Pub Date : 2024-09-14DOI: 10.1177/14703572231209479
Alexandra Lasczik, Amy Cutter-Mackenzie-Knowles, Maia Osborn, Lisa Siegel, Marianne Logan
This visual essay curates an exhibition of photographic data from a project with children about Landcare, a not-for-profit organization dedicated to managing environmental issues in local communities across Australia. The project sought to empower children to engage with Landcare Reserves through participatory arts-based research to map their awareness of and participation in local Landcare Reserve sites. This visual essay recognizes the images as agentic entities, with the power to activate the gaze beyond the boundaries of this project as embedded yet transcendent from it whilst simultaneously acknowledging the ‘failing’ agency of the sensing body of the camera.
{"title":"Landcare and Landscapes and Accidental Beauty: Failing Digital Technologies and the Gaze of Child Researchers","authors":"Alexandra Lasczik, Amy Cutter-Mackenzie-Knowles, Maia Osborn, Lisa Siegel, Marianne Logan","doi":"10.1177/14703572231209479","DOIUrl":"https://doi.org/10.1177/14703572231209479","url":null,"abstract":"This visual essay curates an exhibition of photographic data from a project with children about Landcare, a not-for-profit organization dedicated to managing environmental issues in local communities across Australia. The project sought to empower children to engage with Landcare Reserves through participatory arts-based research to map their awareness of and participation in local Landcare Reserve sites. This visual essay recognizes the images as agentic entities, with the power to activate the gaze beyond the boundaries of this project as embedded yet transcendent from it whilst simultaneously acknowledging the ‘failing’ agency of the sensing body of the camera.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"8 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142249049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-14DOI: 10.1177/14703572241233644
Baldwin Van Gorp
This visual essay makes use of sketches and watercolour drawings in order to present an observational study of a hunger strike conducted by undocumented immigrants in a Brussels church in 2021. The study aimed to explore the lived experience of the hunger strikers, focusing on the physical consequences, emotional states and process of the strike. The essay highlights the importance of visibility in gaining public support for a hunger strike. The study adds to existing scholarship on the use of visual methods in social research and highlights the potential of observational drawings as a tool for understanding the experiential aspects of social movements.
{"title":"An observational sketch essay of an undocumented immigrant hunger strike in Brussels","authors":"Baldwin Van Gorp","doi":"10.1177/14703572241233644","DOIUrl":"https://doi.org/10.1177/14703572241233644","url":null,"abstract":"This visual essay makes use of sketches and watercolour drawings in order to present an observational study of a hunger strike conducted by undocumented immigrants in a Brussels church in 2021. The study aimed to explore the lived experience of the hunger strikers, focusing on the physical consequences, emotional states and process of the strike. The essay highlights the importance of visibility in gaining public support for a hunger strike. The study adds to existing scholarship on the use of visual methods in social research and highlights the potential of observational drawings as a tool for understanding the experiential aspects of social movements.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"75 7 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142249048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-07DOI: 10.1177/14703572241271531
Louise Ravelli, Janina Wildfeuer
{"title":"Visual Communication is proud to announce its second Early Career Research Scholarship","authors":"Louise Ravelli, Janina Wildfeuer","doi":"10.1177/14703572241271531","DOIUrl":"https://doi.org/10.1177/14703572241271531","url":null,"abstract":"","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"59 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142183157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-09-06DOI: 10.1177/14703572241275520
{"title":"Corrigendum to Visual protest repertoires and protesters’ health identity: a battlefield of the anti-new normal movement","authors":"","doi":"10.1177/14703572241275520","DOIUrl":"https://doi.org/10.1177/14703572241275520","url":null,"abstract":"","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"157 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142183158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-24DOI: 10.1177/14703572231197789
Ricardo Greene, Tomas Errazuriz
In October 2019, fuelled by a collective discontent with the lifestyles and inequalities generated by the capitalist model, social protests took place in the Chilean streets. People staged massive demonstrations in every city demanding profound changes to the system. Known as the ‘Estallido Social’ (Social Explosion), the demonstrations paralysed an important part of the country and, after a few weeks of revolt, managed to initiate a new Constitution-making process. These events triggered a process in which the country was re-imagined, subjectivities were rewritten and objects and the environment were heavily transformed. This study places its focus on a set of industrially produced objects, whose original functions were subverted in the streets to enable new uses and meanings aligned with the Social Explosion. Kitchen items such as pots and ladles were used to make a lot of noise; road signs and pieces of urban furniture were re-located to block the streets; and gas cylinders and oil drums were reshaped for protection against police forces. While specialized literature generally seeks to recognize the new social forms and models that emerge from the crisis, this essay aims to reflect on the ways in which the relationship with the everyday environment is transformed in the midst of a social crisis, and how operations of resignification and reinterpretation may also be necessary to bring about more profound changes. As such, this study aims to characterize these operations of mutation (of bending, crumpling, scratching, wetting, moving, cutting, twisting, hitting, breaking, cracking, tricking, whipping, throwing, crushing, dragging, drilling and burning), and from there to move towards elucidating the practical and symbolic repercussions that this new material reality has had on the social body and daily life.
