Pub Date : 2022-07-14DOI: 10.1177/14703572221109902
Ruijie Zhang
{"title":"Book review: Women in Social Semiotics and SFL: Making a Difference","authors":"Ruijie Zhang","doi":"10.1177/14703572221109902","DOIUrl":"https://doi.org/10.1177/14703572221109902","url":null,"abstract":"","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"4 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-07-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80755791","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 : 2022-07-13DOI: 10.1177/14703572221090501
David Mee, David Jackson
On Twitter and other established digital social networks, references to the Black Lives Matter movement almost doubled after George Floyd’s murder (see Giorgi et al., 2020, ‘Twitter corpus of the #blacklivesmatter movement and counter protests: 2013 to 2020’), alongside a similar rise in references to the counter-protest terms ‘All Lives Matter’ and ‘Blue Lives Matter’. Around the same time, the authors found online players of Splatoon 2 (Nintendo) expressing Black Lives Matter sentiments when using in-game design tools. These messages quickly disappeared in the game space to be replaced by longer-lived political content relating to LGBTQ+ activist sentiments and other non-political messaging. This visual essay provides documentation of memes captured by one of the authors between 6 and 14 March 2020 and discussion of their significance as data. The authors conclude that, despite being digital artefacts, Splatoon posts may be better understood using Cramer’s ‘What Is “Post-digital”’ (2014) reading with different characteristics from normal digital activism artefacts. The visual form attempts to underline the visual character of these post-digital artefacts, which contain no machine-readable textual content or metadata. Nevertheless, they represent a form of community discourse that is little examined and that the authors suggest should be documented and researched despite its awkward data structure.
{"title":"‘Imagine talking about politics in a kids’ game’: Making sense of #BLM in Nintendo’s Splatoon 2","authors":"David Mee, David Jackson","doi":"10.1177/14703572221090501","DOIUrl":"https://doi.org/10.1177/14703572221090501","url":null,"abstract":"On Twitter and other established digital social networks, references to the Black Lives Matter movement almost doubled after George Floyd’s murder (see Giorgi et al., 2020, ‘Twitter corpus of the #blacklivesmatter movement and counter protests: 2013 to 2020’), alongside a similar rise in references to the counter-protest terms ‘All Lives Matter’ and ‘Blue Lives Matter’. Around the same time, the authors found online players of Splatoon 2 (Nintendo) expressing Black Lives Matter sentiments when using in-game design tools. These messages quickly disappeared in the game space to be replaced by longer-lived political content relating to LGBTQ+ activist sentiments and other non-political messaging. This visual essay provides documentation of memes captured by one of the authors between 6 and 14 March 2020 and discussion of their significance as data. The authors conclude that, despite being digital artefacts, Splatoon posts may be better understood using Cramer’s ‘What Is “Post-digital”’ (2014) reading with different characteristics from normal digital activism artefacts. The visual form attempts to underline the visual character of these post-digital artefacts, which contain no machine-readable textual content or metadata. Nevertheless, they represent a form of community discourse that is little examined and that the authors suggest should be documented and researched despite its awkward data structure.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"102 1","pages":"489 - 504"},"PeriodicalIF":1.5,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80567537","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 : 2022-07-13DOI: 10.1177/14703572221093559
Angus Main, D. Yamada-Rice
In relation to this Special Issue’s focus on ugly information, this article examines children’s perception of the often invisible interactions they have with sensor-enabled digital devices and, when prompted, their interest in subverting or blocking these sensors to evade surveillance. The authors report on a study of 12 children, aged 8–12 years, that investigated their knowledge of the sensing abilities of commonly used digital devices (smart phones, smart watches, smart speakers and games consoles), and their attitudes towards having active agency over sensors. In line with this journal’s readership, visual methods used for data collection and analysis are described. Specifically, within semi-structured focus groups, drawing was used to understand what children thought was inside digital devices and the extent of their awareness of digital sensors. Child participants were invited to model speculative tools for deceiving digital sensors in order to explore their interest in having agency over digital surveillance. Data in the form of drawings, photographs of models and video recordings were analysed using experimental visual methods that included 3D rendering and comics, as well as visual content and thematic analysis. These drew out four key themes: (1) the role of inference in sensor awareness; (2) misunderstanding of device components and sensing capabilities; (3) attitudes to surveillance; and (4) children’s interest in subverting rather than blocking sensors. We discuss how technology companies’ desire to create ‘magical experiences’ may contribute to incorrect inferences about information gathering systems, how this reduces children’s agency over the information they share and how it puts them at greater risk from digital surveillance. The article makes an original contribution to knowledge in this area by calling for a two-pronged approach from technology companies and educators to address these issues by making sensor presence more visible, educating children about the full extent of sensor capability and bringing critical discussion of them into curricula.
