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Scopic Regimes of Modernity
... Martin Jay, in his effort to provide a nondeterministic and pluralistic view of the scopic regime of modernity, adds that: "The nonmathematical impulse of this tradition accords well with the indifference to hierarchy, proportion, and analogical resemblances characteristic of Cartesian perspectivalism. Instead, it casts its attentive eye on the fragmentary, detailed, and richly articulated surface of a world it is content to describe rather than explain" ( [44], p. 13). In other words, the emphasis on description brings the act of painting closer to expressive perception than to imitation of rational nature: "If there is a philosophical correlate to Northern art, it is not Cartesianism with its faith in a geometricalized, rationalized, essentially intellectual concept of space but rather the more empirical visual experience of observationally oriented Baconian empiricism" ( [44], p. 13). ...
... Instead, it casts its attentive eye on the fragmentary, detailed, and richly articulated surface of a world it is content to describe rather than explain" ( [44], p. 13). In other words, the emphasis on description brings the act of painting closer to expressive perception than to imitation of rational nature: "If there is a philosophical correlate to Northern art, it is not Cartesianism with its faith in a geometricalized, rationalized, essentially intellectual concept of space but rather the more empirical visual experience of observationally oriented Baconian empiricism" ( [44], p. 13). ...
This article explores the concept of landscape through the lens of performativity, challenging the traditional visual-centric understanding rooted in Western art and culture but without denying the visual and representational character of landscape. It examines the evolution of landscape representation , from its origins in linear perspective and Cartesian dualism to contemporary approaches that integrate performative practices. The analysis highlights the dialectical tension between visual representation and immersive, multisensory experiences, arguing for a more integrated view that acknowledges the performative aspects of the visual. By re-evaluating the role of distance, vision, and representation, the article advocates for a nuanced understanding of landscape that balances the visual with embodied practices, ultimately proposing that landscape should be seen as a dynamic interplay between seeing and performing.
... En los noventa surgieron el "giro pictorial" con W. J. T. Mitchell en los Estados Unidos (1994) y paralelamente el "giro icónico" con Gottfried Boehm en Alemania (1994). Estos estudios se complementaron con las exploraciones en torno a la visión como un fenómeno histórico construido culturalmente llevadas a cabo por Hal Foster (1988), Martin Jay (1988) y Jonathan Crary (1990). Todos estos teóricos reconocen implícitamente una dimensión retórica en la interacción de las imágenes con las audiencias y proporcionan elementos teóricos sobre el funcionamiento de las imágenes en una argumentación. ...
ES Resumen: El artículo discute los aportes de Quentin Skinner al análisis de las imágenes en la retórica política y explora una elucidación teórica sobre su funcionamiento argumentativo aplicando la teoría de los actos de las imágenes de Horst Bredekamp. Después de revisar las dimensiones de la retórica de Skinner, el trabajo se enfoca en el examen del lugar que ocupan las imágenes en los argumentos retóricos. Para esto discute algunas imágenes icónicas del Trecento italiano y del Renacimiento inglés como los frescos del "Buen y Mal Gobierno" de Lorenzetti y el frontispicio del Leviatán de Hobbes. El trabajo establece que, al menos, tres figuras retóricas visuales servían de manera eficaz para construir abstracciones políticas, ficciones y para modificar significados de conceptos políticos. En términos visuales, el funcionamiento de estas tres figuras discursivas encuentra una explicación en la teoría de las imágenes de Bredekamp. El artículo concluye que, si bien la vinculación de los conceptos retóricos y visuales de ambos autores puede ser ejemplificada con el análisis de una sección del frontispicio del Leviatán, la viabilidad de utilizar este ensamblaje como modelo teórico para el examen de otras imágenes depende, entre otras consideraciones, de la posibilidad de asociarlas a textos, contextos y a la comprensión de la recepción de los argumentos en una discusión específica. Palabras clave: retórica política, teoría política visual, iconografía política renacentista, imágenes y poder político, argumentación visual, Quentin Skinner, Horst Bredekamp. ENG Abstract: The article discusses Quentin Skinner's contributions to the analysis of images in political rhetoric and explores a theoretical elucidation of its argumentative functioning by applying Horst Bredekamp's theory of image acts. After reviewing the dimensions of Skinner's rhetoric, the work focuses on examining the place that images occupy in rhetorical arguments. For this, it discusses some iconic images of the Italian Trecento and the English Renaissance such as Lorenzetti's fresco panels "Good and Bad Government" and the frontispiece of Hobbes' Leviathan. The article acknowledges, at minimum, three visual rhetorical figures that amplify the impact of images for persuasive purposes served effectively to construct political abstractions, and fiction, and to modify the meanings of political concepts. In visual terms, the functioning of these three discursive figures can be explained by Bredekamp's theory of images. The article concludes that, although the linking of the rhetorical and visual concepts of both authors can be exemplified with the analysis of a section of the frontispiece of Leviathan, the viability of using this assembly as a theoretical model for the examination of other Renaissance images depends, among other considerations, on the possibility of associating them with texts, contexts and the understanding of the reception of the arguments in a specific discussion.
