This article suggests an iconic turn in cultural sociology. Icons can be seen, it is argued, as symbolic condensations that root social meanings in material form, allowing the abstractions of cognition and morality to be subsumed, to be made invisible, by aesthetic shape. Meaning is made iconically visible, in other words, by the beautiful, sublime, ugly, or simply by the mundane materiality of everyday life. But it is via the senses that iconic power is made. This new approach to meaning (...) is compared with others — with materialism, semiotics, aestheticism, moralism, realism, and spiritualism. (shrink)

When it comes to the body, the professional pedagogical field shows a paradoxical attitude: With regard to sense-oriented school subjects, educational policies tend to underline a close relatedness of body and mind. However, where learning is primarily connected with mental activities and intellectual engagement, the body is rarely assigned an integral role. Discussing the grounding ideologies of this paradox, I will consult phenomenological and enactivist perspectives in order to develop an approach to embodied learning which takes into account both sense-oriented (...) as well as intellectual domains. I will argue that considering the interdependence of body and mind including their situatedness does not only benefit the cultivation of the body and the senses, but also opens up further perspectives for intellectual engagement. (shrink)

Name der Zeitschrift: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Jahrgang: 2013 Heft: 197 Seiten: 35-63.

Based on archival and ethnographic data, this article analyzes the iconic-making, iconoclastic unmaking, and iconographic remaking of national identifications. The window into these processes is the career of Saint John the Baptist, patron saint of French Canadians and national icon from the mid-nineteenth century until 1969, when his statue was destroyed by protesters during the annual parade in his honor in Montréal. Relying on literatures on visuality and materiality, I analyze how the saint and his attending symbols were deployed in (...) processions, parades, and protests. From this analysis, I develop the sociological concept of aesthetic revolt, a process whereby social actors rework iconic symbols, redefining national identity in the process. The article offers a theoretical articulation and an empirical demonstration of how the context, content, and the form of specific cultural objects and symbols—national icons—are intertwined in public performance to produce eventful change, and shows why and how the internal material logic and the social life of these icons shape the articulation of new national identities. (shrink)

This article examines a key question emerging from the strong program in cultural sociology — can art provide a window into social life? An examination of Giacometti's Standing Woman shows that art attempts to express cultural structures via immersion into and through the material surfaces of aesthetic form. Through an analysis of the iconic significance of family photos, furniture and celebrities, the article goes on to suggest that such iconic experience remains at the basis of contemporary social life. It explains (...) how we feel part of our surroundings, how we experience the ties that bind us to the people we know and how we develop a feeling for cultural hierarchy. (shrink)

RESUMO Este texto discute alguns problemas metodológicos e históricos concernentes à fenomenologia da consciência de imagem elaborada por Edmund Husserl e algumas de suas repercussões teóricas. Primeiramente será tematizado o escopo mais amplo em que a abordagem filosófica das imagens auferiu relevância no século XX, a saber, a assim chamada “virada icônica” ou “pictórica”, conforme as respectivas formulações de Gottfried Boehm e William Mitchell. Será situada nesse contexto a fenomenologia da imagem e, mais especificamente, a fenomenologia da consciência de imagem (...) elaborada por Husserl, considerando-se, em especial, os eixos norteadores dos três direcionamentos que sobressaem nas teorias contemporâneas da imagem, a saber: as abordagens antropológica, semiótica e perceptiva. A partir da retomada de nuances semióticas remanescentes na fenomenologia da consciência de imagem, serão apresentados alguns pontos críticos acerca da classificação das análises de Husserl no escopo do direcionamento perceptivo e, finalmente, apontadas implicações do copertencimento à apresentação intuitiva da imagem daquilo que se denominará “circunstancialidade indicativa”. ABSTRACT This text addresses some methodological and historical problems concerning the phenomenology of image consciousness elaborated by Edmund Husserl as well as some of its theoretical repercussions. At first, I examine the broader scope in which the philosophical approach to images became relevant in the 20th century, the so-called “iconic turn” or “pictorial turn”, according to the respective terms proposed by Gottfried Boehm and William Mitchell. In this context I situate the phenomenology of image and, more specifically, the phenomenology of image consciousness elaborated by Husserl, considering, in particular, the guiding axes of three directions that stand out in contemporary theories of image, namely: the anthropological, the semiotic and the perceptual approach. By the resumption of semiotic nuances remaining in the phenomenology of image consciousness I present some critical points about the classification of Husserl’s analyses in the scope of perceptual approach. Finally, I point out some implications of the co-belonging to the intuitive image presentation of what can be called “indicative circumstantiality”. (shrink)

