In recent years, many school librarians have been scrambling to build and expand their graphic novel collections to meet the large and growing demand for these materials. For the purposes of this study, the term graphic novels refers to volumes in which the content is provided through sequential art, including fiction, nonfiction, and biographical material. As the library field has not yet arrived at a set of best practices or guidelines for institutions working to classify and catalog (...) class='Hi'>graphic novels, this study seeks to record the ways in which school librarians are handling these materials as well as issues and questions at the forefront of their minds. A survey of school librarians in the United States revealed that almost all of them collect fiction and nonfiction graphic novels, while 67% collect manga. Most respondents indicated that they are partly or solely responsible for the cataloging and classification decisions made in their media centers. For classification purposes, most have elected to create separate graphic novel collections to house their fictional graphic novels. Some include nonfiction graphic novels in this section, while others create a nonfiction graphic novel collection nearby or shelve nonfiction graphic novels with other items that deal with similar subject matter. Many school librarians express uncertainty about how best to catalog and classify longer series, adapted classics, superhero stories, and the increasing number and variety of inventive titles that defy categorization. They also struggle with inconsistent vendor records and past practices and suffer from a lack of full confidence in their knowledge of how to best classify and catalog graphic novels so that they are both searchable in the library catalog and easily accessible on the shelves. (shrink)

How can audiences interact creatively, wisely and peaceably with the many different forms of violence found throughout today's media? Suicide attacks, graphic executions and the horrors of war appear in news reports, films, web-sites, and even on mobile phones. One approach towards media violence is to attempt to protect viewers; another is to criticize journalists, editors, film-makers and their stories. In this book Jolyon Mitchell highlights Christianity's ambiguous relationship with media violence. He goes beyond debates about (...) the effects of watching mediated violence to examine how audiences, producers and critics interact with news images, films, video-games and advertising. He argues that practices such as hospitality, friendship, witness and worship can provide the context where both spectacular and hidden violence can be remembered and reframed. This can help audiences to imagine how their own identities and communities can be based not upon violence, but upon a more lasting foundation of peace. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

With the continuous development of society, the role of the visual guidance system in animation design has also evolved and evolved in its long history, leading to the changes in the values of modern beauty. In the field of modern social and cultural design, the visual guidance system in animation design has unique regional nature and cultural influence. The visual language should correspond to the visual environment and easy to understand and be known by people. It combines animation conception and (...) design technology to capture the cultural charm and beauty, values, and behavioral norms of people in different fields. This article studies and analyzes the visual orientation of graphic language in the design of animation visual guidance system, and injects the graphic language with orientation into its animation design, so that the animation design is more in line with the characteristics of the times. It can be more adapted to the emerging media and better convey the information transfer between the enterprise and the audience. To further understand the audience’s tendency toward elements of graphic expression, this article analyzes the subjective perceptions of the respondents on the importance of color selection, calligraphy fonts, graphic expression, and modeling meaning. The results of the study showed that the respondents aged 21–35 paid more attention to the choice of graphic colors, and the highest number was 69. (shrink)

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital artworks cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital artworks are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, such (...) efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Graphic and gut-wrenching images of death, violence, and pain fill our news media, despite debate about their effect on audiences and their potential to harm their subjects. This research uses in-d...

_Using Art Media in Psychotherapy_ makes a thoughtful and contextual argument for using graphic art materials in psychotherapy, providing historical context for art materials and their uses and incorporating them with contemporary practices and theories. Written with an analytic focus, many of the psychological references nod to Jung and post-Jungian thought with keen attention to image and to symbolic function. This book jettisons the idea of reductionist, cookbook approaches and instead provides an integrated and contextual understanding of the (...) origins of each art form as well as an insightful use for each in its application in mental health healing practices. _Using Art Media in Psychotherapy _gives clinicians and students alike the tools they need to offer psychologically minded and clinically astute choices that honor their clients. (shrink)

