Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

Resumen Hay imágenes poderosas y hay imágenes potentes. Todavía más, hay imágenes potentes que hacen resistencia al poder, que son acto y gesto de resistencia en sí mismas. Entre marzo y agosto del año 2017 la sociedad venezolana vivió uno de los períodos más sensibles de la ya prolongada crisis institucional del país, caracterizada visiblemente por cotidianas protestas de calle duramente reprimidas por las fuerzas de seguridad del Estado, fenómeno que fue nombrado por los medios de comunicación internacionales como la (...) Primavera venezolana o la Rebelión de Abril. En un contexto hipermediatizado por las imágenes recirculadas por las redes sociales digitales y la prensa internacional, principalmente, destacan para mí los trabajos realizados por tres fotógrafos venezolanos: Gabriel Osorio, Vladimir Marcano Sifontes y Gabriel Méndez, cuyas fotografías testimonian experiencias traumáticas colectivas de resistencia al poder político en su propio «aquí y ahora» contingente, y articulan sus reflexiones desde el diálogo con ese otro sin nombre (el venezolano común, anónimo) en imágenes potentes que se tornan gestos de resistencia y migración. (shrink)

This article analyses Camille Henrot’s 2013 film Grosse Fatigue in relation to the histories of hypermedia and modes of interaction with the World Wide Web. It considers the development of non-hierarchical systems for the organisation of information, and uses Grosse Fatigue to draw comparisons between the Web, the natural history museum and the archive. At stake in focusing on the way in which information is organised through hypermedia is the question of subjectivity, and this article argues that such systems are (...) made ‘user-friendly’ by appearing to accommodate intuitive processes of information retrieval, reflecting the subject back to itself as autonomous. This produces an ideology of individualism which belies the forms of heteronomy that in fact shape and structure access to information online in significant ways. At the heart of this argument is an attention to the visual, and the significance of art as an immanent mode of analysis. Through the themes of transparency and opacity, and order and chaos, the article thus proposes a defining dynamic between autonomy and automation as a model for understanding the contemporary subject. (shrink)

The commemorative edition of the 80th anniversary of Casa Grande & Senzala, the founding book of Brazilian modern sociology written by Gilberto Freyre and published in 2013, shows on its cover a glamorous ‘Casa Grande’, lit like an architectural landmark, ready to serve as the set for a film or a TV soap opera. What happened to the ‘Senzala’ that appeared on the covers of the dozens of previous editions? This paper investigates, following some changes in Brazilian Visual Culture in (...) the twentieth century, how such an astonishing disappearance could take place. The paper examines the image of the slave quarters as part of a racial trope: a foundational and colonial trope, one that is capable of institutionalizing subjects and producing a subaltern mode of subjectivity. It also explores connections between critical legal studies and visual and cultural studies to question how and why knowledge produced over the status, nature and function of images contributes to institute—and institutionalize subjectivity. In order to explain this disappearance we propose a legal-iconological experiment. We will enunciate, and attempt to enact, the Statute of Image-nation: the laws of the image that constitute subjectivity in Brazilian racial tropes. In doing so, we might be able to point out the ways in which law and image function together in institutionalizing subjectivity—and subjection. (shrink)

ABSTRACTThis article offers a close analysis of a trilogy of ‘refugee comics’ entitled ‘A Perilous Journey’, which were produced in 2015 by the non-profit organisation PositiveNegatives, to conceiv...