This article addresses the question of what it is that visual depictions of illness portray, particularly images executed by or on behalf of people who have suffered serious illness. It takes up two lines of inquiry, both to do with the work that such pictures might perform. On the one hand, as works of art, there are questions about the form of signification in visual representations of this kind. On the other, as works of illness, there are issues concerning the (...) role of image-making for sufferers bearing witness to their situation. The article examines the issue of what it is to look at pictures of bodies scarred by treatment for serious disease, and follows this into questions about what it is possible and necessary to show in order to render illness experience tangible. By examining, as exemplars, two particular images of sufferers, it is argued that such portrayals work not just through making visible certain objects for scrutiny, but by figuratively instantiating persons so as to produce a `vision of the non-visual'. In this way picturing illness finds its place in what might be called a politics of care. (shrink)

Administrative—judgment on the nature of judgment—conflict between Judges in judicial practice—claimant challenges the judicial capacity of respondent —claimant open and fluid in judicial style—respondent certain and authoritative in judicial style—insights from Psi Division on the role of judgment in the universe—whether respondent is a good judge—whether judgment closes down meaning—whether respondent is inhuman—whether judges are inhuman—whether judging is horrific—insight from twentieth century fiction on the place of humans in the universe—horror of HP Lovecraft—suppression of horrific cosmic context within judicial institution—suppression (...) for the good of society. (shrink)

To advance the philosophical debate of advertising's role in society, in this article I situate the natural tendencies of individuals that manifest themselves in economic relationships within the broader context of natural-law theory. I propose that a natural tendency to exchange goods underscores the classical liberal economic model. As a result, individuals have a natural inclination toward the use of persuasive rhetoric. In addition, as animale symbolicum, individuals have a natural tendency toward symbol use and creation, which in turn affects (...) the production and consumption of persuasive discourse. In light of these particular natural inclinations, I suggest that natural law can justify the institution of advertising. (shrink)

Who is Pulcinella? What does his laughter have to say about the "end of time" and the end of life of Giandomenico Tiepolo? How can the end of a life make anyone laugh like Carnival’s popular mask does? This article tries to answer such questions. By unfolding the tools that come from the realm of Giorgio Agamben’s philosophy – notably the notion of "recapitulation of time" in its relation to comedy – we will trace a path which links Michail Bachtin’s (...) theories on the carnivalesque culture together with a recognition in the aesthetics of "character". In this encounter, the consistency of Pulcinella-King Carnival’s form of life will appear in the light of an “escape route”: it winks at a kind of general and anonymous beatitude, which pairs with the experience of the destitution of time. (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault dismissed the (...) image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)

Epitomized in the bodily exhibitions of ‘fitspiration’, photo-based social media is biased toward self-beautification and glorification of reality. Meanwhile, evidence is growing of psychological side effects connected to this ‘pictorial turn’ in our communication. In The Birth of Tragedy, Nietzsche poses the question how ugliness and discord can produce aesthetic pleasure. This paper proceeds from an inverse relationship and examines why glorification of appearances and conspicuous beauty fails to do the same, and even compounds suffering. Drawing on the Apollo-Dionysus dualism (...) undergirding Nietzsche’s aesthetic philosophy, I posit a deeper relation between the saturation of visual self-exhibitionism typified in fitspiration and its empirical effects. Concentrating on the medium and self-representational photograph, I argue that Instagram is primarily an instrument of Apolline artifice and that the pictorial turn which defines the present centers Apolline mediation to the detrimental exclusion of meaningful communion with its Dionysiac antithesis. For users immersed in this Apolline sphere of visual self-representation, a fractured existence beholden to conditions of the image ensues—comprising surface-level appearances, deification of the moment, and loss of existential sustenance through myth. By positioning fitspiration not as an aberration but as the logical conclusion of the medium’s intrinsic Apolline property, it becomes a litmus test of the entire visual landscape and illustrative of the implications that uncritical participation in it may bring. (shrink)

