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In response to the recent political decision in Sweden in 2023 to reduce the allocation of hours for visual art education in Swedish Schools Högstadiet (grade 7-9), this study is motivated by a commitment to substantiate our stance against this policy through scientific rationale. This paper undertakes a literature review to explore the significance of visual arts within the evolving landscape of educational curricula. Focusing on the domain of teaching and education, our main objective is to investigate the positive impact visual art education provides. The approach employed involves an analysis of existing studies and research findings related to art and art education. The findings of this study highlight the multifaceted benefits of visual art education in schools. By thoughtfully combining various scholarly insights, this investigation asserts that art education bestows a range of favorable outcomes upon students, equipping them with essential tools to navigate the expanding visual environment in both current and future societal contexts.

In response to the recent political decision in Sweden in 2023 to reduce the allocation of hours for visual art education in Swedish Schools Högstadiet (grade 7-9), this study is motivated by a commitment to substantiate our stance against this policy through scientific rationale. This paper undertakes a literature review to explore the significance of visual arts within the evolving landscape of educational curricula. Focusing on the domain of teaching and education, our main objective is to investigate the positive impact visual art education provides. The approach employed involves an analysis of existing studies and research findings related to art and art education. The findings of this study highlight the multifaceted benefits of visual art education in schools. By thoughtfully combining various scholarly insights, this investigation asserts that art education bestows a range of favorable outcomes upon students, equipping them with essential tools to navigate the expanding visual environment in both current and future societal contexts.

"Until relatively recently, scholars of Egyptian history understood the modern period to begin with the movement of European people and ideas to Egypt's northern shores precipitated by Napoleon's invasion in 1798. From this perspective, modern Egyptian history was defined by the diverse and sometimes contradictory ways in which Egyptians responded over time to colonial power and modern forms of knowledge. This handbook, featuring twenty-five originally commissioned essays by leading scholars in the field plus an introduction, adds to a growing literature that complicates the facile colonizer/ colonized and modern/tradition binaries undergirding this view. It shows modern Egyptian history to be a continuous process of translation and adaptation, invention and reinvention. The handbook is intended to map this dynamic and influential field, highlighting the most promising avenues of research and laying new ground upon which future generations of scholars may build. The contributors address both long-persisting themes, though in new ways, and new themes reshaping how we understand modern Egyptian history, and thus Middle Eastern and global history. These include culture, disease, environment, family, infrastructure, intellectuals, labor, law, literature, medicine, mobility, politics, the state, and technology. The historical questions explored in the handbook touch on many of today's most pressing global concerns and debates." --Provided by publisher., Includes bibliographical references and index., PART I: Medicine, Environment, and Disease -- 1. Medicine and Public Health in the Nineteenth Century / Khaled Fahmy -- 2. Midwives and Childbirth during Colonial Rule / Beth Baron -- 3. The Re-Egyptianization of the Medical Profession, 1919-1939 / Liat Kozma -- 4. Colonizing and Decolonizing Egyptian Medicine / Soha Bayoumi -- 5. The Body of the Nile: Environmental Disease in the Long Twentieth Century /Jennifer Derr -- PART II: Technology, Mobility, and Labor -- 6. Coalonizing Egypt: Carbonization in the Long Nineteenth Century / On Barak -- 7. Of Machines and Men: Mechanization and Migrant Labor on the Suez Canal, 1859-64 / Lucia Carminati -- 8. Rethinking the Greeks of Egypt: Individuals and Community / Anthony Gorman -- 9. Gendering the History of the Labor Movement / Hanan Hammad -- 10. Dams, Ditches, and Drains: Managing Egypt's Modern Hydroscape / Nancy Reynolds -- Part III: Law and Society -- 11. Hostages of Credit: The Imprisonment of Debtors in the Khedival Period / Omar Cheta -- 12. Criminal Law in the Khedival Period / Emad Hilal -- 13. Marriage and Family between the Mid-Nineteenth and Early Twenty-First Centuries / Ken Cuno -- 14. Refashioning the Shari'a Courts in the Semi-Colonial Period / Hanan Kholoussy -- 15. From the Common Good to Public Interest / Jeffrey Culang -- Part IV: Textual, Performative, and Visual Culture -- 16.Egypt's State Periodical as a Tool of Governance, 1828-39 / Kathryn Schwartz -- 17. Rethinking Literacy during the Nahda: The Many Lives of Texts / Hoda Yousef -- 18. Photography, Selfhood, and Cultural Modernity / Lucie Ryzova -- 19. Taking Comedy Seriously: Theater in the 1920s / Carmen Gitre -- 20. Hollywood on the Nile: Cinema and Revolution / Joel Gordon -- Part V: State, Politics, and Intellectuals -- 21. Encounters with Modernity: Egyptian Politics in the 19th Century / Jamie Whidden -- 22. Local Enlightenment in Colonial Egypt: Ahmad Lutfi al-Sayyid in Perspective / Israel Gershoni -- 23. State, Intellectuals, and the, "Until relatively recently, scholars of Egyptian history understood the modern period to begin with the movement of European people and ideas to Egypt's northern shores precipitated by Napoleon's invasion in 1798. From this perspective, modern Egyptian history was defined by the diverse and sometimes contradictory ways in which Egyptians responded over time to colonial power and modern forms of knowledge. This handbook, featuring twenty-five originally commissioned essays by leading scholars in the field plus an introduction, adds to a growing literature that complicates the facile colonizer/ colonized and modern/tradition binaries undergirding this view. It shows modern Egyptian history to be a continuous process of translation and adaptation, invention and reinvention. The handbook is intended to map this dynamic and influential field, highlighting the most promising avenues of research and laying new ground upon which future generations of scholars may build. The contributors address both long-persisting themes, though in new ways, and new themes reshaping how we understand modern Egyptian history, and thus Middle Eastern and global history. These include culture, disease, environment, family, infrastructure, intellectuals, labor, law, literature, medicine, mobility, politics, the state, and technology. The historical questions explored in the handbook touch on many of today's most pressing global concerns and debates." --Provided by publisher.

The objective of this theoretical reflection allows us to interpret and delve into the invisible relationships by which the phenomenon of information consumption through digital screen technology continues to affect the health of digital natives. For this, three sections are developed; The first deals with the importance of economic means to access screens and high technology; It illustrates how screens are part of mass consumption controlled by economic groups that pursue profit and establish alliances with specialists in the possession of information (Eco, 1984), where the digital native is an active and demanding consumer of technology. In the second, some characteristics of young digital natives are defined in terms of their historical location in relation to technological change and exposure to neuromarketing as a seduction strategy. The third section aims to connect the previous two through an example present in the daily life of digital natives that points to an operational purpose of exposing how their health is affected in the short, medium and long term. Finally, some final reflections on the topic are presented., El objetivo de esta reflexión teórica permite interpretar y profundizar en las relaciones invisibles por las cuales el fenómeno del consumo de información a través de la tecnología digital de las pantalla sigue afectando la salud de los nativos digitales. Para ello, se desarrollan tres apartados; el primero trata la importancia de los medios económicos para acceder a las pantallas y a la alta tecnología; se ilustra cómo las pantallas son parte del consumo masivo controlado por los grupos económicos que persiguen lucro y establecen alianzas con especialistas en la posesión de la información (Eco, 1984), donde el nativo digital es un consumidor activo y exigente con la tecnología. En el segundo se definen algunas características de los jóvenes nativos digitales en cuanto a su ubicación histórica en relación con el cambio tecnológico y la exposición al neuromarketing como estrategia de seducción. El tercer apartado pretende conectar los dos anteriores mediante un ejemplo presente en la vida cotidiana de los nativos digitales que apunta a un propósito operativo de exponer cómo se afecta su salud a corto, mediano y largo plazo. Por último, se exponen algunas reflexiones finales en torno al tema.