... En los noventa surgieron el "giro pictorial" con W. J. T. Mitchell en los Estados Unidos (1994) y paralelamente el "giro icónico" con Gottfried Boehm en Alemania (1994). Estos estudios se complementaron con las exploraciones en torno a la visión como un fenómeno histórico construido culturalmente llevadas a cabo por Hal Foster (1988), Martin Jay (1988) y Jonathan Crary (1990). Todos estos teóricos reconocen implícitamente una dimensión retórica en la interacción de las imágenes con las audiencias y proporcionan elementos teóricos sobre el funcionamiento de las imágenes en una argumentación. ...
Este artículo discute los aportes de Quentin Skinner al análisis de las imágenes en la retórica política del Renacimiento y explora una elucidación teórica sobre su funcionamiento argumentativo aplicando la teoría de los actos de las imágenes de Horst Bredekamp. Después de revisar las dimensiones de la retórica de Skinner, el trabajo se enfoca en el examen del lugar que ocupan las imágenes en los argumentos retóricos. Para esto discute algunas imágenes icónicas del Renacimiento italiano e inglés como el Fresco de Siena de Lorenzetti y el frontispicio del “Leviatán” de Hobbes. El trabajo establece que, a lo menos, tres figuras retóricas renacentistas que elaboraban imágenes con fines persuasivos servían de manera eficaz para construir abstracciones políticas, ficciones y para modificar significados de conceptos políticos. En términos visuales, el funcionamiento de estas tres figuras discursivas encuentra una explicación en la teoría de los de las imágenes que Bredekamp. El artículo concluye que, si bien la vinculación de los conceptos retóricos y visuales de ambos autores puede ser ejemplificada con el análisis de una sección del frontispicio del “Leviatán”, la viabilidad de utilizar este ensamblaje como modelo teórico para el examen de otras imágenes renacentistas depende, entre otras consideraciones, de la posibilidad de asociarlas a textos, contextos y a la comprensión de la recepción de los argumentos en una discusión específica.
... Based on archival research and a hermeneutic that combines imaginal analysis, literary theory, historical scholarship and constitutional jurisprudence, this article will demonstrate that these constitutive images adopt the function of representing and, more importantly, legitimising a symbolic construction of national identity and historical subjectivity, inducing fantasy and affective attachments to a mythically projected nation. It is these images that stage and frame the constitutional text, enact a scopic regime (Jay 1988;Metz 1982) and open our eye to an anarchic ambulation, inviting attention yet dispelling interrogation, demanding vision and at the same time banishing consideration. This article will argue, contrary to the undermining of their role in popular discourse, that the images are not insignificant and merely decorative marginal accoutrements but are the aesthetic and imaginal foundations of the Constitution. ...
Even after seven decades since it came into force, examinations of the Indian Constitution remain partial and incomplete. It is not widely known that the original ratified copy of the Constitution also makes a visual argument through the opening pages of every part. These elaborately crafted artworks, which are entirely negated in Indian scholarship, are structured in the form of a teleological and linear narrative, encompassing a claim of an unbroken link to an immemorial civilisation. Based on archival research and a hermeneutic that combines imaginal analysis, literary theory, historical scholarship and constitutional jurisprudence, this article will demonstrate that these constitutive images are the aesthetic foundation that imaginally binds the constitutional subject and the collective citizenry, and this article will show how its negation is closely tied to a foundational ambivalence that endures in constitutional law.