In the 21st century, the field of business and finance has become a media spectacle. Not only have advances in technology changed the ways in which audiences engage with business information, the pervasiveness of internet and cable television networks has led to the emergence of new hybrid forms of business news discourse, blending verbiage, images, graphics, audio, and video clips. Combining discourse analysis, social semiotic theory, and other interdisciplinary approaches, this article explores the multiple ways in which business news (...) are mediated on the internet by continuous 24-hour business news networks such as Bloomberg, CNBC, FOXBusiness, and Reuters. In particular, this article is concerned with how events are contextualized, that is, how identities and social relationships are constructed and represented within and across different modes, media, and networks. The analysis focuses on what is foregrounded or backgrounded, what is thematized or unthematized in each mode and medium, and what process types and categories are drawn upon to represent events, social actors, and social actions. In this context, special interest is being paid to the semiotic shifts or transformations that multimodal representations undergo across modes, media, and news networks. (shrink)

During the interwar period, the encyclopaedia became a popular educative instrument for demonstrating knowledge. Within the field of cultural internationalism, the pioneer of documentation Paul Otlet redefined the encyclopaedia as a documentary product or as we would say today a "multi-media" product. This article discusses the exchange of ideas between Otlet, Patrick Geddes and Otto Neurath and shows how the graphic and scenographic demonstration of encyclopaedic knowledge at the beginning of the twentieth century applied the values of scientiic (...) universalism to programs of international education and cultural reform. (shrink)

This paper introduces a hermeneutical approach to graphic novel representations of punishments inflicted on women accused of collaboration with the German occupant during the French purge in 1944- 1945. Since the study aims to determine to establish links between graphic novels and the evolutions of the historiography of the Occupation and Liberation of France, it includes a historiographical component. Drawing on other cultural medias who have dealt with this theme (novels, movies, poems, songs), the aim is also to (...) identify the meaning given by artists to their portrayals of shorn and assaulted women. The paper eventually introduces a broader philosophical reflection on the emancipation from authoritarianism. It is the study’s contention that graphic novelists are offering a feminist discourse and are using the theme of shorn and assaulted women during the liberation as a reminder of the late emancipation of women from male domination. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external pictures (...) and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external pictures (...) and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

This article argues that a theory of media selectivity needs a theory of attention, because attention to a media stimulus is the starting point of each process of reception. Attention sequences towards media stimuli – pages of newspapers and online-newspapers – were analyzed using eye-tracking patterns from three different perspectives. First, attention patterns were compared under varying task conditions. Second, different types of media were tested. Third, attention sequences towards different forms of news with different design (...) patterns were compared. Attention was seen as a prerequisite for reception: Its selective functions for these processes are especially important. Reception itself was examined within an action-theoretical framework and therefore described as a form of interaction between recipient and the media. Eye-tracking data were used as indicators of attention. Starting with a hypothesis on the impact of different media such as printed newspapers and online newspapers on the agenda-setting process of their audience, the study examined how the type of media and the form of news influences attention and selectivity. Our findings showed that visual cues such as salient photos or graphics and information hierarchies signalled by design and layout guide attention processes, not as an automatic process driven from the bottom up, but as stimuli for an active, intention-driven selection process. The results indicate that the form of news affects these patterns of interactive attention more than the medium itself. (shrink)

During the Nineties, the diffusion of information and communication technologies allowed a dramatic transformation in art practices. Radically new aesthetic experiences, such as tele-presence, immersivity, responsivity, hyper-mediacy and multimediality, emerge in the framework of the digital arts and call into question not only the traditional status of the work of art but also the fundamental relation with the beholder. The aim of this paper is to define a conceptual framework for the ontology of digital arts by identifying some ontological features (...) that are distinctive to digital idioms. Such an analysis tries to outline how aesthetic and technical innovations affect our cognitive and sensorial relationship with technological artifacts. In the first part, the relation between technogenesis and ontology, as well as the key topics of the ontology of digital arts are discussed. The second part deals with the notion of presence. Despite traditional understandings of digital arts, mainly focused on immateriality, simulation and mediation, my analysis demonstrate how the notion of presence can provide an original perspective in order to understand the ontological status of the mediatized artistic practices. In the last three decades the generalisation of information and telecommunication technologies has played a major role in the transformation of the arts, opening the field to important experiments in the domain of computer graphics, digital audio, robotics and motion capture systems… (Dixon 2007). Peculiar forms of aesthetic experience such as tele-presence, immersivity, responsivity, hyper-mediation and multimediality, progressively arise from digital arts and question not only the status of artwork but also, more generally, the foundational relationship between this latter and the recipient. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and significance (...) of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