{"title":"Evading Big Brother: Using visual methods to understand children’s perception of sensors and interest in subverting digital surveillance","authors":"Angus Main, D. Yamada-Rice","doi":"10.1177/14703572221093559","DOIUrl":"https://doi.org/10.1177/14703572221093559","url":null,"abstract":"In relation to this Special Issue’s focus on ugly information, this article examines children’s perception of the often invisible interactions they have with sensor-enabled digital devices and, when prompted, their interest in subverting or blocking these sensors to evade surveillance. The authors report on a study of 12 children, aged 8–12 years, that investigated their knowledge of the sensing abilities of commonly used digital devices (smart phones, smart watches, smart speakers and games consoles), and their attitudes towards having active agency over sensors. In line with this journal’s readership, visual methods used for data collection and analysis are described. Specifically, within semi-structured focus groups, drawing was used to understand what children thought was inside digital devices and the extent of their awareness of digital sensors. Child participants were invited to model speculative tools for deceiving digital sensors in order to explore their interest in having agency over digital surveillance. Data in the form of drawings, photographs of models and video recordings were analysed using experimental visual methods that included 3D rendering and comics, as well as visual content and thematic analysis. These drew out four key themes: (1) the role of inference in sensor awareness; (2) misunderstanding of device components and sensing capabilities; (3) attitudes to surveillance; and (4) children’s interest in subverting rather than blocking sensors. We discuss how technology companies’ desire to create ‘magical experiences’ may contribute to incorrect inferences about information gathering systems, how this reduces children’s agency over the information they share and how it puts them at greater risk from digital surveillance. The article makes an original contribution to knowledge in this area by calling for a two-pronged approach from technology companies and educators to address these issues by making sensor presence more visible, educating children about the full extent of sensor capability and bringing critical discussion of them into curricula.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"96 1","pages":"384 - 417"},"PeriodicalIF":1.5,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76019171","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 : 2022-07-13DOI: 10.1177/14703572221088941
A. Antonopoulou, E. Dare
Within academia, as in other corporatized environments, there are irreconcilable tensions embedded in the managerial data imaginary, in contrast to the messy reality of lived experience and increasingly precarious working conditions for those at the coalface of Higher Education. Combined with student debt and escalating surveillance via so-called ‘artificially intelligent’ transactional data analysis, fantasies of control and domination converge on platitudes about Big Data and computational information, often presented as unambiguously neutral via idealized visualizations and ‘dashboards’ such as those commonly provided by Tableau and Google. As a structure, the digital archive is no different, open to fantasies of secure representation but, in fact, always unstable, subject to the materiality and flux of electronic, symbolic and social processes. As academics exposed to intensified metricization within increasingly data driven institutions, how can we counter the reduction of our qualitative research and experience to dashboards and scores? Drawing upon the work of Fleming’s Dark Academia: How Universities Die (2021), Poster’s The Mode of Information (1990), Cascella’s En Abime: Listening, Reading, Writing: An Archival Fiction (2012) and Bayne et al.’s The Manifesto for Teaching Online (2020) among others, and focusing on work developed by the authors from 2008 onwards, they discuss their contingent, often nauseating virtual reality information repository, the Riverine Archive, developed to hold and withhold information about their writing and art within the ugly hulk of what they define as a ‘neoliberal ship of fools’. The work seeks to offer a counter to prevailing platitudes and fantasies about the neutrality and realism of data to directly represent a stable, singular reality. The authors concur that information is not beautiful, but rather a fallacy of stability, servicing a rapacious, anti-academic neoliberal ideology that needs to be brought to the surface and subjected to honest discourse, away from hype and managerial wishful thinking. Truth and beauty cannot be framed as stable, monolithic or universal; to do so is to replicate a colonial projection of knowledge, a mono-logic, centring all truth upon the Global North.