... Contributing to nascent research on the haptic in South African literature (Bethlehem 2015;3 Gaylard 2023, 7-16), this article identifies touch as an inventive, though somewhat overlooked, motif by which Wicomb destabilises racial identity in Playing in the Light. Connoting proximity, variability, and acceptance, the faculty of touch negates racial differentiation, which is an "ocularcentric" (Jay 1988, 3) means of classification. Close reading suggests that the novel's renderings of skin privilege the haptic, favouring the tactility of skin over its appearance. ...
Set against South Africa’s transition from white minority rule to democracy, Zoë Wicomb’s Playing in the Light (2006) evokes a world of metaphorical skins understandably thin, injured, and sensitive to scrutiny. Addressing questions of heritage and belonging, this article examines the novel’s nuanced representations of racial identity, reading modes of sociability along the skins that facilitate social interaction between the text’s fictional bodies. These domains of interpersonal engagement are analysed in three sections: “The Veiled Touch,” “Skinned,” and “The Light Touch.” The latter considers a light, transitional sociability that may foster intersubjective constitution of identity in relationships not conducive to unreserved intimacy. Ironically a remnant of colonial decorum, tact emerges as an intermediate, non-imperial mode of engagement, of expressing respect amid vast socio-economic inequality. Tact owes its haptic character to the association with tactility, a linguistic correlation that emphasises intercorporeality. The vulnerability of the self acquires a distinctly visceral quality in the novel, as bodies try to find their feet (rather literally) and forge relationships across former divides. Contributing to the burgeoning body of research on the haptic sense in literature, touch is identified as an inventive motif by which Wicomb destabilises racial classification and feels her way towards a language of tactile reciprocity. As a conceptual framework, the haptic—involving touch, kinaesthesis, and proprioception—has much to offer vocabularies of proximity and relationality, and reimaginings of social space after apartheid.
... To se ne odnosi samo na sferu kulture i masovnih medija, pošto je | 45 izraženo korišćenje vizuelnih tehnika prisutno i u medicini i prirodnom naukama uopšte, zatim u sferi rada i obrazovanja, a ne bi trebalo zaboraviti ni sisteme sveobuhvatnijeg nadzora koji su takođe upućeni na vizuelno, pri čemu se i sam pristup informacijama u bazičnom smislu često oslanja na vizuelno. Zbog toga se savremeno društvo često kvalifikuje na specifične načine, a jedan od prideva koji se u tom smislu koristi jeste i okularocentričan (ocularcentric), koji se prevashodno odnosi na moderna zapadna društva u čijim kulturama dominira vizuelno (Jay, 1988;Jenks, 2002). ...
U radu će se bliže osvetliti fenomen vizuelnog zaokreta, sa posebnim naglaskom na njegov status u interkulturnoj perspektivi. U najširem smislu, vizuelni zaokret je podrazumevao specifično stanje u društveno-humanističkim naukama koje je karakterisalo izraženo teorijsko i empirijsko interesovanje za vizuelno. Ovaj trend, koji je u akademskoj sferi počeo da se širi tokom poslednje dekade XX veka, u izvesnom smislu je posledica veoma širokog prisustva vizuelnih sadržaja na širem društvenom planu. Vizuelni zaokret se neće posmatrati sam za sebe, već će se sagledati u interkulturnoj perspektivi. Situiranje vizuelnog zaokreta u interkulturni kontekst otvara najmanje dva teorijska nivoa koji će se posebno razmotriti. Jedan nivo se odnosi na bazična pitanja kulturne uslovljenosti vizuelnog iskustva, na (ne)mogućnost vizuelnih sadržaja da prevaziđu specifične kulturne i društvene kontekste, kao i na uticaj kulture na forme vizuelnog opažanja i interpretiranja. Drugi nivo podrazumeva različite konceptualne obrasce koji su se javili upravo kao posledica delovanja vizuelnog zaokreta u interkulturnoj perspektivi. Neće, naravno, biti moguće obuhvatiti sve konceptualne varijacije, već će se pažnja skrenuti samo na neke od njih, koje će uz to poslužiti kao ilustracija mogućih implikacija vizuelnog zaokreta u interkulturnoj sferi.