Marjorie Perloff is a distinguished commentator on the literature of this century, best known for her work on Futurism, one of the pre-First War international and inter-art avant garde movements. Radical Artifice takes on the avant garde since 1960, observed from the angle of the institutions of popular culture -- in particular television talk shows, and graphic advertisements. The project of the book is to respond to Charles Bernstein's decree: "There is no natural look or sound to a poem. (...) Every element is intended, chosen. That is what makes a thing a poem" (qtd. 35). "Why, Perloff asks, "is the natural now regarded with such suspicion?" (35). (shrink)

En este trabajo procuraremos analizar, en primera instancia, al "Festival con Luis Palau" en tanto dispositivo de impacto evangelístico, haciendo foco principalmente en la estructura organizativa que lo propició. A continuación, profundizaremos en los dispositivos de construcción del acontecimiento ..

This new edition of Baran and Davis's successful text provides a comprehensive, historically based, introduction to mass communication theory. Clearly written with examples, graphics, and other materials to illustrate key theories, this edition traces the emergence of two main bodies of mass communication theory: social, behavioral and critical, cultural. The authors emphasize that media theories are human creations that typically are intended to address specific problems or issues.

The article is devoted to the review and analysis of journalistic discourse from the perspective of its pragmatic characteristics. It has been suggested that any written text published on the pages of periodicals is a dialectical unity of language and media features, formed by three levels of mediaspeech: verbal text, the level of funds and the level of iconic graphic image is a part of a journalistic discourse. This type of discourse is related to the institutional discourse. In (...) order to identify characteristic features of journalistic discourse in the selected angle of study its definition is discussed, the notions of journalistic discourse and media text are divided, and on a material of modern German language the characteristics of the language code in the texts of journalistic discourse are identified. It is found that with the development of the theory of discourse, including journalistic discourse, the text is moving to the center of linguistic studies and it is analyzed in its interaction with the pragmatic factors. That linguistic pragmatics provides the basis for theoretical studies of the text as an appropriate discourse component and treats it as intentional communicative action, which is realized by means of appropriate lexical and morphological tools, terminology and grammar structures. The peculiar language of the text code is predetermined, first of all, communicative-pragmatic function performed by the analyzed text. (shrink)

In this article, we explore some of the roles of cameras in policing in the United States. We outline the trajectory of key new media technologies, arguing that cameras and social media together generate the ambient surveillance through which graphic violence is now routinely captured and circulated. Drawing on Michel Foucault, we suggest that there are important intersections between this video footage and police subjectivity, and propose to look at two: recruit training at the Washington state Basic (...) Law Enforcement Academy and the Seattle Police Department’s body-worn camera project. We analyze these cases in relation to the major arguments for and against initiatives to increase police use of cameras, outlining what we see as techno-optimistic and techno-pessimistic positions. Drawing on the pragmatism of John Dewey, we argue for a third position that calls for field-based inquiry into the specific co-production of socio-techno subjectivities. (shrink)

