Pub Date : 2022-06-27DOI: 10.1177/14703572221101130
Stephanie Black
This article uses images from the visual essays produced for Plume of Feathers, an audio-visual project, to examine the notion of ‘reflective nostalgia’ as an attitude towards meaning-making within image creation, in particular illustration that can counter certain political uses of images that present a restorative–nostalgic world view. The project at the core of the article is concerned with the decline of public houses and their social function in the UK. However, the image of the pub is embroiled within the visual rhetoric related to the UK’s (2016) Brexit referendum. This article explores the ways in which the illustrated image can provide a different view of the pub that reveals the conceptual construction of the notion of ‘pub’ and offers a critical alternative. The constructed nature of the illustrated image is then explored for its potential to visualize the past differently, following Svetlana Boym’s proposal of reflective nostalgia in The Future of Nostalgia (2001) in order to address problems in the present. The article proposes that reflective nostalgia’s utility as a critical tool lies in its consideration of the key role played by the surface of the image, through the material signifiers of age. As illustrators, embracing these nostalgic triggers when making images allows the viewer to reconnect to the past with critical distance, thereby returning politics to the surface of the image, something that Fredric Jameson saw in Postmodernism, Or the Cultural Logic of Late Capitalism (1991) as recuperated and rendered politically neutral. Illustration is therefore cast as a meaning-making practice that shapes the world it operates within, with the article suggesting that by making nostalgic images, illustrators can exercise their agency as agitators.
本文使用视听项目Plume of Feathers制作的视觉文章中的图像，来研究“反思性怀旧”的概念，作为图像创作中意义制造的一种态度，特别是可以对抗某些政治用途的图像，这些图像呈现出一种恢复性怀旧的世界观。这篇文章的核心项目是关于公共房屋的衰落及其在英国的社会功能。然而，酒吧的形象卷入了与英国(2016)脱欧公投相关的视觉修辞中。这篇文章探讨了如何用插图提供酒吧的不同观点，揭示了“酒吧”概念的概念结构，并提供了一个关键的替代方案。然后，根据Svetlana Boym在《怀旧的未来》(2001)中提出的反思性怀旧的建议，探索插图图像的构建性质，以不同的方式可视化过去的潜力，以解决当前的问题。反思性怀旧作为一种批判工具的效用在于它通过时代的物质能指来考虑图像表面所起的关键作用。作为插画家，在制作图像时，拥抱这些怀旧的触发因素可以让观众与过去保持临界距离，从而将政治回归到图像的表面，这是弗雷德里克·詹姆森在《后现代主义》或《晚期资本主义的文化逻辑》(1991)中看到的，被恢复并呈现出政治中立。因此，插画是一种意义创造的实践，塑造了它所处的世界，这篇文章表明，通过制作怀旧的图像，插画家可以行使他们作为鼓动者的代理。
{"title":"Exploring the contemporary Moon Under Water through illustration: nostalgia and the power of the image","authors":"Stephanie Black","doi":"10.1177/14703572221101130","DOIUrl":"https://doi.org/10.1177/14703572221101130","url":null,"abstract":"This article uses images from the visual essays produced for Plume of Feathers, an audio-visual project, to examine the notion of ‘reflective nostalgia’ as an attitude towards meaning-making within image creation, in particular illustration that can counter certain political uses of images that present a restorative–nostalgic world view. The project at the core of the article is concerned with the decline of public houses and their social function in the UK. However, the image of the pub is embroiled within the visual rhetoric related to the UK’s (2016) Brexit referendum. This article explores the ways in which the illustrated image can provide a different view of the pub that reveals the conceptual construction of the notion of ‘pub’ and offers a critical alternative. The constructed nature of the illustrated image is then explored for its potential to visualize the past differently, following Svetlana Boym’s proposal of reflective nostalgia in The Future of Nostalgia (2001) in order to address problems in the present. The article proposes that reflective nostalgia’s utility as a critical tool lies in its consideration of the key role played by the surface of the image, through the material signifiers of age. As illustrators, embracing these nostalgic triggers when making images allows the viewer to reconnect to the past with critical distance, thereby returning politics to the surface of the image, something that Fredric Jameson saw in Postmodernism, Or the Cultural Logic of Late Capitalism (1991) as recuperated and rendered politically neutral. Illustration is therefore cast as a meaning-making practice that shapes the world it operates within, with the article suggesting that by making nostalgic images, illustrators can exercise their agency as agitators.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"1 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84111088","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 : 2022-06-21DOI: 10.1177/14703572221099606
Alex Christiansen
: Multimodality research has always shown a strong reliance on data. However, the field has primarily developed around more exploratory, descriptive, and interpretative work on smaller data sets — as suggested by results we present from a meta-study of contributions to three multimodality-close international journals ( Social Semiotics , Visual Communication , Multimodal Communication ). Framed by a discussion of the qualitative-quantitative dichotomy and a deliberately broad working definition of empirical , we argue that it is not sample size or quantitative methods alone that support a more solid empirical grounding of multimodality research, but rather an explicit orientation to just how theory and analysis make contact with data. To this end, we propose five quality criteria of empirical practice, that is, completing the empirical feedback loop: from theory to data and back, ensuring objectivity, reliability, and validity in research, and acknowledging the inherent tentativeness of results. We thereby seek to chart paths for an appropriate and productive application of various empirical methods to novel (and supposedly familiar) forms of meaning-making in order to further strengthen the development of theory and methods in multimodality, and to encourage an even more intense exchange among the diverse communities of multimodalists.