L’anàlisi de La Fura dels Baus ens mostra fins a quin punt la superació d’una metodologia neovanguardista en favor de l’espectacle audiovisual de gran format és una actualització que busca donar resposta als interessos estètics de la societat del segle XXI. Un nou espai escènic protagonitzat per la imatge que combina molts formats, tant físics com digitals. La Fura exemplifica com una idea d’espai va més enllà d’una distribució simple d’elements i s’ha d’entendre com a part integral de la creació artística. Si a això li afegim una ocupació coherent de tecnologia, s’aconsegueix una forma de relació entre el públic i l’acció dramàtica d’acord amb l’estètica del seu moment. En el cas de la Fura, des del seu origen a Catalunya entorn del 1978, cal parlar de tres etapes vitals diferents (agrupació de carrer, gremi i companyia de teatre), cadascuna amb la seva pròpia idea d’espai en relació amb: l’espai comunitari del carrer, l’espai compartit de les performances i l’espai visual de l’espectacle contemporani. Gràcies a La Fura dels Baus podem entendre millor el paper dels espectacles audiovisuals en l’estètica contemporània., The analysis of La Fura dels Baus reveals the extent to which the abandonment of a neo-avant-garde approach in favour of a large-scale audiovisual spectacle is a contemporary response to the aesthetic interests of 21st-century society. They create scenographic spaces characterised by images, in which merge a multitude of formats, both physical and digital. The idea of space is more than a simple distribution of elements and should be considered as an integral part in the artistic process. This, together with a coherent use of technology, achieves different modes of relationship between the audience and the actors. La Fura dels Baus, since its origin in Catalonia around 1978, exemplifies the importance of space and digital elements in the materialisation of a plastic idea. Such is the case that in each of its three vital stages (street group, guild and theatre company) a different idea of space can be identified in accordance with its temporal context: the communal space of the street, the shared space of the performances and the visual space of the contem-porary spectacle. La Fura’s contribution has significantly enhanced our comprehension of the part played by audiovisual performances in modern aesthetics., El análisis de La Fura dels Baus nos muestra hasta qué punto la superación de una metodología neovanguardista en favor del espectáculo audiovisual de gran formato es una actualización que busca dar respuesta a los intereses estéticos de la sociedad del siglo XXI. Un nuevo espacio escénico protagonizado por la imagen que combina multitud de formatos, tanto físicos como digitales. La Fura ejemplifica cómo una idea de espacio va más allá de una simple distribución de elementos y debe entenderse como parte integral de la creación artística. Si a esto le añadimos un empleo coherente de tecnología, se logra un modo de relación entre el público y la acción dramática acorde a la esté-tica de su momento. En el caso de La Fura, desde su origen en Cataluña en torno a 1978, se debe hablar de tres etapas vitales diferentes (agrupación callejera, gremio y compañía de teatro), cada una con su propia idea de espacio acorde: el espacio comunitario de la calle, el espacio compartido de las performances y el espacio visual del espectáculo contemporáneo. Gracias a La Fura dels Baus podemos entender mejor el papel de los espectáculos audiovisuales en la estética contemporánea.

The works discussed in this text operate as motivation to review a series of problem-themes of interest to contemporary art and that they would exemplify, among other possible ones. These are the photographic series Río-Montevideo (2011) by Rosângela Rennó and Archeology of Absence (1999-2001) by Lucila Quieto. For both cases, questions linked to the notions of “archive” and “memory”; “intertextuality”, “synecdoche” and “ellipsis”; “intermediality”, allow us to address theoretical and material aspects of the works and are configured as access routes. The approach is presented as a bricolage operation, which brings into play different traditions and interpretive models that are supported by contributions from Andrea Giunta, Jacques Derrida and Florencia Garramuño; Elizabeth Jelin and Nelly Richard; Julia Kristeva and Roland Barthes; Claudia Kozak and Irina Rajewsky, Las obras que se tratan en este texto operan como motivación para revisar un conjunto de temas-problema de interés para el arte contemporáneo y que vendrían a ejemplificarlos. Se trata de las series fotográficas Río-Montevideo (2011) de Rosângela Rennó y Arqueología de la ausencia (1999-2001) de Lucila Quieto. Para ambos casos cuestiones vinculadas a las nociones de “archivo” y “memoria”; “intertextualidad”, “sinécdoque” y “elipsis”; e “intermedialidad”, permiten abordar aspectos teóricos y materiales de las obras y se configuran como vías de acceso. El abordaje se presenta como una operación de bricolage, que pone en juego diferentes tradiciones y modelos interpretativos al apoyarse en aportes de Andrea Giunta, Jacques Derrida y Florencia Garramuño; Elizabeth Jelin y Nelly Richard; Julia Kristeva y Roland Barthes; Claudia Kozak e Irina Rajewsky

L’anàlisi de La Fura dels Baus ens mostra fins a quin punt la superació d’una metodologia neovanguardista en favor de l’espectacle audiovisual de gran format és una actualització que busca donar resposta als interessos estètics de la societat del segle XXI. Un nou espai escènic protagonitzat per la imatge que combina molts formats, tant físics com digitals. La Fura exemplifica com una idea d’espai va més enllà d’una distribució simple d’elements i s’ha d’entendre com a part integral de la creació artística. Si a això li afegim una ocupació coherent de tecnologia, s’aconsegueix una forma de relació entre el públic i l’acció dramàtica d’acord amb l’estètica del seu moment. En el cas de la Fura, des del seu origen a Catalunya entorn del 1978, cal parlar de tres etapes vitals diferents (agrupació de carrer, gremi i companyia de teatre), cadascuna amb la seva pròpia idea d’espai en relació amb: l’espai comunitari del carrer, l’espai compartit de les performances i l’espai visual de l’espectacle contemporani. Gràcies a La Fura dels Baus podem entendre millor el paper dels espectacles audiovisuals en l’estètica contemporània., The analysis of La Fura dels Baus reveals the extent to which the abandonment of a neo-avant-garde approach in favour of a large-scale audiovisual spectacle is a contemporary response to the aesthetic interests of 21st-century society. They create scenographic spaces characterised by images, in which merge a multitude of formats, both physical and digital. The idea of space is more than a simple distribution of elements and should be considered as an integral part in the artistic process. This, together with a coherent use of technology, achieves different modes of relationship between the audience and the actors. La Fura dels Baus, since its origin in Catalonia around 1978, exemplifies the importance of space and digital elements in the materialisation of a plastic idea. Such is the case that in each of its three vital stages (street group, guild and theatre company) a different idea of space can be identified in accordance with its temporal context: the communal space of the street, the shared space of the performances and the visual space of the contem-porary spectacle. La Fura’s contribution has significantly enhanced our comprehension of the part played by audiovisual performances in modern aesthetics., El análisis de La Fura dels Baus nos muestra hasta qué punto la superación de una metodología neovanguardista en favor del espectáculo audiovisual de gran formato es una actualización que busca dar respuesta a los intereses estéticos de la sociedad del siglo XXI. Un nuevo espacio escénico protagonizado por la imagen que combina multitud de formatos, tanto físicos como digitales. La Fura ejemplifica cómo una idea de espacio va más allá de una simple distribución de elementos y debe entenderse como parte integral de la creación artística. Si a esto le añadimos un empleo coherente de tecnología, se logra un modo de relación entre el público y la acción dramática acorde a la esté-tica de su momento. En el caso de La Fura, desde su origen en Cataluña en torno a 1978, se debe hablar de tres etapas vitales diferentes (agrupación callejera, gremio y compañía de teatro), cada una con su propia idea de espacio acorde: el espacio comunitario de la calle, el espacio compartido de las performances y el espacio visual del espectáculo contemporáneo. Gracias a La Fura dels Baus podemos entender mejor el papel de los espectáculos audiovisuales en la estética contemporánea.

Due to the awareness of how visual technologies have historically functioned as hostile and violent forces that render Blackness as aberration, this dissertation pays special focus to the creative practices of Black women and queer image-makers who are invested in decolonizing the ways in which we see. Through a careful examination of films and photography that spans from South Africa, and across the African diaspora, this dissertation is able to explore the edgeless connections between slavery and colonialism as ongoing histories that continue to rupture contemporary Black visual cultures. By orientating towards Black feminisms and queer theories to examine film and photography, this project inaugurates an interdisciplinary avenue that is able to reveal how the field of vision has continued to make marginal assessments on the compounding intersections between race, gender and sexuality. To further decolonize the process of knowledge production, this project recognizes the creative work of image-making, as an aesthetic practice that theorizes in its doing. Thus, I further draw from my positionality as a media practitioner and the experiential knowledge I have garnered in order to offer a methodological intervention that centers Black feminist creative praxis. As a prevailing enquiry in each chapter of this project, I interrogate how Black women and queer image-makers subvert the use of the camera as an institutional apparatus and technology of capture. In an anti-Black visual culture that is often calibrated by abject representations of Black women and queer identities, I believe that there is something bold and subversive about positioning Black women’s visual productions as constituting counter-hegemonic historiographies and archival repositories. Thus, I consider that due to the institutional neglect and erasure of Black women in hegemonic visual history, a decolonial approach to scholarship ought to contend with questions of materiality to contemplate the role p

Objective: This study aims to explore the representation of diverse identities in Southeast Asian web series, with a focus on the ways in which these series depict the experiences of individuals who do not conform to traditional gender norms. The three research objectives are: to analyze the symbolic transformations observed in the depiction of Gender non-conforming relationships in Southeast Asian web series, to examine how media entrepreneurs have utilized technological advancements to create engaging and realistic productions, and to investigate how web series can influence public perceptions and understanding of social issues.   Theoretical Framework: Theory of Hyperreality from Baudrillard. In it, everything is an imitation, more precisely an imitation of an imitation and a fake thing seems more real than the real reality or reality. In a technologically dependent postmodern society, humans are confused by reality and its simulation, because of which we cannot distinguish between what is real and what is artificial that happens around us.   Method: This study used a mixed multiphase method. In the first stage, the researchers conducted a semiotic analysis followed by in-depth interviews   Results and Discussion: This research is still in the research planning proposal stage. Researchers need a long time to do this research. The stages of this research began with building this research proposal, then continued with semiotic analysis to find the visual culture of four webseries from four different countries in Southeast Asia. The next stage, researchers still need to interview 8 informants from 4 different countries from 2 different genders.   Originality/Value: This research will offer a new concept in analyzing the content of invisible web series. This research will also be a new research model that can be used to analyze the web series.