... The way that we see the world in relation to and in conjunction with art determines what we can distinguish, therefore what is knowable. Cohering fields of media theory and visual studies, Martin Jay in his seminal article "Scopic Regimes of Modernity" (Jay, 1988) identified three scopic regimes of ocular perception. The first two are based on Cartesian perspectivalism (dominant in Western culture) and the last is the art of describing a product of the Baroque era (Alpers, 1984). ...
From the nineteenth-century panorama to the emergence of the digital panoramic
format in the 1990s, the visualization of large images frequently relies on
panoramic viewing strategies. Originally rendered in the form of epic painted
canvases, these strategies are now amplified through gigapixel imaging, computer
vision and machine learning. Whether for scientific analysis, dissemination, or
to visualize cultural big data, panoramic strategies pivot on the illusion of
immersion. The latter is achieved through human-centered design situated
within a large-scale environment combined with a multi-sensory experience
spanning sight, sound, touch, and smell. In this article, we present the
original research undertaken to realize a digital twin of the 1894 panorama
of the battle of Murten. Following a brief history of the panorama, the
methods and technological framework systems developed for Murten panorama's
visualization are delineated. Novel visualization methodologies are further
discussed, including how to create the illusion of immersion for the world's
largest image of a single physical object and its cultural big data. We
also present the visualization strategies developed for the augmentation
of the layered narratives and histories embedded in the final interactive
viewing experience of the Murten panorama. This article offers researchers
in heritage big data new schemas for the visualization and augmentation
of gigapixel images in digital panoramas.
... Sticker artists and graffiti writers intend to access urban space through its visual transformation, which implies writing a tag or putting up a sticker, creating disembodied representations of themselves in the city. A tag and a sticker are visual signs of young people's existence and a medium of communication, which usually aesthetically contradicts the rest of the urban environment while suggesting alternative 'scopic regimes' (Jay, 1988) of the use of urban space. ...
This article explores the practice of a distinct ‘gaze’ present in creative urban youth subcultures. We focus on sticker artists in St. Petersburg and graffiti writers in Helsinki while exploring how this subcultural gaze is formed and enacted among subcultural youth in different socio-political contexts. The idea of this article emerged, when we noticed that we have through our case studies learned different subcultural ways of looking at ‘spots’ in urban space. Spots can be understood as distinct subcultural places in the city space, that reveal communication and control of unauthorised youth practices. We use examples from the respective ethnographic fieldworks and complement them with photographs taken from spots in the field. Drawing from our fieldwork in these two cities, we further illustrate how youth within these subcultures reinterpret and visualize urban spaces through their unique subcultural lens. Both recognition and control in the city space serve as dynamic forces shaping this gaze in a creative interplay in urban environments.
... From flying over the clouds to free fall experiences, from navigating Google Maps on our desktop to riding our GPS-equipped smart car, from playing video games in God's eye view mode to reserving a parcel on the metaverse, from satellite pictures to space telescope imagery to drone images, vertical perspective has, in the words of artist Hito Steyerl, replaced linear perspective with a "disembodied and remote-controlled gaze, outsourced to machines and other objects" (2011), and effectively imposed a new scopic regime. Borrowed from philosopher Martin Jay (1988) and currently widely adopted in visual culture studies, the expression "scopic regime" effectively underlines how vertical perspective is deeply enmeshed in and dependent upon technologies of surveillance and power. Its implementation into our daily experience of the worlds we inhabit, however, does much more than simply democratizing the point of view of the power: it provides us with an inhuman gaze on the world, liberating images from the constraints of naked human vision and giving birth to what Ana Peraica has called "total images" (2019); and it erases the distinction between images and maps, between a granular, detailed, positioned, subjective view of the world and an abstract, apparently objective yet profoundly biased, representation of it. ...
Thanks to the technological dislocation of the eye of the beholder, the mechanical eye or both of them together, along recent decades the view from above has become a widespread, somehow trivial way to experience the world, imposing a new scopic regime. Deeply enmeshed and dependent upon technologies of surveillance, vertical perspective does not only democratize the point of view of the power: it provides us with an inhuman gaze on the world, liberating images from the constraints of naked human vision and erasing the distinction between images and maps, producing what Peraica has called total images. These topics are explored through a number of case studies from the visual arts.