Over the past few years postmodernism has been gaining popularity. Because the works of writers such as Jacques Derrida, Michel Foucault, Gilles Deleuze, Jacques Lacan, and Félix Guattari, for example, are now readily available to the English reader, a novel intellectual force is present that must be assessed (Hassan, 1985). Terms such as “mise en abîme”, “libido”, “schizo-analysis”, “undecidables”, and so forth must be explained and their relevance for social analysis deciphered. Furthermore, a conception of knowledge, a research methodology, and (...) an image of social order that are consistent with these somewhat odd ideas have been introduced, and thus must be evaluated with respect to their sociological importance. At first, due to the strange language that is adopted and the nature of the philosophy offered, postmodernism appears to the uninitiated as an attempt to subvert rational discussion. (shrink)

To claim that there is a politics to or expressed within media technology is of course by no means new, but it remains controversial and not always well understood. Walter Benjamin’s (1986b) essay from 1936 on the political import of media technology is often regarded as the starting point of such discussions, since it foregrounds a key theme in critical theory, namely the politics of perception. In what follows, I would like to review the importance of the politics of perception (...) by first outlining Benjamin’s political analysis of cinema and then engaging with a critique of Benjamin by recent American cognitivist philosophy. This will allow a consideration of the competing phenomenological cognitive science of embodied cognition that I argue offers a better account of the mind and cognition than cognitivism. As a result of this analysis of cognition, I conclude that the philosophy of embodied cognition supports Benjamin's political theory of media technology. (shrink)

Is visual argumentation possible? My personal opinion is that it is, despite of the burden of verbal argumentation and the numerous critiques made against visual arguments. Insofar as most of these critiques are related to the difference between words and images, I will focus my paper on this issue, which is a theoretical one, as it seems to me that taking these critiques seriously is a first step before analyzing concretely how visual arguments work.

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 601-623.

(1999). Figures in (De)composition: The genesis of the paradoxical self in paul auster's moon palace (a fuzzy grammar of subjectivity) 1 . Angelaki: Vol. 4, No. 3, pp. 75-91.

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)

Here it is shown that 'vacant nature' is deployed as sign in Anglo-American landscape representation of the seventeenth to nineteenth centuries to support a Cartesian imaginary of spatial extension. The referent of this imaginary is variously denoted as 'America' (John Locke), the 'north west' (Jefferson), the 'wilderness' (Ralph Waldo Emerson), and the 'frontier' (Frederick Jackson Turner) but throughout it is essentially the same 'vacant' landscape; its function is to produce a site and space of appearance for an imperial self, an (...) isolate pursuing self-extension through commodity production and consumption. This spatial representation—the predecessor of the abstract space of shopping malls, interstates, commercial advertising, global markets, office buildings, and suburbs—is contrasted with 'place,' a space shaped by topography, collective memory, and ecological constraint. (shrink)

Producing and interpreting functional brain data is part of the negotiation we imagine our brain. To take a closer look at the idea of brain imaging as a form of visual knowledge, it is necessary to put the research of today into a historical context. In my article I will point to a specific approach of functional imaging which depends on historical shifts entangled with the visual aspect of producing pictures of the brain. I will bring out the interaction of (...) issues like techniques, models and historical assumptions of the brain and link them with the way the brain images are presented. The aesthetic dimensions (Rancière) in the pictures are also questions of ethics and normativity. (shrink)

This article analyses the use of images in the discourse of animal ethics in an attempt to see how visual cultural studies can contribute to the debate in environmental philosophy. Drawing on Derrida's critique of the utilitarian theory of animal liberation and Mitchell's analysis of iconoclasm in visual culture theories, the article argues that an iconoclastic strategy of visual representation in the discourse of animal ethics undermines the very objective of such an ethical theory. Two case studies — Peter Singer's (...) animal liberation and J.B. Callicott's land ethic — illustrate an implacable tendency to essentialize the visual and animal identity. (shrink)

Subjectivity and identity are newly configured within cyberspace and technologically mediated environments. The global musical subject is thus defined and framed within global empires and techno‐culture in ways not unrelated to political interests. ‘Being musical’ becomes a critical issue. The New Zealand music curriculum resonates with reflections of global ‘progress’, and music educators, as cultural workers, therefore require an awareness of political and strategic conceptions of musical knowledge as well as a familiarity with the discourses through which the work of (...) music education is enframed. Where technology enters hegemonic discourses of musical knowledge, the relationship between global communication and technology requires interrogation, and unquestioned past and present curriculum ‘certainties’ come under scrutiny. (shrink)