El diseño gráfico es un elemento importante que cada museo incorpora a sus instalaciones, un contexto visual que define también su promoción y publicidad. Tanto las salas de la colección permanente como las exposiciones temporales nos permiten indagar en la imagen que ofrece cada institución. El presente estudio analiza, desde la cultura visual, los diseños gráficos que definen varios entornos, centrándonos en siete museos de la ciudad de Valencia. Se incide en el análisis de aspectos puntuales, elaborando un conjunto de categorías. El criterio de selección prioriza las entidades públicas. Abordamos aspectos concretos, como el diseño de elementos gráficos en exteriores e interiores arquitectónicos. El interés se extiende al impacto que tienen las decisiones al optar por un tipo de diseño u otro, ya que la imagen del museo está fuertemente vinculada al grafismo aplicado. Los públicos que visitan el museo reciben un impacto determinado a través de los diseños, gracias al mensaje gráfico. La visita se convierte así en un proceso de conocimiento sobre las posibilidades comunicativas del espacio. El museo educa la mirada de los públicos, al generar estímulos constantemente. Entre los resultados de la investigación, destacar el impacto que tiene el diseño en sus visitantes, así como el valor implícito de las políticas comunicativas de cada institución para favorecer la educación patrimonial., Graphic design is an important component of any museum. It creates a visual context of both communication and advertising across the installations. The halls of both permanent collections and temporary exhibitions allow examining the museum’s self-representation, image, and identity the museum wishes to convey. In this study, we adopted a visual-culture approach to examine the graphic design of seven museums in Valencia (Spain). Specific aspects were observed, leading us to define a set of categories. Public institutions were prioritised in the selection, and characteristics such as the design of graphic elements in exterior and interior architectural spaces were addressed. The analysis was extended to the impact of teams’ decisions when opting for a specific type of design. The designs influence visitors in some specific way though the graphic messages they convey. The visit thus becomes a knowledge-building process about the communicative possibilities of the space. Museums educate, and the visual mediation experienced during visits can represent a significant pedagogical tool. Notable among the research results was the impact of the design on visitors, and each institution’s implicit communication value regarding Heritage Education.

This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth’s identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town’s identities. The data shows that Google Images’ preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan’s (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images’ representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town.

This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth’s identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town’s identities. The data shows that Google Images’ preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan’s (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images’ representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town.

This thesis explores the aesthetics of microplastics in climate art – art specifically produced to point up issues related to climate change or perceived as addressing these issues – and reflects on the perceptual challenge posed by the often invisible presence of microplastics despite their profound environmental impacts. The study focuses on how two artworks, Pyroplastics and Plastic Air render microplastics both visible and comprehensible, aiming to bridge the gap between scientific information and public engagement. This dissertation introduces the idea of the microplastic gaze, an analytical framework that examines how microplastics interact with their environments through artistic representations. The approach transcends visual analysis, engaging the senses and intellect to illuminate the usually unseen prevalence of microplastics. Employing a phenomenological understanding grounded in vital materialist and object-oriented aesthetics, this study integrates sensory experiences with theoretical insights. The study divulges that Plastic Air and Pyroplastics not only make the invisible microplastics visible and tangible but also profoundly alter perception through the microplastic gaze. This interpretative framework demonstrates that by using this lens it becomes possible to grasp the interconnectedness of all entities, human, nonhuman and objects, as active contributors within the mentioned artworks. The findings suggest that integrating artistic expression with scientific research and a broadened perceptual stance provides a powerful tool for communicating multifaceted environmental issues.

This study discusses the relevance of intercultural pedagogy in an increasingly digital and multicultural world. By exploring the intersection between intercultural pedagogy and youths’ visual culture the study aims to lay the groundwork for a pedagogical development in the field of culturally relevant pedagogy. The study brings light to the cognitive and motivational potential a pupil-oriented pedagogy has. The study also discusses limitations of intercultural and culturally relevant pedagogy, including the risks of ignoring ethnically diverse classrooms’ transcultural identities. Through the use of qualitative interviews with visual art teachers, in addition to an analysis of existing research dating back to the coining of culturally relevant pedagogy, this study examines how visual art teachers implement students’ visual cultures in the classroom and how this can be further developed into an inclusive and relevant pedagogical practice., Denna studie diskuterar interkulturell pedagogiks relevans i en alltmer digital och mångkulturell värld. Genom att utforska intersektionen mellan interkulturell pedagogik och ungdomars visuella kultur syftar studien till att lägga grunden för en pedagogisk utveckling inom området kulturellt relevant pedagogik. Studien belyser den kognitiva och motiverande potential en elevorienterad pedagogik har. Studien diskuterar också begränsningar av interkulturell och kulturellt relevant pedagogik, inklusive riskerna med att ignorera mångkulturella klassrums transkulturella identiteter. Genom kvalitativa intervjuer med bildlärare, i samband med analys av befintlig forskning som går tillbaka till myntandet av kulturellt relevant pedagogik, undersöker denna studie hur bildlärare implementerar elevers visuella kulturer i klassrummet och hur detta kan vidareutvecklas till en inkluderande och relevant pedagogisk praktik.

Exploring novels by Virginia Woolf, Gloria Naylor, and Naomi Mitchison, this thesis argues that twentieth-century women writers engage with the sensory to critique, resist and revise hegemonic manifestations of modernity. Woolf’s Orlando (1928) explores the relationship between patriarchy and imperialism in 1920s Britain. Naylor’s The Women of Brewster Place (1982) and Bailey’s Cafe (1992) consider the complex histories of sexism and racism in America from a post-civil rights perspective. Mitchison’s Memoirs of a Spacewoman (1962) and Solution Three (1973) examine post-war inequalities in relation to the Cold War. Though very different, the texts all employ sensory language to recover women’s bodies from modernity’s suppressive discourses and impacts – a process that is reflected in and supported by experimental episodic forms. By putting Woolf, Naylor and Mitchison in touch with one another, I construct a new community of authors, and emphasise that feminist revision might be understood in haptic terms, as a method of getting in touch. This thesis attends to the precarity of radical women writers; the gender and race politics of suppression; and relationships between readers, writers, and texts. It brings together feminist and Black feminist theories of the body, women’s writing, and revision. Framing this is the relationship I establish between sensory studies and feminist modernist studies. This study is the first to explicitly bring these fields together from an intersectional perspective that consistently considers race and gender. This project demonstrates that sensory studies and feminist modernist studies can support each other’s recuperative and expansive aims. Both fields bring new contexts and terms to the other. Feminist modernist studies expands sensory studies’ existing literary focus, highlighting its affinity with revision theory. Conversely, sensory studies’ emphasis

This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth’s identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town’s identities. The data shows that Google Images’ preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan’s (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images’ representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town.

This study discusses the relevance of intercultural pedagogy in an increasingly digital and multicultural world. By exploring the intersection between intercultural pedagogy and youths’ visual culture the study aims to lay the groundwork for a pedagogical development in the field of culturally relevant pedagogy. The study brings light to the cognitive and motivational potential a pupil-oriented pedagogy has. The study also discusses limitations of intercultural and culturally relevant pedagogy, including the risks of ignoring ethnically diverse classrooms’ transcultural identities. Through the use of qualitative interviews with visual art teachers, in addition to an analysis of existing research dating back to the coining of culturally relevant pedagogy, this study examines how visual art teachers implement students’ visual cultures in the classroom and how this can be further developed into an inclusive and relevant pedagogical practice., Denna studie diskuterar interkulturell pedagogiks relevans i en alltmer digital och mångkulturell värld. Genom att utforska intersektionen mellan interkulturell pedagogik och ungdomars visuella kultur syftar studien till att lägga grunden för en pedagogisk utveckling inom området kulturellt relevant pedagogik. Studien belyser den kognitiva och motiverande potential en elevorienterad pedagogik har. Studien diskuterar också begränsningar av interkulturell och kulturellt relevant pedagogik, inklusive riskerna med att ignorera mångkulturella klassrums transkulturella identiteter. Genom kvalitativa intervjuer med bildlärare, i samband med analys av befintlig forskning som går tillbaka till myntandet av kulturellt relevant pedagogik, undersöker denna studie hur bildlärare implementerar elevers visuella kulturer i klassrummet och hur detta kan vidareutvecklas till en inkluderande och relevant pedagogisk praktik.

This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth’s identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town’s identities. The data shows that Google Images’ preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan’s (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images’ representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town.