... In this framework photographs become the primary evidence of what structured the photographer's gaze, thus describing and interpreting the visible dimension of the images has to pay attention to this aspect. In the vein of the field of the visual culture and of the "visual turn" Martin Jay (1988) introduced the term scopic regimes to describe the characteristics of Western modernity, and the way practices of seeing, representing and subject positioning are linked to systems of knowledge and power. Experimenting with a kind of reading that does not think of the image as a spectacle, but rather as the result of a gaze that was determined by cultural and social habits, the concept of the scopic regime seems a good methodological anchor point. ...
The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) from Cluj. Lajos Orbán was an amateur photographer, whose main body of work was produced starting from the 1920s when he became the employee of a local shop specialized in photographic equipment and member in local photographic societies, e.g. the Tessar Bowling Society. His photographs were displayed at international photo exhibitions, but he was organising regional photo contests and exhibitions as well. His photographs show the influence of the pictorialist photography, but traces of modernism or the new objectivism are present as well. These pictures became archival documents, and they are also important resources to the visual culture of Transylvania, the visual literacy of the people living in the interwar years. The paper offers an in depth analysis of the scopic regimes detectable in the photographic heritage of Lajos Orbán based on the ways human figures and spatial relations are represented in his pictures. Keywords: amateur photography, visual culture, urban life, “flâneur”, scopic regime, landscape, human figures
... Con cada una de las innovaciones, se modifica lo que Martin Jay (1988) llamaba Scopic Regime, haciéndose eco de las corrientes de la Historia Cultural que atribuyen a los medios la cualidad de mensaje (McLuhan, 2009;Ong, 1987). De una época histórica como la oralidad, donde predominan la pentasensorialidad y el oído como sentido nuclear, pasamos a la centralidad de la visión y ocularización (Jay, 1988, p. 3) en la cultura alfabética. ...
El artículo traza una reflexión teórica de la post-fotografía desde la conceptualización genealógica de la imagen, con el objetivo de problematizar el actual estatuto de la imagen en el marco de los patrones culturales contemporáneos, condicionados por la tecnología digital. Serán tres los ejes principales de reflexión: el poder simbólico de la imagen, su relación con la mortalidad y el carácter religioso de la imagen en el sentido weberiano de encantamiento. En torno a tales ejes de discusión, el artículo tratará de vincular las problemáticas tradicionales de la ontología de la imagen y la fotografía con las derivas actuales, en el marco de prácticas post-fotográficas. Será preciso, pues, una contextualización de las nuevas formas de mirada condicionadas por la fragmentación, la saturación y la aceleración. El aparato crítico del texto partirá de un enfoque multidisciplinar, donde los trabajos de Joan Fontcuberta acerca de la post-fotografía y la reflexión sobre la imagen de Régis Debray, servirán de núcleo vertebrador en la ilación de ideas. El punto de vista será ensayístico, por lo que el artículo se plantea como una invitación a cuestionar la problemática abordada.
... Many histories and theories of sensory experience, however, have prioritized vision-a side effect of what Martin Jay has called the "scopic regimes of modernity." 6 In response to this somewhat lopsided focus, aural experience has recently become a lightning rod for scholarly interest, which in turn has led to a variety of new claims filed under the broad subfield of "sound studies." 7 Some have argued that sound is a powerful tool for the reconstruction of historical identities 8 ; that sound engages mind, body, individual, and community at once, and thus blurs distinctions between people, places, and things 9 ; that noise (dis)organizes ways of being and experience in the world 10 ; that spanning the phenomenological and epistemological, listening collaborates with the other senses to shape identity and form subjectivities. 11 "Socialist Sound Worlds" builds on many of these claims, but it also complicates them. ...