{"title":"Book review: Empirical Multimodality Research: Methods, Evaluations, Implications","authors":"Alex Christiansen","doi":"10.1177/14703572221099606","DOIUrl":"https://doi.org/10.1177/14703572221099606","url":null,"abstract":": Multimodality research has always shown a strong reliance on data. However, the field has primarily developed around more exploratory, descriptive, and interpretative work on smaller data sets — as suggested by results we present from a meta-study of contributions to three multimodality-close international journals ( Social Semiotics , Visual Communication , Multimodal Communication ). Framed by a discussion of the qualitative-quantitative dichotomy and a deliberately broad working definition of empirical , we argue that it is not sample size or quantitative methods alone that support a more solid empirical grounding of multimodality research, but rather an explicit orientation to just how theory and analysis make contact with data. To this end, we propose five quality criteria of empirical practice, that is, completing the empirical feedback loop: from theory to data and back, ensuring objectivity, reliability, and validity in research, and acknowledging the inherent tentativeness of results. We thereby seek to chart paths for an appropriate and productive application of various empirical methods to novel (and supposedly familiar) forms of meaning-making in order to further strengthen the development of theory and methods in multimodality, and to encourage an even more intense exchange among the diverse communities of multimodalists.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"90 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84570714","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 : 2022-06-21DOI: 10.1177/14703572221102180
Yi Deng, D. Feng
Influenced by the global neoliberalization of higher education, academic entrepreneurialism has become a new paradigm of university development and has brought about profound changes in various types of university discourse. Against this backdrop, this study investigates the transformations in the visual depiction of academics in the annual reports of six major universities in Hong Kong during the past two decades. Drawing on critical visual analysis, the study shows that the communicative purposes of the images have shifted from reporting the research process to promoting research outcomes. The visual identities of academics have shown clear transformations of becoming increasingly individualized, entrepreneurial and self-promotional. With a higher degree of social interaction and closer social distance with viewers, they are playing an increasingly important role in building public relations. The study enriches the social analysis of neoliberalization as a process through the quantitative and diachronic lens. It demonstrates how a visual analytical method applied to the critical analysis of identity construction and university discourse can provide an explicit understanding of the visual manifestations of neoliberalism in higher education and its diachronic change.
{"title":"From researchers to academic entrepreneurs: a diachronic analysis of the visual representation of academics in university annual reports","authors":"Yi Deng, D. Feng","doi":"10.1177/14703572221102180","DOIUrl":"https://doi.org/10.1177/14703572221102180","url":null,"abstract":"Influenced by the global neoliberalization of higher education, academic entrepreneurialism has become a new paradigm of university development and has brought about profound changes in various types of university discourse. Against this backdrop, this study investigates the transformations in the visual depiction of academics in the annual reports of six major universities in Hong Kong during the past two decades. Drawing on critical visual analysis, the study shows that the communicative purposes of the images have shifted from reporting the research process to promoting research outcomes. The visual identities of academics have shown clear transformations of becoming increasingly individualized, entrepreneurial and self-promotional. With a higher degree of social interaction and closer social distance with viewers, they are playing an increasingly important role in building public relations. The study enriches the social analysis of neoliberalization as a process through the quantitative and diachronic lens. It demonstrates how a visual analytical method applied to the critical analysis of identity construction and university discourse can provide an explicit understanding of the visual manifestations of neoliberalism in higher education and its diachronic change.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"89 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85035311","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 : 2022-06-09DOI: 10.1177/14703572221102531
Charles Forceville
{"title":"Book review: Beyond the Visual: An Introduction to Researching Multimodal Phenomena","authors":"Charles Forceville","doi":"10.1177/14703572221102531","DOIUrl":"https://doi.org/10.1177/14703572221102531","url":null,"abstract":"","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"123 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82491726","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 : 2022-06-09DOI: 10.1177/14703572221090536
C. van der Lee, Renske van Enschot
While many models attempt to explain the aesthetic experience, most limit themselves to art as their focal point and only a few look into why we arrive at a certain response to a visual aesthetic object. This article attempts to offer an extension to the current models by focusing on the mechanisms that induce emotions in relation to visual aesthetic objects. It takes Juslin’s (2013) BRECVEM mechanisms – developed for the domain of music – as its basis. In this article, Juslin’s mechanisms are adapted to the visual domain, resulting in six different emotion-evoking mechanisms: startle reflex, evaluative conditioning, emotional contagion, mental imagery, syntactic expectancy and external appraisal. The authors give an overview of frameworks and empirical studies, demonstrating each of these mechanisms in relation to visual aesthetic objects (visual art as well as advertising and product design). The article’s focus on emotion-inducing mechanisms and existing empirical research provides a basis for improving empirical testing of emotional responses to a broad range of visual aesthetic objects.