This article focuses on young people’s digital picture-making and the role of digital illustration applications in this process. It is based on 10 in-depth interviews with young people aged 11–20 years living in Sweden. Using the concept of visual-digital literacy, we analyse young people’s talk about how they accomplish picture-making and use different tools, techniques and devices. The analysis shows that pictures are seen as never fully finished but something that could be modified, revisited, remade and re-evaluated. While differentiating between and contrasting analogue and digital picture-making, young people often see them as complementary. They also see digital tools as generating flexibility and freedom to experiment with techniques, colours and motifs. The article contributes to understanding young people’s self-initiated leisure practices such as digital picture-making from their own perspectives.

This dissertation is an encounter with Gangjeong Village. A fifteen-year sustained protest campaign against the construction of South Korea’s Jeju Naval Base has opened up a field of contestation of place. I consider these contestations through the struggle to “show up.” Showing up is an overlapping complex of concepts and practices combining the daily persistence of activism, the arrival and mobility of tourists, the clarification and maintenance of traditional local boundaries, and the use of sound and image to delineate, dispute, and demarcate places and modes of belonging. I argue that these practices form a unique platform for political intervention, addressing global political questions by continually re-situating itself in its immediate locality and in the process, transforming this small village on the south coast of Jeju Island into a site to confront the diffuse global political struggles of the climate crisis, colonialism, imperialism, militarism, and patriarchal domination. To examine this complex of practices, I trace how showing up occurs along two axes: the construction of a daily culture of protest and the strategies of defining and connecting locality with “elsewhere.” Through oral history and materialist media archaeology, I show the development of the Anti-Naval Base and Peace Movements from 2007 to 2023 and analyze the contemporary practices of daily resistance through music, performance, and visual culture analyses. Through these lenses, I argue that activists have produced a unique combination of life and protest, one that combines the politicization of the everyday with the cultivation of protest actions into a generalized way of being in the world. With a detailed account of the aesthetic considerations, media productions, critical analyses, and intentionally cultivated frameworks of daily life, Gangjeong Village has been turned into a site of political and conceptual experimentation, where the immediate and material work of concepts like bel

This article focuses on the contribution of new strategies for the decoding of visual information. Given that current circumstances comprise an image democratization and its problematic dogmatism as an informative document, we propose this work around a visual literacy media, widely worked in the mid-twentieth century because of its visual-narrative implementation in the cultural industry of that moment (the photo novel) and recovering at the same time this editorial format for its teaching treatment around visual narratives creation for various educational purposes. From our point of view, the applications of the new telephone’s devices are also a competent tool to be included in the context of a contemporary artistic education. This approach exceeds the medium itself and bring us closer to new artistic-social considerations such as the post photography phenomenon, which make us to analyze new spaces of interrelations and educative mediation and artistic learning. In short, this work recapitulates an educational experience posed by the reinterpretation of identity through the current photographic fact, exposed to different forms of simulacrum, underlying in contemporary culture, to activate different strategies of deconstruction of the personal and collective iconosphere., Este artículo se centra en la contribución de nuevas estrategias para la descodificación de la información visual. Puesto que las circunstancias actuales comprenden una democratización de la imagen y su problemático dogmatismo como documento informativo, planteamos el trabajo en torno a un medio de alfabetización visual, extensamente explotado a mediados del siglo XX por su implementación narrativo-visual en el ámbito de la industria cultural del momento (la fotonovela) y recuperando con ello este formato editorial para su tratamiento didáctico en torno a la creación de narrativas visuales con distintos fines educativos. Desde nuestro enfoque, las aplicaciones de los nuevos dispositivos telefónicos son también un instrumento competente que ha de incluirse en el contexto de una educación artística contemporánea. Este planteamiento supera el propio medio y nos aproxima a nuevas consideraciones artístico-sociales, entre otras el fenómeno de la posfotografía, que nos obliga a analizar nuevos espacios de interrelación y mediación educativa y aprendizaje artístico. Por lo tanto, este trabajo recapitula una experiencia educativa que plantea una re-interpretación de la identidad a través del hecho fotográfico actual, ante la exposición a las diversas formas de simulacro, subyacente en la cultura contemporánea, con el objetivo de activar nuevas estrategias para la deconstrucción de la iconosfera, personal y colectiva.

This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth’s identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town’s identities. The data shows that Google Images’ preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan’s (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images’ representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town.

Disability in visual culture is arguably flawed, with ideas and concepts created and accepted in the vacuum of ableist, capitalist environments. “Disability has always been part of the human condition,” write art historians Keri Watson and Jo Mann. “Through- out history, people with disabilities have often served as visual and cultural objects, rather than as active participants in and creators of culture and media.”1 Mimi Ọnụọha, Catherine D’Ignazio, Lauren Klein, and other scholars establish that visual media have the power to communicate injustices, evoke uncomfortably necessary conversations, and raise the volume on silenced voices.2 Recent scholarship and strategies have focused on visual media under the lens of misinformation and misrepresentation with the aim of training visual consumers’ palates to distinguish propaganda from critical discourse.3 Missing from this mainstream dialogue is that visuals can be equally exclusionary and harmful to persons with disabilities. Information educators play a role in disrupting the assumed perceptions around disability and can challenge situations where common remediations fall short, where barriers are introduced, and where damaging stereotypes are perpetuated.

This article attempts to use different ways of looking that help classroom and visual art teachers analyze the meanings attributed to visual images, thereby enhancing their visual literacy skills. In the study, holistic multiple-case sampling was employed in the context of case study method as each group of teachers was individually considered as an analysis unit and their analysis of visual images through different ways of looking was evaluated in a holistic way. The participants of the study comprised of a total of 508 teachers who attended teacher training workshop of the Project titled ‘The Implementation of Visual Culture Theory on Primary and Secondary Visual Arts Courses.’ The data were collected with worksheets, artistic drawings and participant diaries and analyzed inductively. The data were presented in three themes: analyzing visual elements, approaching the visual contextually, and determining the contributions of visual experience. The results denoted that classroom and visual arts teachers interacted with images through a series of questions related to different ways of looking at visual images, questioned visual representations, artistic components and sub-meanings and created various meanings in terms of social, economic, psychological and cultural contexts, thereby increasing their visual literacy skills.

Referencias bibliográficas: • Aguirre, Imanol (2008), Las artes en la trama de la cultura. Fundamentos para renovar la educación artística. Revista Digital do Laboratório de Artes Visuais (I-1) http://www.ufsm.br/lav/noticias1_arquivos/las_artes.pdf • Benjamin, Walter (1975): El autor como productor. En Tentativas sobre Brecht. Iluminaciones III, Madrid: Taurus, pp. 117-134, (1934). Recuperado de: http://www.jacquesderrida.com.ar/restos/benjamin_autor.htm • Benjamin, Walter (1936): La obra de arte en la época de su reproductibilidad técnica. En Benjamin, Walter. (1989): Discursos Interrumpidos I, Buenos Aires: Taurus. • Braidotti, Rosi (1996): Cyberfeminism with a difference. New Formations, 29. Recuperado de: http://www.let.uu.nl/womens_studies/rosi/cyberfem.htm (28 noviembre 2016) • Braidotti, Rosi (2000): Sujetos nomades. Barcelona: Paidós Ibérica. • Brea, Jose Luis ed. (2005): Estudios Visuales. La epistemología de la visualidad en la era de la globalización. Madrid: Akal. • Butler, Judith (1998): Actos performativos y constitutivos del género, en Debate feminista, pp. 298-323. • Butler, Judith (1997): Excitable Speech. A Politics of teh Performative. Londres y Nueva York, Routledge. • Cabot, Mateo (2007): Más que palabras: Estética en tiempos de cultura audiovisual, Murcia: CENDEAC. • Cobo, Rosa (2011): Hacia una nueva política sexual. Las mujeres ante la reacción patriarcal. Madrid: Catarata. • Colaizzi, Guilia (2007): La pasión por el significante. Teoría de género y cultura visual. Madrid: Biblioteca nueva. • Carson, Mina; Lewis, Tisa; Shaw, Susan M. (2013): Girls rock!: fifty years of women making music. Kentucky: University Press of Kentucky. • Clúa, Isabel (2008): Género y cultura popular. Barcelona: Ediciones UAB. • Danto, Arthur (1999): Después del fin del arte. El arte contemporáneo y el linde de la historia, Barcelona: Paidós, (1986). • Foucault, Michel (2002): Vigilar y castigar. Buenos Aires: Siglo XX. (1976) • Freedman, Kerry (2006): Enseñar la cul, El vídeo musical es una producción cultural que se comparte a través de las redes de internet y medios de comunicación, a través de todo tipo de dispositivos electrónicos de uso personal y doméstico. Contribuye a acelerar el predominio de la producción cultural como constructo agente a la vez de sentido y de entretenimiento. Una secuenciación visual que permite una percepción intensa de un mensaje en un brevísimo período de tiempo. Desde los fenómenos vinculados a la producción audiovisual de las mujeres artistas reflexionaré sobre la fuerza performativa de los videos musicales de las divas del pop y de las derivas que pueden producirse en las reivindicaciones sociales y políticas que se producen en ellos. Primero, el papel de la subjetivación en la producción y el consumo de los mismos. Segundo, los procesos de socialización y performatividad que articulan otros imaginarios sociales para mujeres y hombres y establecen un orden distinto en los discursos de género. Y cómo contribuyen a cambios en la producción de cultura, siendo conscientes también de los intereses mestizos en un entorno de mainstream cultural., The videoclip is a cultural production that is shared through the Internet and media networks, through all kinds of electronic devices for personal and domestic use. It helps to accelerate the predominance of cultural production as a construct agent both of meaning and of entertainment. A visual sequencing that allows an intense perception of a message in a very short period of time. From the phenomena related to the audiovisual production of women artists I will reflect on the performative force of the musical videos of pop divas and the drifts that can become in the social and political demands that occur in them. First, the role of subjectivation in the production and consumption of them. Second, the processes of socialization and performativity that articulate other social imaginaries for women and men and establish a different order in gender discourses. So how they contribute to changes in the production of culture, being also aware of mixed interests in a cultural mainstream environment., Depto. de Estudios Educativos, Fac. de Educación, TRUE, pub