A lot happens when we press play. To prepare, we select a particular format of sound storage—maybe vinyl, magnetic tape, polyethylene, or an mp3—for the parsing, processing, and amplification of that format's content. Once things start moving, we inaugurate a listening experience that may seem effortless, but which has undergone meticulous social conditioning, and which is informed by our own deep histories of listening, aurality, and attention. In the long term, this process is not as rigid as it sounds: listening has always been flexible, and historians of the concert hall have told us a twisting and turning story about audiences who did not always think it was proper to stay silent, and who did not always feel the need to pay much attention to what took place in front of them. But today, anyone who chooses to play a spoken word compilation instead of a jazz LP (long-playing record) at a cocktail party might not find such a receptive crowd. Facilitated by internet streaming and downloading, this relatively new ability to amass intensely personal sonic archives often clashes with the contextual demands of where, when, and how certain forms of listening are meant to be enacted: the cocktail party often dictates a particular aural accompaniment, one more amenable to music than an audiobook. For such a widely practiced activity, why do the modern activities of storing, distributing, and amplifying sound, which have grown kaleidoscopically complex in the twentieth and twenty-first centuries, remain undertheorized in Slavic studies? What would it mean to think about these questions and their repercussions in east European modernity? And what might listening to east European history and culture tell us that our other senses cannot?
... This epistemic enthronement of the eye also means ascribing a theoretical weakness or even an incapacity for theory to the other senses, especially the sense of touch. The 'coarse' sense of touch surfaces from time to time in reference to an experience of the real that "we can get our hands upon" (Mead, 1926, p. 382) only to recede again and give way to another "scopic regime" (Jay, 1988). Where, as in the law of heterogeneity, touch exceeds these limitations and defines not an inferior proxy to theory but its very idea, where the classic concept of theory as a systematic abstraction from physical entanglement is called into question-there, we gain access to an alternative theory. ...
The notion of chance epitomizes the limits and challenges of any theory’s struggle for control over itself as well as over its objects. Although contemporary literary theory has adapted its terminology and conceptual framework in line with the emergence of dynamic, “open forms” (Wölfflin in Principles of art history: The problem of the development of style in later art, Dover Publications Inc, New York, 1986), chance has nevertheless remained a highly problematic category to come to terms with. How can literary theory embrace chance? The paper approaches this question in three steps. First, it reconstructs three basic poetological propositions against whose backdrop contingency gains profile: the proposition of causal connections as a means to transform literature into a realm of necessity, the proposition of form as means to reduce arbitrariness, and the proposition of control as a means to protect the aesthetic object against the risks of external intrusions. The second part of the paper discusses a largely forgotten but highly relevant approach to the problem of contingency by Yakov Druskin. Druskin links the function of contingency in theoretical investigation with concepts of contiguity and proximity, first of all touch. His fragmentary sketch of a “law of heterogeneity” represents a paradoxical attempt to theorize contingent obstruction as a privileged systematic device to establish physical contact. The third part of this paper unpacks the implicit urge to rethink the traditions of theory formation itself through the “law of heterogeneity.” It argues that Druskin’s law introduces a different type of theory, one which is deeply indebted to the tactile, thus challenging the ocularcentrism of theoría .
... While visuality is the dominant perceptual paradigm for graphic design, studies in visual culture need not restrict inquiry to issues of opticality. For example, the emergence of critical visual studies in the 1980s and early '90s showed that visuality offers a basis for problematizing perception across all the senses (Bal, 1993;Bryson, 1983;Jay, 1988;Silverman, 1996). Visual and cultural studies can trace the consequences of design interventions over time in order to reveal not only the intentional processes by which material cultures emerge but also the unintentional intersections that shape the social and economic structures we inhabit. ...
Current discourse around innovation has aroused global interest on the part of corporations, governments, and non-profit organizations in applying human-centered design methods to renovate or expand their offerings. While enriched product and service portfolios benefit those who partake in the marketplace, innovations undertaken for innovation's sake have been seen to undermine some social and environmental conditions for the general public. In this paper, we argue for a holistic view of responsible innovation that deals with the design, reification, and maintenance of positive, equitable, and meaningful futures desired by sustainable networks of human and non-human actors. We have organized a conceptual model of responsible innovation around clusters of topics, theories, methodologies, and modes of design action. This model offers designers a systemic perspective on the often-overlooked implications of innovative offerings. We explain how the responsible innovation model informs a new graduate design curriculum at the University of Illinois at Urbana-Champaign that offers four tracks of study. The model acts as a scaffold for students to construct research paths across topics and methods, thereby empowering them to outline their learning experiences and develop sustainable solutions. The holistic model also serves as a pedagogical tool to help faculty engage the opportunities and challenges of responsible innovation.