{"title":"The Riverine Archive: Nausea and information loss on the neoliberal ship of fools","authors":"A. Antonopoulou, E. Dare","doi":"10.1177/14703572221088941","DOIUrl":"https://doi.org/10.1177/14703572221088941","url":null,"abstract":"Within academia, as in other corporatized environments, there are irreconcilable tensions embedded in the managerial data imaginary, in contrast to the messy reality of lived experience and increasingly precarious working conditions for those at the coalface of Higher Education. Combined with student debt and escalating surveillance via so-called ‘artificially intelligent’ transactional data analysis, fantasies of control and domination converge on platitudes about Big Data and computational information, often presented as unambiguously neutral via idealized visualizations and ‘dashboards’ such as those commonly provided by Tableau and Google. As a structure, the digital archive is no different, open to fantasies of secure representation but, in fact, always unstable, subject to the materiality and flux of electronic, symbolic and social processes. As academics exposed to intensified metricization within increasingly data driven institutions, how can we counter the reduction of our qualitative research and experience to dashboards and scores? Drawing upon the work of Fleming’s Dark Academia: How Universities Die (2021), Poster’s The Mode of Information (1990), Cascella’s En Abime: Listening, Reading, Writing: An Archival Fiction (2012) and Bayne et al.’s The Manifesto for Teaching Online (2020) among others, and focusing on work developed by the authors from 2008 onwards, they discuss their contingent, often nauseating virtual reality information repository, the Riverine Archive, developed to hold and withhold information about their writing and art within the ugly hulk of what they define as a ‘neoliberal ship of fools’. The work seeks to offer a counter to prevailing platitudes and fantasies about the neutrality and realism of data to directly represent a stable, singular reality. The authors concur that information is not beautiful, but rather a fallacy of stability, servicing a rapacious, anti-academic neoliberal ideology that needs to be brought to the surface and subjected to honest discourse, away from hype and managerial wishful thinking. Truth and beauty cannot be framed as stable, monolithic or universal; to do so is to replicate a colonial projection of knowledge, a mono-logic, centring all truth upon the Global North.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"69 51","pages":"418 - 436"},"PeriodicalIF":1.5,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72492271","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 : 2022-07-13DOI: 10.1177/14703572221091383
Solomon Lennox
In May 2020, the world witnessed Derek Chauvin, a serving White police officer, murder George Floyd, a Black American male. A video of the murder, shot by Darnella Frazier, documented Chauvin kneeling on Floyd’s neck for a little under eight minutes. The video served as a call to action with protests erupting throughout the summer of 2020 across the USA. Activists took to the streets demanding an end to police brutality and systemic racism. The act of kneeling became a recurrent symbol of these protests. This article specifically focuses on instances where police officers have taken the knee opposite protesters. The author argues that, within this context, kneeling is a memetic performance; it is a unit of cultural information passed on through repetition and mutation. Through mutation (repetition with difference), the symbolic meaning of the act changes. In the case of police officers kneeling opposite protesters, the act purportedly symbolizes moments of solidarity and understanding between the two sides. Much like the video that inspired the protests, instances of officers kneeling opposite protesters were captured, disseminated via social media and went viral. The stillness of these moments promised hope for movement towards a more equitable and humane future. But these images serve as a form of dirty data as they document a future yet to materialize. To this end, the act of kneeling is a haunted gesture, serving as a form of counter-activism. The act of kneeling by police officers, irrespective of the intentions of the individuals involved, does not solicit an encounter with the ghosts of police brutality and systemic racism. Rather the act, as a mutated form of activism, simultaneously disrupts the atmosphere of protests and reclaims narratives about police conduct, without enacting meaningful change.
{"title":"Taking a knee: Haunted memetic counter-activism","authors":"Solomon Lennox","doi":"10.1177/14703572221091383","DOIUrl":"https://doi.org/10.1177/14703572221091383","url":null,"abstract":"In May 2020, the world witnessed Derek Chauvin, a serving White police officer, murder George Floyd, a Black American male. A video of the murder, shot by Darnella Frazier, documented Chauvin kneeling on Floyd’s neck for a little under eight minutes. The video served as a call to action with protests erupting throughout the summer of 2020 across the USA. Activists took to the streets demanding an end to police brutality and systemic racism. The act of kneeling became a recurrent symbol of these protests. This article specifically focuses on instances where police officers have taken the knee opposite protesters. The author argues that, within this context, kneeling is a memetic performance; it is a unit of cultural information passed on through repetition and mutation. Through mutation (repetition with difference), the symbolic meaning of the act changes. In the case of police officers kneeling opposite protesters, the act purportedly symbolizes moments of solidarity and understanding between the two sides. Much like the video that inspired the protests, instances of officers kneeling opposite protesters were captured, disseminated via social media and went viral. The stillness of these moments promised hope for movement towards a more equitable and humane future. But these images serve as a form of dirty data as they document a future yet to materialize. To this end, the act of kneeling is a haunted gesture, serving as a form of counter-activism. The act of kneeling by police officers, irrespective of the intentions of the individuals involved, does not solicit an encounter with the ghosts of police brutality and systemic racism. Rather the act, as a mutated form of activism, simultaneously disrupts the atmosphere of protests and reclaims narratives about police conduct, without enacting meaningful change.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"6 1","pages":"472 - 488"},"PeriodicalIF":1.5,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89899962","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 : 2022-07-13DOI: 10.1177/14703572221093555