Denna uppsats undersöker den konstnärliga dimensionen av supporterkulturen, med särskilt fokus på de organiserade koreografierna som äger rum på fotbollsarenor, även kända som tifon. Studien syftar till att analysera representationerna av tifon och den roll de spelar inom supporterkulturen för det svenska fotbollslaget Hammarby IF. De forskningsfrågor som utforskas är: Vilken övergripande roll fyller tifo och på vilka sätt kan dessa skapade visuella element kopplas till och påverka identiteten inom supporter- kulturen för Hammarby IF? För att uppnå detta har jag kontaktat fotografer och valt ut fyra olika tifon som förmedlar distinkta teman och budskap. Materialet analyseras med utgångspunkt från teorier som visuella kulturstudier, semiotik och performativitetsteori. Metodiken innebär att genom denotation och konnotation avslöja underliggande betydelser av det som visas. Som ett resultat avslöjar studien hur de olika tifona huvudsakligen representerar identitet, rivalitet, samhällskritik och hyllning, vilket bidrar till en djupare förståelse för samspelet mellan konst, sport och kultur., This essay examines the artistic dimension of supporter culture, with a particular focus on the organized choreographies that take place in football stadiums, commonly known as tifos. The study aims to analyze representations of tifos and the role they play within the supporter culture of the Swedish football team Hammarby IF. The research questions to be explored are: What overarching role does tifo fulfill and in what ways can these created visual elements be linked to and influence identity within the supporter culture of Hammarby IF? To achieve this, I have contacted photographers and selected four different tifos that convey distinct themes and messages. The material is analyzed drawing upon theories such as visual cultural studies, semiotics, and performativity theory. The methodology involves annotating and connotating the visual elements to uncover underlying meanings of what is displayed. As a result, the study reveals how the different tifos primarily represent identity, rivalry, societal critique and homage, thereby contributing to a deeper understanding of the interplay between art, sports, and culture.

Denna uppsats undersöker den konstnärliga dimensionen av supporterkulturen, med särskilt fokus på de organiserade koreografierna som äger rum på fotbollsarenor, även kända som tifon. Studien syftar till att analysera representationerna av tifon och den roll de spelar inom supporterkulturen för det svenska fotbollslaget Hammarby IF. De forskningsfrågor som utforskas är: Vilken övergripande roll fyller tifo och på vilka sätt kan dessa skapade visuella element kopplas till och påverka identiteten inom supporter- kulturen för Hammarby IF? För att uppnå detta har jag kontaktat fotografer och valt ut fyra olika tifon som förmedlar distinkta teman och budskap. Materialet analyseras med utgångspunkt från teorier som visuella kulturstudier, semiotik och performativitetsteori. Metodiken innebär att genom denotation och konnotation avslöja underliggande betydelser av det som visas. Som ett resultat avslöjar studien hur de olika tifona huvudsakligen representerar identitet, rivalitet, samhällskritik och hyllning, vilket bidrar till en djupare förståelse för samspelet mellan konst, sport och kultur., This essay examines the artistic dimension of supporter culture, with a particular focus on the organized choreographies that take place in football stadiums, commonly known as tifos. The study aims to analyze representations of tifos and the role they play within the supporter culture of the Swedish football team Hammarby IF. The research questions to be explored are: What overarching role does tifo fulfill and in what ways can these created visual elements be linked to and influence identity within the supporter culture of Hammarby IF? To achieve this, I have contacted photographers and selected four different tifos that convey distinct themes and messages. The material is analyzed drawing upon theories such as visual cultural studies, semiotics, and performativity theory. The methodology involves annotating and connotating the visual elements to uncover underlying meanings of what is displayed. As a result, the study reveals how the different tifos primarily represent identity, rivalry, societal critique and homage, thereby contributing to a deeper understanding of the interplay between art, sports, and culture.

This essay deploys media archaeology to analyze the representation of the animal figure in Pre-Cinema and Early Cinema images. In order to examine the richness and complexity of the animal-image relationship, it focuses on pioneering productions by Pathé and the Edison Manufacturing Company. Our work contributes to the so-called "animal turn," which encompasses different media and fields of knowledge in contemporary thought., Este ensaio investiga a representação da figuração animal, em especial por meio de imagens técnicas do Pré-Cinema e Primeiro Cinema. A arqueologia das mídias foi requerida nesta pesquisa como método de aproximar abordagens distintas em relação aos modos de ver os animais. Alguns filmes serão analisados com intuito de explicitar a riqueza e complexidade dessa relação imagem-animal, em particular produções pioneiras da Pathé e da Edison Manufacturing Company. A chamada "virada animal" afirma-se, cada vez mais, no âmbito do pensamento contemporâneo, como um fenômeno que atravessa diferentes mídias e campos do conhecimento., Este ensayo investiga la representación de la figuración animal, especialmente a través de imágenes técnicas del precine y cine silente. La arqueología de los medios fue requerida en este estudio como método de abordaje de diferentes enfoques en relación a las formas de ver a los animales. Se analizarán algunas películas para explicitar la riqueza y complejidad de esta relación imagen-animal, particularmente las producciones pioneras de Pathé y Edison Manufacturing Company. El llamado “giro animal” se afirma, cada vez más, en el contexto del pensamiento contemporáneo, como un fenómeno que atraviesa distintos medios y campos del saber.

The text addresses the conversation held with the Visual Culture theorist Nicholas Mirzoeff. Although the author is a central reference in the field of Visual Studies —with wide reception in the Ibero-American academy thanks to the publication of books in Spanish such as An introduc-tion to visual culture or How to see the world. A new intro-duction to visual culture— a fundamental part of his most recent contributions, which present an eloquent colonial critique, has been scarcely reviewed in our region, includ-ing conceptual approaches around “visuality complexes”, “countervisuality” and “the right to look”. This interview recovers these notions with the aim of putting them into dialogue with the decolonial perspectives and the symbolic and material struggles of the global South., Este texto examina el desplazamiento ontológico de la imagen (o lo que solía llamarse así) desde la perspectiva de la arqueología medial. Se parte de la imagen asociada a la visión antropocéntrica y se contrasta con la generación actual de imágenes mediante medios computacionales e inteligencia artificial. Wolfgang Ernst realiza un análisis arqueológico que aborda diversos aspectos de la imagen, como la función de la "mirada" y la "visión" desde la perspectiva de la máquina, cuestiones como iconicidad e indexicalidad se ponen en juego con la visión tecnologocéntrica y direccionable de las imágenes en red, así como el papel cambiante de la imagen archivo como un tipo de imagen que se ancla en el aspecto operativo y que contribuye a un deslizamiento de la ontología del archivo mismo. Todo lo anterior para dar un paso hacía una fenomenología de la visión de los medios desde dentro de la tecnología, proponiendo una ontología no humana de la imagen.