... Previamente à discussão que permite o entendimento do regime escópicoexpressão tomada de empréstimo deMartin Jay (1988) 6 e ressignificada aqui a partir de novas leituras e interpretaçõesé necessário retomar brevemente o conceito de pulsão escópica elaborado por Jacques Lacan, que ampliou a gama das pulsões freudianas 7 . Ver e olhar são, para o psicanalista Jacques Lacan, coisas distintas. ...
No presente artigo apresento a categoria de regime escópico da colonialidade afim de ressaltar sua potencial contribuição para os estudos historiográficos que versam sobre imagens numa perspectiva decolonial. Inicialmente, introduzo a categoria de análise de regime de historicidade, contextualizando na sequência a consolidação do regime moderno de historicidade e sua relação dialética com o chamado “Novo Mundo”. Descrevo as maneiras pelas quais, no interior de um regime escópico da colonialidade, encobre-se os outros tidos como “selvagens” e “não civilizados” por um olhar pautado num sistema de alteridade de constituição do sujeito moderno. Tal constituição conta com um aparato que ora subexpõe e ora sobreexpõe de sujeitos, tornando-os (in)visíveis, e apagando as diferentes experiências estéticas e escópicas desses sujeitos postos à margem da sociedade no projeto de dominação imposto pela Matriz Colonial de Poder.
Recent historiography on empire and postcolonialism has highlighted the diverse visual practices and technologies that shaped colonial narratives and knowledge. This article examines how various visual media were used to advance Italy's imperial agenda, drawing on both recent scholarship and original research. Introducing the concept of transmediality and its methodological importance for analyzing colonial cultural and visual practices, the article presents the case of Vittorio Tedesco Zammarano—an explorer, hunter, filmmaker, and writer active in Italian Somalia. Through a close examination of the technologies and cultural practices, this study reflects on how colonial fantasies, desires, and epistemes—particularly those related to hunting and safari—were intertwined with Fascist Italy's colonial ambitions, highlighting broader trans-imperial connections.
El artículo explora la situación del sujeto observador en el entorno tecnológico de la década de 2010 y comienzos de la de 2020. El marco teórico se basa, por un lado, en el énfasis que la filosofía de la imagen y los estudios visuales llevan largo tiempo haciendo acerca de la centralidad de lo visual en la problemática filosófica actual. Por otro lado, se puede constatar en los últimos años un incremento de la literatura académica acerca de lo postdigital que subraya la integración de la tecnología en la vida ordinaria. De acuerdo con este planteamiento, esta investigación interroga al sujeto observador del tiempo presente entendiéndolo como un agente visual que utiliza toda clase de tecnologías en múltiples contextos de la vida cotidiana. Para delinear la fisionomía de ese agente visual se comentarán prácticas que involucran desarrollos tecnológicos de gran relevancia en la actualidad partiendo de tres verbos con una larga tradición en el ámbito de la estética filosófica: reconocer, describir y jugar.
For many commentators, modernity is the triumph of the eye over the ear, of the visual over the auditory. In other words, modernity is, among many different components, the establishment of a new regime of seeing. This is one of the reasons why the beginnings of modernity are sought in the Renaissance. In the Renaissance period, two distinct themes explain the emergence of visuality in modern thought: Perspective art and Machiavellian thought. Both perspective and Machiavellian thought have been considered as the roots of modernity. Drawing on an interdisciplinary encounter between art theory and political theory, perspective and Machiavelli, this article examines the emergence of visuality in Machiavellian thought in terms of a dialogue with perspective, but underlines the differences between these two conceptions and argues that Machiavellian thought proposes a politics beyond perspective.