{"title":"Understanding emotional responses to visual aesthetic artefacts: the SECMEA mechanisms","authors":"C. van der Lee, Renske van Enschot","doi":"10.1177/14703572221090536","DOIUrl":"https://doi.org/10.1177/14703572221090536","url":null,"abstract":"While many models attempt to explain the aesthetic experience, most limit themselves to art as their focal point and only a few look into why we arrive at a certain response to a visual aesthetic object. This article attempts to offer an extension to the current models by focusing on the mechanisms that induce emotions in relation to visual aesthetic objects. It takes Juslin’s (2013) BRECVEM mechanisms – developed for the domain of music – as its basis. In this article, Juslin’s mechanisms are adapted to the visual domain, resulting in six different emotion-evoking mechanisms: startle reflex, evaluative conditioning, emotional contagion, mental imagery, syntactic expectancy and external appraisal. The authors give an overview of frameworks and empirical studies, demonstrating each of these mechanisms in relation to visual aesthetic objects (visual art as well as advertising and product design). The article’s focus on emotion-inducing mechanisms and existing empirical research provides a basis for improving empirical testing of emotional responses to a broad range of visual aesthetic objects.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"116 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79240976","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 : 2022-06-08DOI: 10.1177/14703572221099611
Courtney D Tabor
Pages 147 147–148 In a technological environment that enables the proliferation of a variety of voices, the role of images in the relationship between state actors, media, and citizens is becoming more complex. Questions pertaining to the discursive role of images have highlighted the importance of considering how power operates within larger contexts of the image-making process (e.g., Sekula, 1986; Tagg, 1999). In Seeing Justice, Bock joins this line of research, warning us that “We can no longer afford to carelessly play with visuality’s fire” (p. 217) because images have immediate, on-the-ground implications on people’s lives. Through an examination of case studies like public hangings, mug shots, camera coverage of court rooms, and other examples related to the United States criminal justice system, Bock highlights the significance of embodied experiences to the politics of visuality.
{"title":"Book review: Seeing Justice: Witnessing, Crime, and Punishment in Visual Media","authors":"Courtney D Tabor","doi":"10.1177/14703572221099611","DOIUrl":"https://doi.org/10.1177/14703572221099611","url":null,"abstract":"Pages 147 147–148 In a technological environment that enables the proliferation of a variety of voices, the role of images in the relationship between state actors, media, and citizens is becoming more complex. Questions pertaining to the discursive role of images have highlighted the importance of considering how power operates within larger contexts of the image-making process (e.g., Sekula, 1986; Tagg, 1999). In Seeing Justice, Bock joins this line of research, warning us that “We can no longer afford to carelessly play with visuality’s fire” (p. 217) because images have immediate, on-the-ground implications on people’s lives. Through an examination of case studies like public hangings, mug shots, camera coverage of court rooms, and other examples related to the United States criminal justice system, Bock highlights the significance of embodied experiences to the politics of visuality.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"60 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81564325","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 : 2022-05-16DOI: 10.1177/14703572211065093
Elisa Serafinelli, Lauren Alex O’Hangan
Drone visuals are rapidly becoming part of our sociocultural imaginaries, generating distinct images that differ from traditional visual conventions and producing unexpected perspectives of the world that reveal hidden aspects of our surroundings. Despite the growing use of camera-laden drones in a range of commercial and non-commercial activities, to date, little scholarly attention has been paid to the semiotics of drone visuals. This article is the first to draw specific attention to the compositional structure of drone visuals, combining social semiotic analysis with ethnographic insights to assess how they are changing the way we think about the world. Exploring drone hobbyists’ and developers’ perspectives on drone usage and the visuals they generate, the authors identify and examine three frequently occurring characteristics of drone visuals: top-down views, 360-degree panoramic views and ‘classic’ landscape perspectives. The critical analysis of these peculiarities leads them to argue for the potential of these innovative visions to reshape our visual culture. In their conclusion, the authors aim to open a conversation about the way technological advancements mark important sociocultural changes in sense-making processes, geographical imaginations and everyday life experiences.