La cultura visual influeix en l’imaginari col·lectiu de qui forma part de la infància, sobretot a partir de les figures perverses que s’inclouen en els productes que consumeix. Aquests personatges contribueixen a la moralització de la societat. Concretament s’atén a les figures anomenades “espanta- dors” i que són pròpies de la cultura cubana. Tot partint d’un posicionament social crític i utilitzant una metodologia qualitativa, hom analitza els discursos visuals i orals que l’alumnat de l’Escuela Cubana empra per tal de comunicar les idees que té interioritzades en relació amb el concepte de maldat. Per fer això, es parteix d’una Investigació Basada en Imatges (IBI). A partir d’aquest estudi, s’assoleixen conclusions que contribueixen a la comprensió maniquea, estereotipada i masclista amb la qual s’atén la construcció de personatges malèvols., Visual culture influences the collective imagination, especially from the perverse figures that are included in the products they consume. These characters contribute to the moralization of society. The attention is paid to "frightening" figures that are typical of Cuban culture, that is, the “scarers”. Starting from a socio-critical positioning and using a qualitative methodology, the visual and oral discourses that the students of the Cuban School use to communicate the ideas they have internal- ized in relation to the concept of evil are analyzed. To do this, it is used an Image Based Research. Conclusions contribute to the Manichean, stereotyped and macho understanding about the con- struction of malevolent characters is attended., La cultura visual influye en el imaginario colectivo de quienes forman parte de la infancia, sobre todo a partir de las figuras perversas que se incluyen en los productos que consumen. Estos personajes contribuyen a la moralización de la sociedad. Concretamente se atiende a las figuras denominadas “asustadores” y que son propias de la cultura cubana. Partiendo de un posicionamiento socio-crítico y utilizando una metodología cualitativa, se analizan los discursos visuales y orales que el alumnado de la Escuela Cubana utiliza para comunicar las ideas que tiene interiorizadas en relación al con- cepto de maldad. Para ello, se parte de una Investigación Basada en Imágenes (IBI). A partir de este estudio, se alcanzan conclusiones que contribuyen a la comprensión maniquea, estereotipada y machista con la que se atiende en la construcción de personajes malévolos.

Aquest estudi busca identificar la influència de la cultura visual, i en concret dels estereotips de gènere en l’imaginari infantil. Per això s’analitza qualitativament una mostra de 224 dibuixos realit- zats per 72 participants d’entre 5 i 12 anys en tres centres d’Educació Primària d’Euskadi. Els resul- tats gràfics mostren uns trets clarament sexistes que no concorden amb el discurs verbal dels seus autors sobre la igualtat entre gèneres. Els estereotips identificats en els dibuixos s’ajusten totalment a les imatges idealitzades dels models d’home i de dona hegemònics en la nostra cultura visual. Per tant, es pot concloure que el dibuix és una eina útil per a detectar els estereotips arrelats en l’ima- ginari infantil, i que l’escola ha de nodrir l’alumnat de referents visuals que ajudin a ampliar la seva perspectiva respecte models no normatius que afavoreixin la diversitat dins les aules., This study seeks to identify the influence of visual culture, and specifically gender stereotypes in children's imagery. For this purpose, a sample of 224 drawings made by 72 participants between 5 and 12 years old in three primary schools in the Basque Country are qualitatively analyzed. The graphic results show clear sexist traits that that are not consistent with the verbal discourse of their authors on gender equality. The stereotypes identified in the drawings are totally in line with the idealized images of hegemonic male and female models in our visual culture. Therefore, it can be concluded that drawing is a useful tool for detecting stereotypes rooted in children's imagery, and that the school should provide students with visual references that help to broaden their perspective with respect to non-normative models while promoting diversity in the classroom., Este estudio busca identificar la influencia de la cultura visual, y en concreto de los estereotipos de género en el imaginario infantil. Para ello se analizan cualitativamente una muestra de 224 dibujos realizados por 72 participantes de entre 5 y 12 años en tres centros de Educación Primaria de Euskadi. Los resultados gráficos muestran unos claros rasgos sexistas que no concuerdan con el discurso verbal de sus autores sobre la igualdad entre géneros. Los estereotipos identificados en los dibujos se ajustan totalmente a las imágenes idealizadas de los modelos de hombre y mujer hegemónicos en nuestra cultura visual. Por tanto, se puede concluir que el dibujo es una herra- mienta útil para detectar los estereotipos arraigados en el imaginario infantil, y que la escuela debe nutrir al alumnado de referentes visuales que ayuden a ampliar su perspectiva respecto a modelos no normativos que favorezcan la diversidad dentro de las aulas.

L’Edat Mitjana és una època altament simbòlica que comunica principalment de manera no verbal. La gàrgola participa de forma significativa d’aquest simbolisme i capacitat comunicativa, però és una de les representacions artístiques que gaudeix de menys atenció per part de la Història de l’Art. Aquest estudi busca connectar la seva capacitat comunicativa no verbal amb representacions artís- tiques actuals. Aquestes sinergies ens permetran establir ponts entre l’art actual i la gàrgola. El mètode consisteix en un recorregut iteratiu que va connectant els aspectes fonamentals de la gàr- gola amb una selecció d’autors i obres actuals que comparteixen els seus valors. Aquestes conne- xions orienten vers el respecte i la coherència simbòlica d’uns i altres, i ens permeten acostar l’apre- nentatge de la gàrgola des de l’estudi de l’art actual., The Middle Ages is a highly symbolic period that predominantly communicates non-verbally. Gar- goyles play a significant part in its symbolism and ability to communicate, but they are one of the least studied artistic representations in the history of art. This study seeks to connect their non-verbal communicative abilities with current artistic representations. These synergies would help establish bridges between contemporary art and gargoyles. The methodology is based on an iterative journey that connects the fundamental aspects of gargoyles with a selection of contemporary authors and works that share their values. These connections are aimed towards mutual respect and symbolic consistency, and will enable us to approach the study of gargoyles through the study of contempo- rary art., La Edad Media es una época altamente simbólica que comunica principalmente de modo no verbal. La gárgola participa de forma significativa de este simbolismo y capacidad comunicativa, pero es una de las representaciones artísticas que gozan de menor atención por parte de la Historia del Arte. Este estudio busca conectar su capacidad comunicativa no verbal con representaciones artís- ticas actuales. Estas sinergias nos permitirán establecer puentes entre el arte actual y la gárgola. El método consiste en un recorrido iterativo que va conectando los aspectos fundamentales de la gár- gola con una selección de autores y obras actuales que comparten sus valores. Estas conexiones orientan hacia el respeto y la coherencia simbólica de unos y otros, y nos permiten acercar el apren- dizaje de la gárgola desde el estudio del arte actual.

The Peruvian National Library holds today in its vaults three valuable albums of Old Master prints which still await proper catalogation. The prints of these albums come from the Low Countries, Paris, Rome, Cologne, and Augsburg, and were produced in the sixteenth, seventeenth, and eighteenth centuries. Taken together, these albums offer an encompassing view of the prints that circulated in Colonial Peru, thus contributing to the formation of the visual culture of the country. The purpose of this essay is to reveal the wealth of the Old Master print collection in the Peruvian National Library. One of the noteworthy fruits of our labors will be the discovery of the only known impressions of a couple of prints of Thomas de Leu (ca. 1555-ca. 1612), a prominent Parisian printer of great significance for Colonial Art., La Biblioteca Nacional del Perú alberga hoy en sus bóvedas tres valiosos álbumes de grabados antiguos que están todavía por catalogar a cabalidad. Los grabados de estos álbumes provienen de los Países Bajos, París, Roma, Colonia, y Augsburgo, y fueron producidos entre los siglos XVI y XVIII. Tomados en conjunto, estos álbumes ofrecen una vista panorámica de las distintas épocas y procedencias de los grabados que circularon por el Perú Colonial, contribuyendo así a la formación de la cultura visual del país. El propósito de este ensayo es difundir la riqueza de los materiales gráficos de los fondos antiguos de la Biblioteca Nacional del Perú. Entre los frutos de nuestros esfuerzos destacará el descubrimiento de las únicas impresiones conocidas de un par de grabados de Thomas de Leu (ca. 1555-ca. 1612), prominente impresor parisino de gran importancia para el arte colonial.

The article explores the relationship between commercial capitalism and the first European women’s movement through the lens of Jewish business activity in the fashion-related industries of Wilhelmine Berlin. The analysis centers on Kaufhaus N. Israel, a department store and clothier. Between 1899 and 1914, the firm issued a series of prolifically illustrated albums, several featuring explicit ‘feminist’ elements. Through its elaborate publications, the author argues, the commercial company crafted its image as a cultural institution, relying on associations of the department store as a ‘women’s paradise,’ while venturing into political visions of egalitarianism and ethnic diversity in image and text.

The article explores the relationship between commercial capitalism and the first European women’s movement through the lens of Jewish business activity in the fashion-related industries of Wilhelmine Berlin. The analysis centers on Kaufhaus N. Israel, a department store and clothier. Between 1899 and 1914, the firm issued a series of prolifically illustrated albums, several featuring explicit ‘feminist’ elements. Through its elaborate publications, the author argues, the commercial company crafted its image as a cultural institution, relying on associations of the department store as a ‘women’s paradise,’ while venturing into political visions of egalitarianism and ethnic diversity in image and text.

The article explores the relationship between commercial capitalism and the first European women’s movement through the lens of Jewish business activity in the fashion-related industries of Wilhelmine Berlin. The analysis centers on Kaufhaus N. Israel, a department store and clothier. Between 1899 and 1914, the firm issued a series of prolifically illustrated albums, several featuring explicit ‘feminist’ elements. Through its elaborate publications, the author argues, the commercial company crafted its image as a cultural institution, relying on associations of the department store as a ‘women’s paradise,’ while venturing into political visions of egalitarianism and ethnic diversity in image and text.