{"title":"The things they are a-changin': reinventing daily objects during the chilean 2019 revolt","authors":"Ricardo Greene, Tomas Errazuriz","doi":"10.1177/14703572231197789","DOIUrl":"https://doi.org/10.1177/14703572231197789","url":null,"abstract":"In October 2019, fuelled by a collective discontent with the lifestyles and inequalities generated by the capitalist model, social protests took place in the Chilean streets. People staged massive demonstrations in every city demanding profound changes to the system. Known as the ‘Estallido Social’ (Social Explosion), the demonstrations paralysed an important part of the country and, after a few weeks of revolt, managed to initiate a new Constitution-making process. These events triggered a process in which the country was re-imagined, subjectivities were rewritten and objects and the environment were heavily transformed. This study places its focus on a set of industrially produced objects, whose original functions were subverted in the streets to enable new uses and meanings aligned with the Social Explosion. Kitchen items such as pots and ladles were used to make a lot of noise; road signs and pieces of urban furniture were re-located to block the streets; and gas cylinders and oil drums were reshaped for protection against police forces. While specialized literature generally seeks to recognize the new social forms and models that emerge from the crisis, this essay aims to reflect on the ways in which the relationship with the everyday environment is transformed in the midst of a social crisis, and how operations of resignification and reinterpretation may also be necessary to bring about more profound changes. As such, this study aims to characterize these operations of mutation (of bending, crumpling, scratching, wetting, moving, cutting, twisting, hitting, breaking, cracking, tricking, whipping, throwing, crushing, dragging, drilling and burning), and from there to move towards elucidating the practical and symbolic repercussions that this new material reality has had on the social body and daily life.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"30 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142183159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-22DOI: 10.1177/14703572241239491
Coral Calvo-Maturana
This article critically explores the concept of ‘adoption’ via the semiotic analysis of the picture book A Mama for Owen (Bauer and Butler, 2007), which stands here as a testimony of adoption narratives and the ways in which they are creatively re-addressed in the context of children’s literature – as children’s books challenge traditional stories, establishing a contrastive dialogue, they are able ‘to sow and nurture the seeds of social change’ (see Reynolds, Children’s Literature, 2011: 5). The study proposes the application of textual tools of analysis developed in the area of stylistics (see Short, Exploring the Language of Poems, Plays, and Prose, 1996; Simpson, Stylistics: a Resource Book for Students, 2004; Toolan, Language in Literature: An Introduction to Stylistics, 1998) to the examination of the visual mode. In particular, it suggests (partial) visual repetition and visual parallelism as creative tools that are essential here in the process of meaning-making and re-assessment of adoption. The analysis of the visual mode is completed drawing on visual grammar (see Kress and Van Leeuwen, Reading Images: The Grammar of Visual Design, 2006[1996] and Painter, Children’s Picture Book Narratives: Reading Sequences of Images, 2009) and pictorial metaphors (see Forceville, Pictorial Metaphor in Advertising,1996, and Non-Verbal and Multimodal Metaphor in a Cognitivist Framework: Agendas for Research, 2006). The investigation identifies the semiotic choices at play and their multimodal display in terms of storytelling and narrative progression (see Labov, Language in the Inner City: Studies in the Black English Vernacular, 1972) in an accordion-like structure that results in the cognitive power of a work of art. The article ultimately embraces picture books as enriching multimodal narratives that can build more inclusive communities, in this case celebrating the family unit beyond the genetic bond or gender roles.