J. Fass, D. Yamada-Rice, S. James, M. Lewis, Grace Pappas
Design frameworks that outline the benefits of thinking in terms of binaries suggest that, as designers, we can situate ourselves and our work in relation to opposite extremes. Doing so is more likely to bring about innovation and imagine ideological possibilities. This Special Issue creates a binary between ugly and beautiful with a specific focus on the former. The standard dictionary definitions of ugly are in relation to an unpleasant or repulsive appearance or a topic that is likely to involve violence or other unpleasantries. We draw both definitions into our discussion. We have collected articles that have at their heart ugly topics, including the climate crisis, racism and digital surveillance, which reflect contemporary times. As we write, a war has begun in Ukraine. The news shifts the global pandemic to second position and shunts Black Lives Matter, the rising cost of living in the UK, widening social inequality and the climate crisis out of the news headline. Each news package is filled to the brim with infinite amounts of ugly information. We push for a rebellion against the convention of beautifying data, such as became mainstream following the popularity of Information Is Beautiful (McCandless, 2009) and other works emphasizing the sleek graphic design of data visualization. Instead, we seek to engage people in exploring how to research, analyse and present ugly information in other ways. 1093555 VCJ Visual CommunicationFass et al.: Editorial
{"title":"Editorial: Information Is Ugly","authors":"J. Fass, D. Yamada-Rice, S. James, M. Lewis, Grace Pappas","doi":"10.1177/14703572221093555","DOIUrl":"https://doi.org/10.1177/14703572221093555","url":null,"abstract":"Design frameworks that outline the benefits of thinking in terms of binaries suggest that, as designers, we can situate ourselves and our work in relation to opposite extremes. Doing so is more likely to bring about innovation and imagine ideological possibilities. This Special Issue creates a binary between ugly and beautiful with a specific focus on the former. The standard dictionary definitions of ugly are in relation to an unpleasant or repulsive appearance or a topic that is likely to involve violence or other unpleasantries. We draw both definitions into our discussion. We have collected articles that have at their heart ugly topics, including the climate crisis, racism and digital surveillance, which reflect contemporary times. As we write, a war has begun in Ukraine. The news shifts the global pandemic to second position and shunts Black Lives Matter, the rising cost of living in the UK, widening social inequality and the climate crisis out of the news headline. Each news package is filled to the brim with infinite amounts of ugly information. We push for a rebellion against the convention of beautifying data, such as became mainstream following the popularity of Information Is Beautiful (McCandless, 2009) and other works emphasizing the sleek graphic design of data visualization. Instead, we seek to engage people in exploring how to research, analyse and present ugly information in other ways. 1093555 VCJ Visual CommunicationFass et al.: Editorial","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"91 1","pages":"377 - 383"},"PeriodicalIF":1.5,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85665610","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 : 2022-07-13DOI: 10.1177/14703572221085869
Nirit Binyamini Ben-Meir, Laura Dudek, Tomica, A. Wilson
Visualizing information is a process of exposure. All data tells a story. The science and art of information design lies in choosing which one to tell—and how to get others to listen.
{"title":"Forging New Narratives","authors":"Nirit Binyamini Ben-Meir, Laura Dudek, Tomica, A. Wilson","doi":"10.1177/14703572221085869","DOIUrl":"https://doi.org/10.1177/14703572221085869","url":null,"abstract":"Visualizing information is a process of exposure. All data tells a story. The science and art of information design lies in choosing which one to tell—and how to get others to listen.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"18 1","pages":"437 - 450"},"PeriodicalIF":1.5,"publicationDate":"2022-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90437483","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 : 2022-07-08DOI: 10.1177/14703572221094039
Wendy L. Bowcher, Jennifer Yameng Liang
The underlying question of this article is ‘how do statues convey interpersonal meaning?’ To answer this question, the authors briefly critically examine the current social semiotic analytical framework for statues and develop a revised framework for analysing interpersonal meaning in which features from Kress and van Leeuwen’s Reading Images: The Grammar of Visual Design (2006) and selected features from O’Toole’s framework from The Language of Displayed Art (2011) for analysing sculpture are integrated. These features are also extended and/or complemented by incorporating features obtained from research into the fields of gesture, body language and facial expression. Further, in keeping with Systemic Functional Linguistic-inspired research, system networks are used to map out the potential material and semantic (interpersonal) features for figurative statues and to present possible configurations among these features. Although the focus of this article is on interpersonal meaning, it is acknowledged that within a social semiotic approach, there is an interdependency among interpersonal, experiential (representational) and textual (compositional) meanings, and that these configure within a specific context of situation. This interdependency is only briefly attended to in the article itself, but the proposed framework provides a starting point for developing an account of the way that interpersonal features and their realizations in statues may configure with representational and compositional features and their realizations. With the current world focus on statues and their sometimes controversial social meanings, this article offers a timely opportunity for a range of users such as social semioticians or art educators and students to consider, through a systematic analytical framework, the way in which statues may relate interpersonally with viewers, and provides a key step towards accounting for the way that configurations of interpersonal, representational and compositional features may construe contextual tensions in relation to the overall message conveyed by a statue.