We all have images that we find unwatchable, whether for ethical, political, or sensory-affective reasons. From news coverage of terror attacks to viral videos of police brutality, and from graphic horror films to incendiary artworks that provoke mass boycotts, many of the images in our media culture strike as beyond the pale of consumption. Yet what does it mean to proclaim a media object "unwatchable": disturbing, revolting, poor, tedious, or literally inaccessible? Appealing to a broad academic and (...) general readership, Unwatchable offers multidisciplinary approaches to the vast array of troubling images that circulate in our global visual culture, from cinema, television, and video games through museums and classrooms to laptops, smart phones, and social media platforms. This anthology assembles 60 original essays by scholars, theorists, critics, archivists, curators, artists, and filmmakers who offer their own responses to the broadly suggestive question: What do you find unwatchable? The diverse answers include iconoclastic artworks that have been hidden from view, dystopian images from the political sphere, horror movies, TV advertisements, classic films, and recent award-winners. (shrink)

As one example of how modern Western societies are increasingly obliged to reconcile questions of civility and justice against common, indeed revered, practices that compromise nonhuman animals, this paper examines the recent history of public debate regarding the use of animals for public entertainment in the Canadian West. Using media-based public dialogue regarding the annual Calgary Stampede as a case study and couching the high-risk use of horses in the sociological language of “sports-related violence,” the paper explores the various (...) arguments for and against the continued use of horses at the self-proclaimed “Greatest Outdoor Show on Earth” despite unambiguous evidence of the harm that regularly, and sometimes graphically, occurs. (shrink)

The title does not refer to the application of knowledge through faculty engagement in community-based research, teaching and service – something that is usually understood as community-engaged scholarship. The change of paradigm referred to in the title should be understood within the broader framework of the general transformation of our participatory or convergence culture in the age of social and “spreadable” media. As the Web 2.0 evolves toward the Web 3.0, or the semantic web, community-engaged scholarship remains one of (...) the most crucial components of this larger and more pervasive phenomenon and this also refers to the "academic community" at large. What is at stake is not only the transformation of the procedures of scholarly research and learning but also and more importantly the transformation of its goals: traditionally based on the individual researcher and author, knowledge work, or the scholarly mode of production, is increasingly overhauled into a collective, collaborative enterprise, on a much larger scale. Moreover, the general move from discursive to graphic-algorithmic forms of data visualization and interpretation, has eventful consequences for critical thinking: as humanists engaged with a potentially radical transformation of the community we belong to, our most daunting task is how to transpose traditional scholarly practices onto the new platform, envisioning new goals and outputs for our traditional tasks. (shrink)

The age of information, media, and virtuality is transforming every aspect of human experience. Questions that have long haunted the philosophical imagination are becoming urgent practical concerns: Where does the natural end and the artificial begin? Is there a difference between the material and the immaterial? In his new work, Mark C. Taylor extends his ongoing investigation of postmodern worlds by critically examining a wide range of contemporary cultural practices. Nothing defines postmodernism so well as its refusal of depth, (...) its emphasis on appearance and spectacle, its tendency to collapse a three-dimensional world in which image and reality are distinct into a two-dimensional world in which they merge. The postmodern world, Taylor argues, is a world of surfaces, and the postmodern condition is one of profound superficiality. For many cultural commentators, postmodernism's inescapable play of surfaces is cause for despair. Taylor, on the other hand, shows that the disappearance of depth in postmodern culture is actually a liberation repleat with creative possibilities. Taylor introduces readers to a popular culture in which detectives--the postmodern heroes of Paul Auster and Dennis Potter--lift surfaces only to find more surfaces, and in which fashion advertising plays transparency against hiding. Taylor looks at the contemporary preoccupation with body piercing and tattooing, and asks whether these practices actually reveal or conceal. Phrenology and skin diseases, the "religious" architecture of Las Vegas, the limitless spread of computer networks--all are brought within the scope of Taylor's brilliant analysis. Postmodernism, he shows, has given us a new sense of the superficial, one in which the issue is not the absence of meaning but its uncontrollable, ecstatic proliferation. Embodying the very tendencies it analyzes, Hiding is unique. Conceived and developed with well-known designers Michael Rock and Susan Sellars, this work transgresses the boundary that customarily separates graphic design from the story within a text. The product of nearly three decades of reflection and writing, Hiding opens a window on contemporary culture. To follow the remarkable course Taylor charts is to see both our present and past differently and to encounter a future as disorienting as it is alluring. (shrink)

Extending narratological analysis to media as varied as graphic novels, photography, television, musicals, computer games and advertising, the essays gathered in this volume address some of the most fundamental questions raised by the medial turn in narratology: how can narrative meaning be created in media other than language; how do different types of signs collaborate with each other in so-called multimodal works; and what new forms of narrativity are made possible by the emergence of digital media.".