The article explores the relationship between commercial capitalism and the first European women’s movement through the lens of Jewish business activity in the fashion-related industries of Wilhelmine Berlin. The analysis centers on Kaufhaus N. Israel, a department store and clothier. Between 1899 and 1914, the firm issued a series of prolifically illustrated albums, several featuring explicit ‘feminist’ elements. Through its elaborate publications, the author argues, the commercial company crafted its image as a cultural institution, relying on associations of the department store as a ‘women’s paradise,’ while venturing into political visions of egalitarianism and ethnic diversity in image and text.

The article explores the relationship between commercial capitalism and the first European women’s movement through the lens of Jewish business activity in the fashion-related industries of Wilhelmine Berlin. The analysis centers on Kaufhaus N. Israel, a department store and clothier. Between 1899 and 1914, the firm issued a series of prolifically illustrated albums, several featuring explicit ‘feminist’ elements. Through its elaborate publications, the author argues, the commercial company crafted its image as a cultural institution, relying on associations of the department store as a ‘women’s paradise,’ while venturing into political visions of egalitarianism and ethnic diversity in image and text.

La presente investigación ofrece un estudio sociocultural de la fotografía periodística en el escenario venezolano mediante la revisión de las imágenes que han recibido reconocimiento internacional en los premios World Press Photo y Pulitzer. A partir del análisis y contextualización de fotografías de corte periodístico y documental, el objetivo ha sido el de reflexionar sobre la función social y usos de la imagen en la contemporaneidad. El corpus ha estado integrado por imágenes de fotógrafos venezolanos o radicados en Venezuela que han sido premiadas con los mencionados galardones: dos fotografías individuales y dos series de fotografías. La más antigua es la foto de Héctor Rondón, de 1962, sobre el suceso conocido como “El Porteñazo”. La segunda de las fotografías y la primera serie tienen como contexto común las protestas y disturbios del 2017 contra el gobierno de Nicolás Maduro. Sus autores son Ronaldo Schemidt y Juan Barreto, respectivamente. La última serie muestra las víctimas del hambre y la desnutrición en Venezuela y fue publicada por The New York Times. Su autora es la fotoperiodista Meridith Kohut. Todas estas fotografías han sido estudiadas empleando una matriz de análisis que incluye la profundización de los conflictos y realidades que muestran, su valor intrínseco como imagen, así como la repercusión y proyección de las mismas. Las conclusiones del trabajo dan cuenta de cómo la visualización de los hechos a través de la fotografía y su reconocimiento internacional afirman las posibilidades de la imagen para aproximarse a la realidad y mostrar sus matices y contrastes. También su valor de denuncia. El que estos premios se otorguen tiempo después de los sucesos registrados permite retomar los temas que documentan, a veces olvidados o desplazados ante la vorágine de nuevos acontecimientos., This research offers a sociocultural study of journalistic photography in Venezuela by reviewing images internationally recognized with the World Press Photo and Pulitzer Prizes. From the analysis and contextualization of journalistic and documentary photographs, the objective is to reflect on the social function and uses of the image in contemporary times. The corpus comprises images by Venezuelan or Venezuela-based photographers awarded the prizes mentioned: two individual and two series of photographs. The oldest is Héctor Rondón’s 1962 picture of El Porteñazo. The second photograph and the first of the series shared the context of the 2017 protests and riots against the government of Nicolás Maduro; their authors are Ronaldo Schemidt and Juan Barreto, respectively. The second series showed the victims of hunger and malnutrition in Venezuela and was published in The New York Times ; its author is photojournalist Meridith Kohut. All these photographs have been studied using a matrix of analysis that delves into the conflicts and realities they portray, their intrinsic value as images, and their repercussion and projection. We conclude how the visualization of facts through photography and its international recognition affirms the possibilities of the image to approach reality and show its nuances and contrasts, as well as its denouncing value. The fact that these prizes were awarded long after the recorded events makes it possible to revisit the subjects they document, sometimes forgotten or displaced in the maelstrom of new events., Esta pesquisa oferece um estudo sociocultural da fotografia jornalística no cenário venezuelano mediante a revisão das imagens que ganharam reconhecimento internacional nos prêmios World Press Photo e Pulitzer. A partir da análise e contextualização de fotografias de corte jornalístico e documental, o objetivo é refletir sobre a função social e usos da imagem na contemporaneidade. O corpus foi integrado por imagens de fotógrafos venezuelanos ou radicados na Venezuela que foram premiadas com os mencionados prêmios: duas fotografias individuais e duas séries de fotografias. A mais antiga é a foto de Héctor Rondón, de 1962, sobre o acontecimento conhecido como “El Porteñazo”. A segunda das fotografias e a primeira série têm como contexto comum os protestos e distúrbios de 2017 contra o governo de Nicolás Maduro. Seus autores são Ronaldo Schemidt e Juan Barreto, respectivamente. A última série mostra as vítimas da fome e da desnutrição na Venezuela, e foi publicada pelo The New York Times. Sua autora é a fotojornalista Meridith Kohut. Todas essas fotografias são estudadas com a utilização de uma matriz de análise que inclui o aprofundamento dos conflitos e das realidades que mostram, seu valor intrínseco como imagem, bem como a repercussão e projeção delas. As conclusões deste trabalho evidenciam como a visualização dos fatos por meio da fotografia e seu reconhecimento internacional afirmam as possiblidades da imagem para se aproximar da realidade e mostrar suas nuances e contrastes, além de seu valor de denúncia. O fato de esses prêmios serem dados tempo depois dos acontecimentos registrados permite retomar os temas que documentam, às vezes esquecidos ou deslocados ante a voragem dos novos acontecimentos.

Architects not only produce images of their projects but also take pictures of the reality around them, eventually appropriating of pictures made by others. In particular, this process of mediated assimilation of reality is quite hard to define as it follows many different criteria that tend to turn the pictures themselves into analogical devices oriented to the design development. Often, a fundamental step of the process is to make them wordless images by removing (intentionally or not) the caption. This action opens the pictures to a wide range of interpretations and uses (as well as misinterpretations and abuses) that are part of the omnivorous creative process of the architects. In order to frame the phenomenology of this process in the extended field of the 20th century art production, this article proposes a chaotic assemblage of major and minor episodes whose considerations indirectly reflects both the mostly unconscious process of the architects and the ‘under-construction’ mental scheme of the author. In this sense, this early, partial, subjective map provides no answers but questions and conjectural work-areas to be tested through further connections and developments.

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of St

This research explores prisoners’ illicit use of digital-media technology during their incarceration in Lebanon. Prisoners smuggle cellphones and access internet and telecommunication connection to produce and mediate videos, images, and voice recordings documenting quotidian experiences of imprisonment, violent events, and the COVID-19 Pandemic inside the notorious and overcrowded Roumieh Central Prison. Fragmentary prison amateur cellphone media messages make their way from behind bars to various media ecologies, from social media to local and international news-media platforms, where they are (re)mediated and often appropriated to feed partisan and sectarian media narratives. In this dissertation, I investigate prison cellphone recordings and their political and testimonial possibilities by tracing the prison media practices responsible for their production and circulation. Influenced by Amel’s (1976, 1988) intellectual project of theorizing from the periphery and the lo popular approach to theorizing media with and from individuals’ media practices in their territory (Martín-Barbero, 1998), I propose a framework for the conceptualization of prisoners’ illicit use of digital-media technologies and the recordings they produce as media from the prison. Based on a foundation of media-practice theory, more specifically the articulation of activist media practices and mediation theory (Martín-Barbero, 1993; Mattoni, 2012; Mattoni & Treré, 2014), I introduce three overarching and overlapping conceptual themes: media witnessing, media mobilization, and vulnerability in resistance. Using this theoretical framework, I examine the categories, characteristics, and modes of framing reflected in prison cellphone recordings, explore their alignment with mechanisms of mobilization and organized protest, and consider them as visual and sonic recorded testimonies that document and communicate personal impressions and the conditions of quotidian life in confinement. The ana

During the Puerto Rican 20th century, the disease metaphor predominates to analyze Puerto Rico's colonial political relationship with the United States. This metaphor manifests itself in various ways in Puerto Rican literature and visual culture. This dissertation analyzes the mechanisms that have done and undone biopolitical bodies and their relationship with historical time and tropical space in three Puerto Rican novels and documentary films. In addition, I analyze how advances in technoscience reinforce colonial status. Given the biopolitical panorama in Puerto Rico, I propose the culture of suspicion to redirect the biopolitical gaze, and the term trance literature to account for a discursive change in 21st century literature that transforms the political dimension of the body and dismantles the metaphor of the illness. In addition, other political forms are presented that distance us from the hegemonic technobiopower and bring us closer to other ways of understanding conviviality.

