·芭铎看着你的眼睛，你认出了旧的视觉代码。它看起来像一本流行的老式杂志的封面。您将继续深入了解一些页面，在这些页面中，照片图像和文本以熟悉的网格布局进行组织。你的常识告诉你一定拿着一本摄影小说。但标题纠正了你：这是一部电影摄影小说。但是这是关于哪部电影的呢？当你翻页试图找出答案时，事情会变得有点混乱。英格丽·褒曼在这里，让-保罗·贝尔蒙多在那里；Rita Hayworth、Tippi Hedren、Marcelo Mastroianni都共享同一个虚构空间。
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Pub Date : 2021-04-01DOI: 10.1177/1470412921996296
Dann Disciglio
This book consists of a mostly philosophical effort to make sense of what art theorist Christoph Cox describes as a ‘sonic turn in . . . arts and culture’ (p. 1). Through careful readings of various philosophical concepts (duration, ontology, materialism), artists (for example, Max Neuhaus, Christian Marclary, Alvin Lucier), and thinkers (Gilles Deleuze, Henri Bergson, Friedrich Nietzsche, Wilhelm Leibniz), Sonic Flux: Sound, Art, and Metaphysics does not simply offer a summary of various sound artworks as much as it rigorously maps out a philosophy of sound which extends beyond artworks – sound as an ‘immemorial material flow [that] manifests and models the myriad fluxes that constitute the natural world’ (pp. 2–3). For Cox, this ‘sonic flux . . . suggests a way of rethinking the arts in general’ (p. 37) founded upon a non-anthropocentric naturalism, or rather, an anti-humanist metaphysics, which pushes for critical artistic research through material and sensory experimentation and critical theory, something deeply significant for all culture. With an already extensive background in sound and philosophy – Cox is the author of Nietzsche: Naturalism and Interpretation (1999) and the co-editor of Audio Culture: Readings in Modern Music (Cox and Warner, 2004) – Sonic Flux has solidified Cox’s role as the definitive voice in the field of sound art.
这本书主要是哲学上的努力，以理解艺术理论家克里斯托夫·考克斯所描述的“。艺术与文化”（第1页）。通过仔细阅读各种哲学概念（持续时间、本体论、唯物主义）、艺术家（例如马克斯·诺伊豪斯、克里斯蒂安·马克拉里、阿尔文·卢西耶）和思想家（吉勒·德勒兹、亨利·柏格森、弗里德里希·尼采、威廉·莱布尼茨），形而上学并不是简单地对各种声音艺术品进行总结，而是严格地制定了一种超越艺术品的声音哲学——声音是一种“表现和模拟构成自然世界的无数流动的远古物质流”（第2-3页）。对考克斯来说，这种“声波通量。提出了一种重新思考一般艺术的方式”（第37页），它建立在一种非人类中心的自然主义，或者更确切地说，是一种反人文主义的形而上学之上，通过物质和感官实验以及批判理论来推动批判性艺术研究，这对所有文化都具有深远的意义。在声音和哲学方面已经有了广泛的背景——考克斯是《尼采：自然主义与阐释》（1999）的作者，也是《音频文化：现代音乐读物》（Cox and Warner，2004）的联合编辑——Sonic Flux巩固了考克斯在声音艺术领域的权威声音的地位。
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Pub Date : 2021-04-01DOI: 10.1177/14704129211000638
F. Escobedo
In this interview, the celebrated Mexican architect Frida Escobedo explains the intricacies of her design practice and her longstanding interests in Minimalism, Mexican Modernism, and the socio-political concerns facing architecture. The interview provides an insightful mid-career look at one of the most creative and compelling architects working in the world today. Escobedo and Gardner engage in a lively discussion that ranges from design theory to feminism in contemporary architecture. The interview was conducted at Harvard University on 12 December 2019.
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