Real-time computer graphics and complex sensory input challenge past assumptions of highly constrained metaphors based on static imagery. Access to research and gaming interfaces have popularized the understanding of tracking technologies that tailor interaction to ambulatory displacement and dexterous handling of objects, expanding the realm of metaphors from visual to physical phenomena. But behaviour and the mind have been studied far before there were real-time computer graphics or digitally created synthetic environments. Dynamic relationships between environment, body and thought are being (...) dissected today by neuro-scientific research, and, conversely, synthetic environments are being utilized to address psychological disorders. This article examines research on scientific and philosophical fields that advance the definition of representation, from an image-based realm as limited by previous popular media to an understanding of action and immersion, where attention is activated by change, and rooted in the body. From this perspective, the advent of embodied representation may not be as much of a change of medium, but the perceptual relation with the medium, the medium being a created Umwelt, where the virtual world builds the mind through the body. (shrink)

Phenotypic plasticity integrates the insights of ecological genetics, developmental biology, and evolutionary theory. Plasticity research asks foundational questions about how living organisms are capable of variation in their genetic makeup and in their responses to environmental factors. For instance, how do novel adaptive phenotypes originate? How do organisms detect and respond to stressful environments? What is the balance between genetic or natural constraints (such as gravity) and natural selection? The author begins by defining phenotypic plasticity and detailing its history, including (...) important experiments and methods of statistical and graphical analysis. He then provides extended examples of the molecular basis of plasticity, the plasticity of development, the ecology of plastic responses, and the role of costs and constraints in the evolution of plasticity. A brief epilogue looks at how plasticity studies shed light on the nature/nurture debate in the popular media. (shrink)

PurposeThe purpose of this paper is to show how both the presentation and limitation of visual choices in massively multiplayer online role‐playing games (MMORPG) avatar creation interfaces tends to exclude or favor different real life social groups.Design/methodology/approachA novel method combining both quantitative and critical analysis of the syntagmatic‐paradigmatic structure of MMORPG avatar creation interfaces is used to inform the findings of this study.FindingsThis study concludes that as cultural interfaces, current fantasy themed MMORPGs remediate socially exclusive values both from fantasy literature (...) and from their own game lore. The socially exclusive values deal largely with extreme and immutable racial and sexual dimorphism.Research limitations/implicationsInterfaces which present users with color palettes and/or smooth slider‐based body modifiers do not lend themselves well to this method of analysis. In addition to this, only a handful of the popular MMORPGs are analyzed within the body of this work.Practical implicationsThis paper demonstrates that MMORPG players and designers need to be more aware about how they are constructing and embedding social values in their worlds. Avatars are critical conduits for online social dynamics and embedding socially exclusive values may transfer negative ideologies from old media to new.Originality/valueThis paper offers one of the earliest critiques of embedded values in avatar creation interfaces of MMORPGs. The paper aims to begin discussion on an overlooked area of now popular media that has not received any critical attention regarding its embedded messages of social inclusiveness or exclusiveness. (shrink)