Pictures in historical chapters of textbooks convey information about the values and assumptions of the authors’professions and the larger culture. We scrutinized 15 recent abnormal psychology textbooks for reproductions of art created before 1900. Thirteen works appeared in three or more textbooks. Overall, these pictures support a “Whiggish” account of history that celebrates the present and gives a distorted, incomplete rendering of the past. The 13 pictures tended to depict the mentally ill as an underclass who are released from their (...) literal and metaphorical shackles by men who are “ahead of their time” in their struggles against prevailing ignorance. The pictures also emphasized the difference of the mentally ill by presenting a catalogue of stereotypic visual elements attributed to insanity throughout Western history. We argue for the inclusion in textbooks of “history for the sake of the past” as a way of genuinely engaging different ideologies and thereby stimulating interest in our own implicit values and biases. (shrink)

This contribution is about semiology and art history. More specifically, it argues against the frequent claims that art history ought to take much more notice of semiology than it has tended to do so far. The argument against these claims is simple and basic: art history deals largely with images, and semiology does not — it has, in fact, little to say about them.Semiology has recently been presented as a “supra-disciplinary” theory” that, although in practice most often applied to written (...) texts, could equally well be applied to the art of painting. It has been considered merely a “historical accident” that semiotics was developed primarily “in conjunction with literary texts”. I do not think this is so. Semiology (or semiotics) not only has a strong anti-iconical bias, this bias was in fact one of its principles from the very beginning.Furthermore, the so-called “supra-disciplinary theory” of semiotics (in the form advocated for the humanities) is based upon specific views of language, signification and meaning, and these are not as evident as they are often made out to be — not even with regard to language itself. In particular the overriding importance attached to the role of “arbitrariness” within sign systems is questionable.In any case images are indeed in a class of their own, and without the acknowledgement of what is typical about them, it is hard to make much sense of either their use or construction — let alone of the history of art. (shrink)

The article pays homage to the leading authority of 20th century Hungarian music aesthetics, József Ujfalussy, by connecting his heritage to more recent research on the problems of musical time and notably to the study pursued by Raymond Monelle. Rather than a perennial invariant, Monelle interpreted musical time as a historically changing phenomenon constituting implicitly the basic levels of musical semantics, as they have developed throughout the Baroque, Classical and Romantic eras. The present study focuses on the last of these (...) paradigms, claiming that the Romantic experience of musical time has dominated both the production and the reception of music culture up to this day. The Romantic musical experience is based on a latent ‘framework contract’ between composition and audience, which drives the meanings attached to the experience of musical temporality. This latent agreement warrants a need for conventional compositional forms and simultaneously the insufficiency thereof. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Aspects of phronetic social science and phronetic organization research have been much debated over the recent years. So far, the visual aspects of communicating phronesis have gained little attention. Still organizations try to convey a desirable image of respectability and success, both internally and externally to the public. A channel for such information is corporate reporting, and particularly CSR reporting embrace values like fairness, goodness, and sustainability. This study explores how visual portrayals of supposedly wise and discerning values (phronesis) are (...) used to reinforce the verbal features of CSR reporting. The two propositions underlying this study is (1) that visual images form some of the major parts of the structures of contemporary corporate reporting (particularly CSR reporting) and (2) that phronetic action in organizations is subjected not only to textual documentation, but also to visual expressions. This study also discusses how the Aristotelian concept of phronesis can be linked to contemporary concerns about responsibility, and how this is visually represented in CSR reporting. Finally, this study addresses the symbolic and contextual signification of images in corporate accounts of wisdom and responsibility. (shrink)

Diagrams refer to the phenomena overtly represented, to analogous phenomena, and to previous pictures and their graphic conventions. The diagrams of ecologists Clarke, Hutchinson, and H.T. Odum reveal their search for physical analogies, building on the success of World War II science and the promise of cybernetics. H.T. Odum's energy circuit diagrams reveal also his aspirations for a universal and natural means of reducing complexity to guide the management of diverse ecological and social systems. Graphic conventions concerning framing and translation (...) of ecological processes onto the flat printed page facilitate Odum's ability to act as if ecological relations were decomposable into systems and could be managed by analysts external to the system. (shrink)

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)

This essay will discuss the need for the humanities to address visual culture studies as part of its interdisciplinary mission in today's university. Although mostly unnoticed in recent debates in the humanities over historical and theoretical frameworks, the relatively new field of visual culture has emerged as a corrective to a growing disciplinary territorialism on the part of art history. A study of the theoretical purview of visual culture reveals that it in truth encompasses a continuation of art history's initial (...) interdisciplinary humanist project of cultural critique initiated by Aby Warburg and Erwin Panofsky. This article will argue that art history's inability to fully appreciate visual culture's relevance in today's research and pedagogical settings has given the humanities the opportunity to address a field which is rooted in the humanities' project of interdisciplinary inquiry. (shrink)