本文通过对图画书《给欧文的妈妈》（鲍尔和巴特勒，2007 年）的符号学分析，批判性地探讨了 "领养 "这一概念，该图画书见证了领养叙事及其在儿童文学语境中被创造性地重新表达的方式--当儿童读物挑战传统故事、建立对比对话时，它们能够 "播撒和培育社会变革的种子"（见雷诺兹，《儿童文学》，2011 年：5）。本研究建议应用文体学领域开发的文本分析工具（见 Short, Exploring the Language of Poems, Plays, and Prose, 1996; Simpson, Stylistics: a Resource Book for Students, 2004; Toolan, Language in Literature：文体学导论》，1998 年）来研究视觉模式。特别是，它建议（部分）视觉重复和视觉平行作为创造性工具，在意义生成和重新评估采用的过程中至关重要。对视觉模式的分析是在视觉语法的基础上完成的（见 Kress 和 Van Leeuwen, Reading Images：视觉设计语法》，2006 年[1996 年]，以及 Painter，《儿童图画书叙事》：阅读图像序列》，2009 年）和图画隐喻（见 Forceville，《广告中的图画隐喻》，1996 年，以及《认知主义框架中的非语言和多模态隐喻》，2006 年）：研究议程》，2006 年）。调查确定了在讲故事和叙事进展方面发挥作用的符号学选择及其多模态展示（见拉博夫：《内城的语言》（Language in the Inner City），《黑人英语方言研究》（Studies in the Black English Vernacular），2006 年）：拉博夫，《内城的语言：黑人英语方言研究》，1972 年）的手风琴式结构，从而产生了艺术作品的认知力。文章最终将图画书视为丰富的多模态叙事，可以建立更具包容性的社区，在本案例中，家庭单位超越了遗传纽带或性别角色。
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Pub Date : 2024-08-01DOI: 10.1177/14703572241247836
Enzo D’Armenio, Maria Giulia Dondero
Images are today at the centre of multiple social and technological tensions as a consequence of the adoption of digital coding, of the massive diffusion of social networks and of the algorithmic processing to which they are subject, resulting in new opportunities for developing analytical inquiries and meaning-producing social actions. In this introduction, the authors intend to reconstruct the broad context that makes images one of the most important resources of the digital era and to focus on some of the research tracks that characterize it. In the first part, they begin by focusing on the relationship between images and the digital, which they retrace in accordance with the selection of three key moments: the transition from ontology to the epistemology of digital media; the opening, by social networks and portable devices, of a field for the computational study of contemporary cultures; and, finally, the analytical potential arising from the encounter between digital archives and computer algorithms. In the second part, they present the three axes around which this issue is structured: archives, identity and algorithms. They first of all discuss the concept of the archive, by presenting four different understandings it has come to bear in conjunction with digital encoding – the archive as heritage, resource, effect and as database. They go on to address the relation between images and identities, arguing that social platforms and visual apps are a new domain for identity experimentation and social aggregation. Finally, they discuss the issue of algorithms and more generally of the new computational economy that associates large amounts of data with their mobilization as operational images.
{"title":"Introduction: Hyper-Visuality: Images in the Era of Social Platforms, Digital Archives and Computational Economies","authors":"Enzo D’Armenio, Maria Giulia Dondero","doi":"10.1177/14703572241247836","DOIUrl":"https://doi.org/10.1177/14703572241247836","url":null,"abstract":"Images are today at the centre of multiple social and technological tensions as a consequence of the adoption of digital coding, of the massive diffusion of social networks and of the algorithmic processing to which they are subject, resulting in new opportunities for developing analytical inquiries and meaning-producing social actions. In this introduction, the authors intend to reconstruct the broad context that makes images one of the most important resources of the digital era and to focus on some of the research tracks that characterize it. In the first part, they begin by focusing on the relationship between images and the digital, which they retrace in accordance with the selection of three key moments: the transition from ontology to the epistemology of digital media; the opening, by social networks and portable devices, of a field for the computational study of contemporary cultures; and, finally, the analytical potential arising from the encounter between digital archives and computer algorithms. In the second part, they present the three axes around which this issue is structured: archives, identity and algorithms. They first of all discuss the concept of the archive, by presenting four different understandings it has come to bear in conjunction with digital encoding – the archive as heritage, resource, effect and as database. They go on to address the relation between images and identities, arguing that social platforms and visual apps are a new domain for identity experimentation and social aggregation. Finally, they discuss the issue of algorithms and more generally of the new computational economy that associates large amounts of data with their mobilization as operational images.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"75 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141882430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-01DOI: 10.1177/14703572241247120
Massimo Leone
This article critically analyses the semiotic pathways through which the new aura of algorithmic images is constructed, an aura which stems not so much from what they represent or from how it is represented but from the halo of mystery surrounding the very productive genesis of such images. Even their creators, from their super-technological laboratories, claim that they cannot fully grasp their emergence from artificial intelligence. Analysing these statements in depth, as well as the attempts that these same laboratories conduct to ‘unravel’ the mystery of the algorithmic images that they themselves fabricate and disseminate, however, one is seized with the suspicion that this mystery and aura are not due to intrinsic technical causes, but rather to the particular socio-rhetorical context in which digital and technological frontier knowledge is produced today, especially in relation to artificial intelligence. The ‘black box’ so often evoked to translate the inexplicability of artificial intelligence visual products might therefore be nothing more than a rhetorical device to protect and enhance the real black box, that of productive and industrial secrecy. In this whole process of algorithmic construction of the aura, then, the rhetoric of the unknowable image intercepts and highjacks a very longstanding trend in human cultures, in which images are precisely delegated the semiotic task of circulating the sense of a mysterious, ungraspable and unfathomable meaning.
