Vol 5(2), Dec 2018

“Studies in Visual Arts and Communication –
an international journal”

Volume 5 – Nr 2, 2018

Table of Contents

Dec 2018; 5(2)


1. George Themistokleous, Leeds School of Architecture, UK

From Perception to Recollection: a spatio-temporal mediated interaction
Studies in Visual Arts and Communication – an international journal / Dec 2018 5(2)

Abstract
This paper will consider how a media installation called the diplorasis, aims at rethinking understandings of the body in space and time. Through the diplorasis there is an attempt to reconsider the scientific view on the human eyes in relation to art historical accounts of the representational image and to revise these from the perspective of philosophical texts on the image and its relation to an embodied and a disembodied perception (Deleuze, Bergson, Merleau-Ponty). Through this mediated visuality, the prosthetic body becomes re-articulated via a re-framing of the relations between perception and recollection.

Keywords: visual media, body and space-time, digital stereoscope, media installation, time-image

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2. Elisabeth Eglem, University of Le Havre (ULH), France
Monica Tavares, School of Communications and Arts – University of São Paulo, Brazil

Between technical and sociological evolution: digital photography as a framework for (im)material experiences
Studies in Visual Arts and Communication – an international journal / Dec 2018 5(2)

Abstract
This article explores how the potentialities of digital media amplify processes of production and diffusion of photographs on the Internet, allowing for a diversity of experiences, each of them potentially meaningful to those who see or those who are seen. This work was envisaged as a dialogue between the field research based on qualitative and ethnographic tools and some theoretical aspects related to photography and communication. The field research is based on interviews and observations on social networks (Instagram© and Facebook©), aiming at some aspects of digital photographic behavior in the context of the use of these networks as platforms for communication and creation of social ties. First, we will outline the (im)material features of digital photography and how such features inform the practices of production and diffusion of digital photographs in social networks. Secondly, we will present the modalities of influence of the technological evolutions on social behaviors. Third, we will try to understand how the processes of producing and circulating photos on the Internet allow for “new” forms of experience. The interviews contribute to the process of making apparent the technological structure that underlies the experiences of production and diffusion of photographs online, corroborating the diversity of experiences.

Keywords: digital photography, experience, technology, production, reception, social networks, social behaviors

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3. Lance Burkitt, Independent researcher, UK

The Death of the Mechanical Photograph – a grounded theory approach
Studies in Visual Arts and Communication – an international journal / Dec 2018 5(2)

Abstract
Common people (with some exceptions) are nurtured and conditioned from birth, through mainstream education and on into adult life to accept the dogma that we exist in a material universe, where our experiences are considered ‘real’ and that all of our stimuli, visual or otherwise are received via our sensory receptors and processed by our brain, thus allowing us to experience this reality.
Although not a new theory, with advances in the understanding of the very nature of our reality (quantum theory) some contemporary scientists and philosophers are beginning to, not only question, but conclude that our reality must indeed be a highly sophisticated simulation and that our experience is simply one of collective consciousness. Further, substantive advances in the apparent ‘physical realism’ of virtual reality technologies are leading some humans to wantonly interact and exist within these manufactured simulated realities.
Consider, that our reality is not one of solidity, but one of energy simulation, created and maintained by some other more sophisticated intelligence?
As an educator and visual communicator, I have been forced to discover what implications these ideas on ‘reality’ may have upon visual communication, with specific relevance to how humans create and interact with photographs and their perceived memories which are attached to those artefacts.
Through research, analysis and personal experience, this paper investigates and interrogates these themes and ultimately leads me to conclude that through either acceptance of new ideas on reality or via new technologically created realities, future human beings will have no requirement for, or association with emotion, and the separation between emotion, memory and visual communication will induce the death of the mechanically produced still photograph.

Keywords: Reality, Consciousness, Photography, Visual Communication, Memory, Quantum Physics, Energy, Computer Post-human Simulation

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4. Camila Escudero, Universidade Metodista de São Paulo, Brazil

The use of the cartoon as a graphic-visual resource for migratory issues: a perspective from concept of ethnicity of Weber
Studies in Visual Arts and Communication – an international journal / Dec 2018 5(2)

Abstract
Considered the graphic reproduction of news, the cartoon has long been incorporated as an opinion journalistic genre within the broad theoretical framework of Social Communication. Mainly based on an artistic drawn image and complemented or not with other resources (textual in the specific case of print media; movement and sound, in the case of virtual media), it leads the author’s critical eye to a specific fact or happening, using in most cases elements such as humor, satire and denunciation. Hence, this article proposes an exploratory analysis of the cartoons of Brazilian cartoonist and activist Carlos Latuff about the subject of immigration, published in recent years, at the Opera Mundi, specialized in international politics. As the theoretical-methodological strategy, we consider the concept of ethnicity of Weber (1978). He defines the term in close connection with the subjective belief in the common origin (and not a common objective ancestry), responsible for constructing an identity from the difference. Thus, cultural and physical differences are the points of reference around which the identity of the group is formed. Our goal is to verify how the cartoon shows itself as a visual information resource to deal with cultural and genetic aspects inherent in undesirable population minorities, from the hegemonic perspective of the concept of nation-state.

Keywords: cartoon, graphic-visual resource, international immigration, ethnicity, Social Communication, journalistic genres.

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5. Marcelo Mari, Universidade de Brasília

From cultural activism to struggle against the coup in Brazil: visual arts on the streets (2005-2016)
Studies in Visual Arts and Communication – an international journal / Dec 2018 5(2)

Abstract | Keywords | Full text PDF