The main purpose of the following inquiry is to emphasise the importance of a phenomenon long neglected by the majority of the human sciences, the artefact; each one of us, no matter what age, sex or culture, is in contact with artefacts every moment of our lives yet despite this they have received scant attention. The study begins by outlining a definition of the artefact, highlighting those characteristics which, in combination, ensure its centrality to social life before, through a discussion (...) of Popper's ideas, proceeding to see how material culture can be conceptualised as meaningful. In order to understand how meaning becomes attached to the artefact the notion of objectification will be analysed and, consequently, so shall the importance of both the type of activity and the physical nature of the materials involved in the artefact's production. Picking up on the theme of materiality this aspect of material culture will be shown to pose major problems to any interpretation of the artefact along semiological lines; language and material culture are evinced to possess fundamentally distinct characteristics which make comparisons between them far from straightforward. These differences will be analysed further, concentrating specifically on the role of context in the establishment of meaning. This leads on to the proposal that our understanding of artefacts can occur on three levels; three forms of knowledge are thus described of which a linguistically formulated type constitutes just one kind. The penultimate chapter tackles the ways in which artefacts affect us, how they are active elements in our relationships with them; therefore, a dialectical position is postulated in which both artefacts and agents take part. Finally, the study concludes by stressing some of its wider implications and suggests a few of the practical situations to which it can be applied. (shrink)

The basic problem of contemporary art theory is a new focus on a image. This emphasis of visuality brings amongst other radical paradigms interdisciplinary impact to the contemporary culture, too. Not only humanity, but also natural scientic disciplines are able to find common fields of his scientific interest. The result is a profiling of new scientific discipline – neuroaesthetics. It's leaders came up with a bold statement that located the beauty center.

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)

The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhancing visual communication in illustrations. His triadic theory of Semiosis focuses on the dynamic interrelationships between the concept to be communicated, how it is represented through a semiotic sign, and how this affects the success of how the concept is eventually interpreted. Peirce's pragmatic semiotic theory uses complex language, and although Peirce is embraced in some design disciplines, the language that defines Semiosis is problematic beyond (...) academia. This paper is an attempt to address this by providing illustrators with a basic introduction to how Semiosis can help to enhance the success of the visual communication in their illustrations. This is done by translating Peircean terminology into illustrator-centric language and providing an example of how the Semiosis is implemented in an illustration. Within the limits of a short paper, illustrators can begin to understand how the triadic nature of concept/representation/interpretation can benefit them during their ideation and sketching phase to author effective images. In doing this, this paper will mostly discuss iconic, indexical, and symbolic semiotic representation within pragmatic semiotic signs of the intended concept to be communicated in an illustration. This paper's aim is to enact a pragmatic turn in illustrators, in which Semiosis theory becomes more integrated within their practical work, by providing a more illustrator-centric dissemination of Peirce's semiotic theory. (shrink)

This three-part publication series presents the epistemological processes and outcomes of an international arts-based research project titled Big Blue Ball : Pictures, people, place. The project uses the creative function to investigate the nature of meaning-making. In particular, through collaborative engagement with adversity of cultures, it explores the significance of creativity and creative practice in setting up sites for shared understanding in a contemporary and globally interactive world. The project was developed and carried out by Donna Wright during her PhD (...) Candidature at Southern Cross University, Lismore, Australia, between 2004 and 2007. Making use of practice-led research strategies, and drawing on creative arts practice, the project has exploited the inherent capacity of the creative function to support innovation. The project design offers a new model of intertextual processes of creativity that opens up spaces for intercultural negotiation, by linking spatial conceptions and processes for semiotic mediations, to multiple, interconnected mediums for the production and reception of new information. This in turn provides a context in which to support knowledge discovery that may facilitate intercultural awareness and understanding. (shrink)

This paper explores the role and impact of advertising in the French urban planning on citizens’ perception with a close examination of the implications and connections between citizens and outdoor advertising. Significant changes in quantity and form of outdoor advertising have been defined under French regulations. Our knowledge is now mass mediated in public spaces. More and more visible and gargantuan advertising signs surround and even invade our environment for strict commercial benefits. The ‘invasion’ of commercial signs can be compared (...) to a visual pollution affecting our perception, autonomy in thinking and health depending on the part of the population being considered. (shrink)