Denna studie undersöker och diskuterar möjligheterna som finns för att tala om ett icke-verbalt visuellt identitetsspråk för kammaterial från perioden ca 700–900 e.v.t. Studien utgår från och analyserar arkeologisk forskning som utförts i olika miljöer. Syftet är att se till potentialen som finns för vidare forskning gällande kammar, råmaterial och ornamentiks delaktighet i identitetsprocesser. Genom att studera vardagliga föremål som kammar med nya metoder och teknologi ökar möjligheterna att studera subtila sociala och kulturella fenomen. Undersökningen ämnar därför att även belysa hur nya frågor kan tillkomma och ställas till äldre väl undersökt material., The aim of this study is to discuss and explore the possibility of a non-verbal language based on visuality in comb material dating to c. 700-900 C.E. The study analyses different archaeological research done in different locales within and outside of Scandinavia. The aim is to understand the potential of further research into identity studies based on previously made associations and interpretations regarding combs, raw material and decoration. Through new technologies, the study of everyday objects of the past can be given new context and meaning. This study aims to bring forth the potential in old well documented material.

The aim of this thesis is to study the structures and contents of art paraphrases during the first year of the Covid-19 pandemic through semiotics, intertextuality and intermediality, to create an understanding of what the reuse, or appropriation, of art can mean and which roles it could play in a contemporary visual culture. To achieve this, six “Covid paraphrases” are analysed alongside a rich complementary material collected from November 2021—February 2023 through netnographic methods focused on the social media platform Instagram. The study is centred around three categories of Covid paraphrases: positively modified paraphrases, negatively modified paraphrases and paraphrases modified through the act of substitution. The study finds that Covid paraphrases often build upon famous classical art works that contain human figures. These figures, as well as other elements of the image, are shown to be removed, relocated or replaced in the paraphrase. In other Covid paraphrases, new details are added to the image, often portraying objects connected to the pandemic, such as face masks or toilet paper. Most often, they are created, distributed and viewed through digital media, unlike the art works they build upon which generally take the shape of physical paintings. Surprisingly, the study of art paraphrases during the pandemic shows that the visual culture of Covid-19 consists of a considerable amount of humour despite the unstable state of the world. In this context, the Covid paraphrases play the role of the entertainer, and by reminding the public of the authorities’ restrictions in the fight against the new coronavirus, as well as of the long history of art, the paraphrases can also be seen as a source for information. Together with other new images, the Covid paraphrases create a new visual language filled with pandemic-specific signs. This reuse of images updates classical art works and gives them a new meaning in a modern setting, while simultaneously attaching

This essay investigates how the United States has been portrayed by Swedish artists in the 1960´s and 1970’s. The aim is to discover what signs and attributes these posters utilize and how these signs and attributes given to America is reflective of the culture and conception of America in Sweden during this time period. Firstly, using Mieke Bal and Norman Brysons semiotic methodology, presented in Semiotics and art history from 1991, to analyze the signs and connect them to the right contexts in each poster. Secondly, to identify reoccurring themes and conceptions about America, visual culture theory based on Nicholas Mirzoeffs An introduction to visual culture will be used. In these posters USA is visualized in different ways, sometimes expressively with just the text “USA”, but most commonly through representative signs likes the American flag, presidents and pictures from Vietnam. USA is depicted as an imperialistic, capitalistic, militaristic nation with a double standard. The posters are created and contributes to a visual culture. And these negative signs are reflective of the Swedish culture and opinions about the United States that could be found during this time period. The political and social commentary in art is also reflective of the 1960´s and 1970´s Sweden and the changing landscape of the Swedish artworld.

This article brings together conclusions obtained through the vision provided by the 3rd year subject of History of Art, Aesthetics and Design of the Everydayat the University of Malaga, as well as by the work The System of Objectsby Jean Baudrillard(1968). As an object, the Christmas lighting of Calle Larios is taken for the 2022 festivities, designed by Iluminaciones Ximénez, as a product of the main industrial engine of the city of Malaga today: the hospitality-tourismaxis.From this stagingare derived connotations, encrypted and symbolic values that go unnoticed bythe daily or idle gaze of the public who prostrate themselvesbefore them with no more interest, no more 'doubt', than that of the 'post-perfect'. In thisarticle we intendto decode the narratives that are extracted from these ephemeral works; designs that can be considered anachronistic withinthe modernization process that the capital of the Costa del Sol intends to undertake becauseof its bid to host the Universal Exposition in 2027. Precisely, the setting of the Malaga coastlineis ideal for a phenomenon related toother cultural products that have followed one another becauseof tourism, passingthrough categories such as kitsch or pastiche. Although, there is a patrimonial identity substrate in everything analyzed that, duly, will be contextualized., El presente artículo aglutina conclusiones obtenidas a través de la visión aportada por la asignatura de 3º de Historia del Arte Estética y Diseño de lo cotidiano, en la Universidad de Málaga, así como por la obra El Sistema de los Objetos, de Jean Baudrillard(1968). Como objeto, se toma la iluminación navideña de calle Larios para las fiestas de 2022, diseñada por Iluminaciones Ximénez, como producto del principal motor industrial de la urbe malagueña en la actualidad: el eje hostelería-turismo. De esa puesta en escena se derivan connotaciones, valores encriptados y simbólicos que pasan desapercibidos ante la cotidiana u ociosa mirada del público que se postra ante ellas sin más interés, sin más ‘duda’, que la del ‘post-perfecto’. En el presente artículo se pretenden decodificar las narrativas que se extraen de dichas obras efímeras; diseños que pueden estimarse como anacrónicos dentro del proceso de modernización que la capital de la Costa del Sol pretende acometer como consecuencia de su puja por ser sede de la Exposición Universal de2027. Precisamente, el marco del litoral malagueño resulta idóneo para un fenómeno relacionable con otros productos culturales que se han sucedido como consecuencia del turismo, transitando estos por categorías como lo kitsch o el pastiche. Si bien, existe un sustrato de identidad patrimonial en todo lo analizado que, debidamente, se contextualizará.

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of St

This research explores prisoners’ illicit use of digital-media technology during their incarceration in Lebanon. Prisoners smuggle cellphones and access internet and telecommunication connection to produce and mediate videos, images, and voice recordings documenting quotidian experiences of imprisonment, violent events, and the COVID-19 Pandemic inside the notorious and overcrowded Roumieh Central Prison. Fragmentary prison amateur cellphone media messages make their way from behind bars to various media ecologies, from social media to local and international news-media platforms, where they are (re)mediated and often appropriated to feed partisan and sectarian media narratives. In this dissertation, I investigate prison cellphone recordings and their political and testimonial possibilities by tracing the prison media practices responsible for their production and circulation. Influenced by Amel’s (1976, 1988) intellectual project of theorizing from the periphery and the lo popular approach to theorizing media with and from individuals’ media practices in their territory (Martín-Barbero, 1998), I propose a framework for the conceptualization of prisoners’ illicit use of digital-media technologies and the recordings they produce as media from the prison. Based on a foundation of media-practice theory, more specifically the articulation of activist media practices and mediation theory (Martín-Barbero, 1993; Mattoni, 2012; Mattoni & Treré, 2014), I introduce three overarching and overlapping conceptual themes: media witnessing, media mobilization, and vulnerability in resistance. Using this theoretical framework, I examine the categories, characteristics, and modes of framing reflected in prison cellphone recordings, explore their alignment with mechanisms of mobilization and organized protest, and consider them as visual and sonic recorded testimonies that document and communicate personal impressions and the conditions of quotidian life in confinement. The ana

The aim of this thesis is to study the structures and contents of art paraphrases during the first year of the Covid-19 pandemic through semiotics, intertextuality and intermediality, to create an understanding of what the reuse, or appropriation, of art can mean and which roles it could play in a contemporary visual culture. To achieve this, six “Covid paraphrases” are analysed alongside a rich complementary material collected from November 2021—February 2023 through netnographic methods focused on the social media platform Instagram. The study is centred around three categories of Covid paraphrases: positively modified paraphrases, negatively modified paraphrases and paraphrases modified through the act of substitution. The study finds that Covid paraphrases often build upon famous classical art works that contain human figures. These figures, as well as other elements of the image, are shown to be removed, relocated or replaced in the paraphrase. In other Covid paraphrases, new details are added to the image, often portraying objects connected to the pandemic, such as face masks or toilet paper. Most often, they are created, distributed and viewed through digital media, unlike the art works they build upon which generally take the shape of physical paintings. Surprisingly, the study of art paraphrases during the pandemic shows that the visual culture of Covid-19 consists of a considerable amount of humour despite the unstable state of the world. In this context, the Covid paraphrases play the role of the entertainer, and by reminding the public of the authorities’ restrictions in the fight against the new coronavirus, as well as of the long history of art, the paraphrases can also be seen as a source for information. Together with other new images, the Covid paraphrases create a new visual language filled with pandemic-specific signs. This reuse of images updates classical art works and gives them a new meaning in a modern setting, while simultaneously attaching