{"title":"Drone views: a multimodal ethnographic perspective","authors":"Elisa Serafinelli, Lauren Alex O’Hangan","doi":"10.1177/14703572211065093","DOIUrl":"https://doi.org/10.1177/14703572211065093","url":null,"abstract":"Drone visuals are rapidly becoming part of our sociocultural imaginaries, generating distinct images that differ from traditional visual conventions and producing unexpected perspectives of the world that reveal hidden aspects of our surroundings. Despite the growing use of camera-laden drones in a range of commercial and non-commercial activities, to date, little scholarly attention has been paid to the semiotics of drone visuals. This article is the first to draw specific attention to the compositional structure of drone visuals, combining social semiotic analysis with ethnographic insights to assess how they are changing the way we think about the world. Exploring drone hobbyists’ and developers’ perspectives on drone usage and the visuals they generate, the authors identify and examine three frequently occurring characteristics of drone visuals: top-down views, 360-degree panoramic views and ‘classic’ landscape perspectives. The critical analysis of these peculiarities leads them to argue for the potential of these innovative visions to reshape our visual culture. In their conclusion, the authors aim to open a conversation about the way technological advancements mark important sociocultural changes in sense-making processes, geographical imaginations and everyday life experiences.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"71 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87600528","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 : 2022-05-10DOI: 10.1177/14703572221078040
Stefanie Plage
This visual essay incorporates photographs from a research project on the changing landscapes of cancer survivorship in Australia. Study participants were asked to tell the story of what cancer looks and feels like and what it means to them. The photographs were captioned and discussed during a follow-up interview. Employing Henri Lefebvre’s rhythmanalysis, these photographs, captions and narrations show how the routines and expectations arising in cancer survivorship reorient life around movement in time and place. They provide insights into the unfolding of cancer survivorship in the ebb and flow of lived experience.
{"title":"The rhythms of cancer survivorship","authors":"Stefanie Plage","doi":"10.1177/14703572221078040","DOIUrl":"https://doi.org/10.1177/14703572221078040","url":null,"abstract":"This visual essay incorporates photographs from a research project on the changing landscapes of cancer survivorship in Australia. Study participants were asked to tell the story of what cancer looks and feels like and what it means to them. The photographs were captioned and discussed during a follow-up interview. Employing Henri Lefebvre’s rhythmanalysis, these photographs, captions and narrations show how the routines and expectations arising in cancer survivorship reorient life around movement in time and place. They provide insights into the unfolding of cancer survivorship in the ebb and flow of lived experience.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"21 1","pages":"607 - 622"},"PeriodicalIF":1.5,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82880822","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 : 2022-04-21DOI: 10.1177/14703572221080529
Enzo D’armenio
In this article, the author endeavours to analyse Gerhard Richter’s photo-paintings for the way they build an intersemiotic dialogue between photography and painting. On the one hand, he tries to characterize the modalities of this dialogue and to provide an original interpretation of Richter’s work. On the other hand, he uses the special case of Richter’s work as a starting point for a conceptual renewal in the analysis of visual languages, notably with regard to semiotic approaches. In particular, the author aims to define the mediatic dimension of images, which is concerned with the substances, substrates and devices through which images are produced. He does this in order to integrate the achievements of visual semiotics in regard to the compositional dimension of colours, shapes and figures. He takes into account the way in which the material and the substances of expression of images impact the construction of meaning, in accordance with the hypothesis of a superposition of technical and semantic aspects. The confrontation with Richter’s production leads him to go beyond plastic and figurative readings as he proposes the concepts of technical formats and techno-perceptions of images. While the former concern the historical recognition of images on the basis of the devices having produced their substance – leading to identifications such as ‘early cinema images’, ‘smartphone images’, ‘surveillance camera images’, etc. – the latter concern the perceptive configurations resulting from the formative work of the technical devices.
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