{"title":"Semiotics of the black box: on the rhetorics of algorithmic images","authors":"Massimo Leone","doi":"10.1177/14703572241247120","DOIUrl":"https://doi.org/10.1177/14703572241247120","url":null,"abstract":"This article critically analyses the semiotic pathways through which the new aura of algorithmic images is constructed, an aura which stems not so much from what they represent or from how it is represented but from the halo of mystery surrounding the very productive genesis of such images. Even their creators, from their super-technological laboratories, claim that they cannot fully grasp their emergence from artificial intelligence. Analysing these statements in depth, as well as the attempts that these same laboratories conduct to ‘unravel’ the mystery of the algorithmic images that they themselves fabricate and disseminate, however, one is seized with the suspicion that this mystery and aura are not due to intrinsic technical causes, but rather to the particular socio-rhetorical context in which digital and technological frontier knowledge is produced today, especially in relation to artificial intelligence. The ‘black box’ so often evoked to translate the inexplicability of artificial intelligence visual products might therefore be nothing more than a rhetorical device to protect and enhance the real black box, that of productive and industrial secrecy. In this whole process of algorithmic construction of the aura, then, the rhetoric of the unknowable image intercepts and highjacks a very longstanding trend in human cultures, in which images are precisely delegated the semiotic task of circulating the sense of a mysterious, ungraspable and unfathomable meaning.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"65 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141882310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-01DOI: 10.1177/14703572231221030
Valérie Schafer, Fred Pailler
From the ‘Dancing baby’, ‘All your base are belong to us’ and the ‘Hampster dance’ in the second half of the 1990s to Bernie’s mittens at the US presidential inauguration, through to ‘Disaster girl’ and ‘Distracted boyfriend’, among others, memes have become an important part of our (visual) digital culture over the last 20 years. This article demonstrates why memes should be considered a critical part of our born-digital heritage, by examining their connections to digital histories and trajectories, as well as their role in pop, visual and digital culture. The authors then map the diversity of stakeholders who contribute to this heritagization and the many challenges involved in meme preservation and archiving, including curation, agency, meaning and value.
{"title":"‘All your image are belong to us’: heritagization, archiving and historicization of memes","authors":"Valérie Schafer, Fred Pailler","doi":"10.1177/14703572231221030","DOIUrl":"https://doi.org/10.1177/14703572231221030","url":null,"abstract":"From the ‘Dancing baby’, ‘All your base are belong to us’ and the ‘Hampster dance’ in the second half of the 1990s to Bernie’s mittens at the US presidential inauguration, through to ‘Disaster girl’ and ‘Distracted boyfriend’, among others, memes have become an important part of our (visual) digital culture over the last 20 years. This article demonstrates why memes should be considered a critical part of our born-digital heritage, by examining their connections to digital histories and trajectories, as well as their role in pop, visual and digital culture. The authors then map the diversity of stakeholders who contribute to this heritagization and the many challenges involved in meme preservation and archiving, including curation, agency, meaning and value.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"4 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141882431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-08-01DOI: 10.1177/14703572241239515
Dario Compagno
This article’s aim is to explore the possibilities and limitations of some quantitative tools for the analysis of images. It shows how three different families of tools – manual annotation, eye-tracking and signifier analysis – can help to better understand the meaning effects of figurative and plastic (abstract) elements in pictures. Advantages and disadvantages for each family of tools are discussed. The author also suggests some theoretical implications of the adoption of quantitative tools in the humanities and especially within semiotic disciplines.
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