{"title":"Sculpting the interpersonal: towards a social semiotic framework for analysing interpersonal meaning in statues","authors":"Wendy L. Bowcher, Jennifer Yameng Liang","doi":"10.1177/14703572221094039","DOIUrl":"https://doi.org/10.1177/14703572221094039","url":null,"abstract":"The underlying question of this article is ‘how do statues convey interpersonal meaning?’ To answer this question, the authors briefly critically examine the current social semiotic analytical framework for statues and develop a revised framework for analysing interpersonal meaning in which features from Kress and van Leeuwen’s Reading Images: The Grammar of Visual Design (2006) and selected features from O’Toole’s framework from The Language of Displayed Art (2011) for analysing sculpture are integrated. These features are also extended and/or complemented by incorporating features obtained from research into the fields of gesture, body language and facial expression. Further, in keeping with Systemic Functional Linguistic-inspired research, system networks are used to map out the potential material and semantic (interpersonal) features for figurative statues and to present possible configurations among these features. Although the focus of this article is on interpersonal meaning, it is acknowledged that within a social semiotic approach, there is an interdependency among interpersonal, experiential (representational) and textual (compositional) meanings, and that these configure within a specific context of situation. This interdependency is only briefly attended to in the article itself, but the proposed framework provides a starting point for developing an account of the way that interpersonal features and their realizations in statues may configure with representational and compositional features and their realizations. With the current world focus on statues and their sometimes controversial social meanings, this article offers a timely opportunity for a range of users such as social semioticians or art educators and students to consider, through a systematic analytical framework, the way in which statues may relate interpersonally with viewers, and provides a key step towards accounting for the way that configurations of interpersonal, representational and compositional features may construe contextual tensions in relation to the overall message conveyed by a statue.","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"85 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86575246","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 : 2022-06-29DOI: 10.1177/14703572221102547
Kathryn Claire Higgins
This article explores the mediated spacetime of crime events to reconsider how criminalization works through visual journalism. Drawing on close analysis of 45 images from Australian newspaper reports about so-called ‘African gang crime’ events in the city of Melbourne, it develops a typology of five distinct ‘ways of looking’ at crime that news images can open for their viewers. Each extends unique imaginative demands and so conditions perceptual relationships of spatial, historical and political significance between crime events and those who watch them unfold through the news in distinct ways. Together, these ways of looking constitute an intertextual representational mechanism that the author calls kaleidoscopic visuality, holding fixed the ‘who’ and ‘what’ of crime events while endlessly shifting and destabilizing the ‘where’ and ‘when’. The concept of kaleidoscopic visuality helps clarify how and why hypermediated crime events and phenomena resist discrete and/or desecuritized interpretations of their political significance, and thus broadens existing accounts of how news images criminalize.
{"title":"Rethinking visual criminalization: news images and the mediated spacetime of crime events","authors":"Kathryn Claire Higgins","doi":"10.1177/14703572221102547","DOIUrl":"https://doi.org/10.1177/14703572221102547","url":null,"abstract":"<p>This article explores the mediated spacetime of crime events to reconsider how criminalization works through visual journalism. Drawing on close analysis of 45 images from Australian newspaper reports about so-called ‘African gang crime’ events in the city of Melbourne, it develops a typology of five distinct ‘ways of looking’ at crime that news images can open for their viewers. Each extends unique imaginative demands and so conditions perceptual relationships of spatial, historical and political significance between crime events and those who watch them unfold through the news in distinct ways. Together, these ways of looking constitute an intertextual representational mechanism that the author calls <i>kaleidoscopic visuality</i>, holding fixed the ‘who’ and ‘what’ of crime events while endlessly shifting and destabilizing the ‘where’ and ‘when’. The concept of kaleidoscopic visuality helps clarify how and why hypermediated crime events and phenomena resist discrete and/or desecuritized interpretations of their political significance, and thus broadens existing accounts of how news images criminalize.</p>","PeriodicalId":51671,"journal":{"name":"Visual Communication","volume":"4 3","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138503322","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}
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