What is knowledge? What makes me, me? Do we have free will? People have been asking such fundamental questions about the nature of reality for centuries, but how can they help us make sense of our existence in a 21st-century world of social media, cyber wars, cloning, artificial intelligence and virtual reality? Short Cuts: Philosophy provides the map you need to travel beyond traditional foundations and explore a diverse array of deep thinkers. Soul-searching questions prompt 'short cut' answers written (...) by experts in their field, with each one the setting-off point for instructions that plot a path through the philosophical landscape. With 'one-stop' graphics visualizing a memorable theory or idea for each concept, and 'route map' glossaries explaining key words and their connections, Short Cuts: Philosophy will help you wrestle with the meaning of ancient and modern philosophical thought. (shrink)

René Girard, Theology, and Pop Culture provides a fresh and engaging introduction to and the application of René Girard’s mimetic theory. From movies to social media, television to graphic novels, the contributors explore popular culture’s theological depths and challenge readers to consider what culture reveals about them.

René Girard, Theology, and Pop Culture provides a fresh and engaging introduction to and the application of René Girard's mimetic theory. From movies to social media, television to graphic novels, the contributors explore popular culture's theological depths and challenge readers to consider what culture reveals about them.

Imaginary worlds are extremely successful. The most popular fictions produced in the last few decades contain such a fictional world. They can be found in all fictional media, from novels (e.g., Lord of The Rings and Harry Potter) to films (e.g., Star Wars and Avatar), video games (e.g., The Legend of Zelda and Final Fantasy), graphic novels (e.g., One Piece and Naruto), and TV series (e.g., Star Trek and Game of Thrones), and they date as far back as (...) ancient literature (e.g., the Cyclops Islands in The Odyssey, 850 BCE). Why such a success? Why so much attention devoted to non-existent worlds? In this paper, we propose that imaginary worlds co-opt our preferences for exploration, which have evolved in humans and nonhuman animals alike, to propel individuals toward new environments and new sources of reward. Humans would find imaginary worlds very attractive for the very same reasons, and under the same circumstances, as they are lured by unfamiliar environments in real life. After reviewing research on exploratory preferences in behavioral ecology, environmental esthetics, neuroscience, and evolutionary and developmental psychology, we focus on the sources of their variability across time and space, which we argue can account for the variability of the cultural preference for imaginary worlds. This hypothesis can, therefore, explain the way imaginary worlds evolved culturally, their shape and content, their recent striking success, and their distribution across time and populations. (shrink)

The starting point of this paper are two views: on the one hand, two general claims about street art – a broad art category encompassing works of spray painting as well as of yarn bombing, paste ups as well as sculptural interventions, tags as well as stickers, and so on – and, on the other hand, a much more specific view about certain contemporary tags produced, roughly, over the past twenty years. The two general claims are, first, that all works (...) of street art are subversive (see, e.g., Bacharach 2015; 2018; Chackal 2016; Baldini 2015; 2016; 2017; 2018; Willard 2016), second, that works of street art are the result of acts of self-expression (Riggle 2016). The specific view about certain contemporary tags is that they are artworks, although they are not presented, mainly, for appreciation of aesthetic properties grounded in their perceptual properties, because they are works of conceptual street art (see Lewisohn 2010; JAK 2012). The key question of the paper concerns, however, not contemporary tags, but “very early tags” (VETs) – a term that I shall use to designate the extremely simple, unadorned tags that first appeared in the late 1960s and that some scholars consider as the historical predecessors of the various practices that today we group under the category “street art” (see, e.g., Young 2014; Gastman et al. 2015): should we regard VETs as artworks? On the one hand, VETs writers tend to answer this question in the negative, since they stress that they didn’t cast themselves as artists and often identify the first tags that are artworks with the graphically elaborated tags that begun to be seen around New York City and Philadelphia just a few years after the appearance of the first tags. On the other hand, already in the early 1970s, artists and intellectuals such as Norman Mailer and Gordon Matta-Clark seemed to hold the view that it was appropriate to regard both VETs and later tags as art, although they didn’t defend this thesis with argument. The view that some contemporary tags that are not presented, mainly, for appreciation of their aesthetic properties might be candidates for appreciation as works of conceptual art suggests a strategy for assessing the issue whether VETs are candidates for art appreciation: can we defend the claim that the extremely simple, unadorned VETs were presented for appreciation as works of conceptual street art? I argue that we have good reasons to hold this view. (shrink)

Peirce’s Syllabus is examined and used to interpret metaphoric iconic stereotypes applied to Indigenous people: “noble savage,” “bloodthirsty savage,” “domestic dependent nation,” “vanishing race,” “Indian tribe,” and “ecological Indian.” Efforts on the part of the Indigenous to replace the these stereotypes with different icons such as “Native American,” “First Nations,” and, most recently, “water protectors,” are also examined. The usefulness of representamen categories from Peirce’s Syllabus, “rhematic,” “Argument,” “dicent,” “indexical,” “qualisign,” “legisign,” and “sinsign,” is demonstrated. Greimas’ observations about the functions (...) of modalities are brought in to explain how graphic images and portraiture, fictional and memoir narratives, legal discourses, and popular media representations implement various sections of the Syllabus. Putting Peirce’s Syllabus into action confirms its ability to perform dynamic, diachronic, and diagrammatic functions. (shrink)

Disasters are not events; they are processes. True, news media inevitably focuses our attentions on the disaster singularity because it makes such compelling coverage. In the era of reality TV it=s about as good as it gets. Buildings are torn apart as we watch, people are seen in abject distress; there are miraculous escapes and heroic rescues and, as the cameras follow rescue workers into the rubble of buildings or search houses as flood waters recede, we might even see (...) a real corpse. The only thing to compare is war reporting. Watching disaster coverage live on television is something akin to necro-voyeurism. But like wars and other forms of deadly conflict, disasters are anything but the singularities portrayed in news coverage. They have long portentous rehearsals and extended coda, little of which makes for entertainment like graphic scenes of destruction. The purpose of these remarks is to highlight the social conditions that lead to disaster, drawing on global and local lessons from natural disasters and deadly conflicts. (shrink)

L’adaptation d’une bande dessinée en un film redéfinit l’oeuvre initiale qui se métamorphose et se place en perspective pour parler à un spectateur et non plus à un lecteur. L’étude comparée d’une séquence de la bande dessinée Persepolis de Marjane Satrapi adaptée en 2007 au cinéma par son auteurlui-même et Vincent Paronnaud a pour objectif de montrer comment l’expérience technique et médiologique du film transforme la puissance créatrice de la bande dessinée. La bande dessinée comme le film sont de véritables (...) embrayeurs d’imaginaires, mais leur structure de communication convoque différemment le spectaculaire. En effet, la transformation à l’oeuvre sera exposée en montrant dans quelle mesure les deux médias interpellent une mise en sens des signes et de la langue, faisant émerger deux oeuvres caractérisées par deux stylistiques qui se mêlent et s’anaphorisent. La question de la sémiotisation élaborée dans l’opération technique et narrative du transfert d’un support à un autre reste au coeur de notre réflexion. Ainsi, cet article explore la traduction du travail graphique de la bande dessinée sur l’écran, sa mise en mouvement, la sonorisation des voix et la mise en bruitage du texte et autres procédés qui suggèrent une magie de la transformation.Adapting a comic strip to film redefines the initial work, which metamorphoses into a new perspective to reach spectators rather than readers. A comparative study of a sequence in Marjane Satrapi’s comic strip “Persepolis”, which was adapted to film in 2007 by the author herself and Vincent Paronnaud, aimed to show how the technical and mediological experience of filming transforms the creative power of the comic strip. Both comic strip and film are powerful triggers for the imagination, but their communication structure calls on the spectacular in different ways. The transformation of the work is exposed, showing how far the two media require us to make sense of signs and language to give shape to two works characterised by two different stylistic approaches that merge together in anaphoric interplay. The semiotisation that develops during the technical and narrative transfer from one medium to another is the crux of our study. We investigate how the graphics of the comic strip are translated onto a cinema screen, how they are given movement, how voices are given sound, how texts are reflected in sound effects, and other processes that all suggest the magic of metamorphosis. (shrink)

The motive for late eighteenth-century proto-technics of photography and cinema was never quite mimetic representation: it was generating autonomous impressions of natural phenomena within the tradition ofNaturphilosophie. The article analyses a series of connections between ‘natural hieroglyphs’ (von Lichtenberg), Jacques-Alexandre-César Charles’s ‘megascope’, Wedgwood’s pre-photography, Lavater’s silhouettes and antecedents of Marey’s ‘graphic method’. The goal is to document precursor ideas, devices, setups and frameworks of photoimaging medias to show that the genealogy of photography and cinema intersected through many polymath transverses (...) within the ambit of natural philosophy (and the context of slavery). (shrink)

Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; (...) photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. (shrink)

In an analysis of 47 U.S. journalism ethics codes, we found that although most consider images, only 9 address a gripping issue: how to treat images of tragedy and violence, such as those produced on the battlefields of Iraq, during the 2005 London bombings, and after Hurricane Katrina. Among codes that consider violent and tragic images, there is agreement on what images are problematic and a move toward green-light considerations of ethical responsibilities. However, the special problems of violence and truth (...) telling in wartime and issues of how to handle graphic images across media platforms receive virtually no attention. (shrink)

The two-volume set LNCS 10350 and 10351 constitutes the thoroughly refereed proceedings of the 30th International Conference on Industrial, Engineering and Other Applications of Applied Intelligent Systems, IEA/AIE 2017, held in Arras, France, in June 2017. The 70 revised full papers presented together with 45 short papers and 3 invited talks were carefully reviewed and selected from 180 submissions. They are organized in topical sections: constraints, planning, and optimization; data mining and machine learning; sensors, signal processing, and data fusion; recommender (...) systems; decision support systems; knowledge representation and reasoning; navigation, control, and autonome agents; sentiment analysis and social media; games, computer vision; and animation; uncertainty management; graphical models: from theory to applications; anomaly detection; agronomy and artificial intelligence; applications of argumentation; intelligent systems in healthcare and mhealth for health outcomes; and innovative applications of textual analysis based on AI. (shrink)

After the cultural explosion of Web 2.0, digital culture reveals an apparently semiotic paradox associated with the incredibly widespread use of images of faces, while at the same time the reason to trust in the authenticity of these faces is constantly declining. This is because graphic technology has made the sophisticated manipulation of images both possible and easy. After a review of the existing semiotic models and considerations of trust, I am proposing a new approach which emphasizes the value-generating (...) properties of trust by analogy with the money sign, seen as “trust inscribed”. Research from the neurosciences supports the hypothesis that the trustworthiness of the face is judged pre-reflexively and primordially. This, therefore, means that a trustworthy face is a premise for more successful communication than an untrustworthy one, notwithstanding the object of discussion and the cultural context. An example concerning social media influencers serves to show that in the internet-dominated globalizing culture, trustworthy faces are a multipurpose communicative asset that makes a difference. (shrink)

This article explores the genealogy of a paradox in the evidentiary logic of the press photograph. While such photographs are supposed to gain their special authority from their unmediated relationship to the events they represent, they are often illegible without supplementary graphical material. The picture press of the 1920s and 1930s, saturated with re-creations of brutal crimes and messy accidents, fashioned an elaborate system of arrows, daggers, circles and crosses added by hand in paint or ink to help guide the (...) viewer's attention to the salient detail. Examining the hybrid idiom of the photo-diagram, this article investigates how photography's indexicality and its multiplicity seek reconciliation at this revealing juncture in media history, and explores the ramifications for the evidentiary status of the press photograph in the digital era. (shrink)

On Writing with Photography explores what happens to texts—and images—when they are brought together, addressing a wide range of genres and media, including graphic novels, children's books, photo-essays, films, diaries, newspapers, and art installations. Together, these essays help explain how writers and photographers—past and present—have served as powerful creative resources for each other.