The concept of border or boundary has two ambiguities to deal with, if it is to serve a useful intellectual purpose in art and art history. One is to decide whether a border is a line, one that divides, separates, and thus can lead to competition, even to animosity; or whether it constitutes a space within which negotiating can happen. The other ambiguity concerns the differences, in style, period, national background, religious or sexual orientation, between artworks we contemplate in exhibitions, for example. That also raises the question if and how such differences can bridge the gaps and connect the artworks. I propose to take one case, a scene from my installation Don Quijote: Sad Countenances (from 2019), in which the knight errant and his squire have a conversation, seated at a café terrace, and probe their differences in social status, educational level, a probing that threatens their friendship and thereby establishes a new boundary. The scene is ambiguous in that the two sit next to each other in seeming equality, whereas their conversation itself establishes hierarchical relationships, thus making a border. Yet after that tense moment, they revert to their previous, friendly being-together. The border as a dividing line they were building up breaks down when the differences fade away, as the actress playing Sancho reverts to the French of her “boss”. With this making and breaking of borders, the two figures manage to share insights they would not have had before. The conversation scene is only eight minutes long, and establishes differences subsequently fading. There is very little acting, and there is nothing like a beautiful landscape. The differences between the languages they speak (French and Spanish) and the disagreements between them vanish in the face of the impossibility to maintain borders as lines, and instead produce that space of negotiation within which relationships can be restored. This enables the dynamic of empathy between the figures but also, and more importantly, between the fictional conversation and the real visitors.
When we refer to the idea of visual immersion, we imagine a displacement towards a virtual space in which we immerse ourselves and with which we interact. Proposals associated with immersion, such as the topic of travel, were already presented in advertising images of the early twentieth century. In this article, we will establish that these notions of immersion have been developed since the middle of the 18th century, specifically with the creation of the lenticular stereoscope in 1851. Using medial archaeology as a methodological approach, we will demonstrate that devices such as the stereoscope (18th century) and the Sensorama (20th century) not only transformed the form of visualization, but also offered immersive experiences that linked the viewer to both physical and virtual spaces.
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.
A presente pesquisa tem como objetivo o estudo da apresentação de si em redes sociais da internet, considerando a administração da impressão condicionada por fatores como a exibição do corpo e as subjetividades advindas dessa exibição. Para tanto, convocam-se bases teóricas que permitem apreender as práticas de apresentação do self em redes sociais da internet (POLIVANOV, 2012; SÁ; POLIVANOV, 2012; GOFFMAN, [1975] 2011), articulando a elas a consideração da natureza ambivalente do corpo na cultura contemporânea (FERRAZ, 2013). Do ponto de vista metodológico, buscam-se os aportes da gramática visual de Kress e van Leeuwen (2006), com ênfase na noção de estrutura conceitual, que fornece um enquadre para o exame de categorias vinculadas à apresentação de si. Os resultados apontam para uma tendência ao fechamento ante a vulnerabilidade dos sujeitos analisados, expresso na análise por meio do apelo a símbolos patrióticos, esportivos e midiáticos.
This chapter will be devoted to study ekphrasis, the literary description of artworks, starting from the methodological premises of contemporary Visual Culture that in recent years has involved scholars interested in redefining the boundaries of disciplines, such as art history, literary history, media studies and aesthetics. The “new object” emerging from this interwining of disciplines is the notion of “scopic regime”. Developed within film studies, the notion of scopic regime introduces an analysis of visual practices interpreted as the interplay among pictures, gazes and dispositives.
Çalışma, fotoğrafın temsil tartışmalarına yeni bir bakış açısı getirme çabasıyla insan-olmayan hayvanların fotoğrafik bir imge olarak kullanılmalarını, fotoğrafçı, fotoğrafı çekilen ve seyirci üçlüsü üzerinden temsil meselesini tartışmaktadır. Fotoğraf tartışmalarında görüleceği üzere, Platon’dan Susan Sontag’a kadar birçok düşünürde görme biçimlerimiz insanı merkeze alan bir biçimde formüle edilerek söylemleştirilmiştir. Özellikle şiddeti fotoğraflayan fotoğrafçılar üzerinden yürütülen “gerçekliği temsil etme” meselesinde insanın duygu durumlarının esas alındığını ve gerçeklikle kurulan bağın bu biçimde inşa edildiğini görürüz. Ölümle girişilen amansız mücadelede yaşama arzusunun objektife yansımaları, iyilik-kötülük probleminin sosyo-kültürel yapıya göre değişkenlik göstermesi, fotoğraf seyircisinin fotoğrafik imgeyi ahlaki normlarına göre alımlaması ve daha birçok mesele insanmerkezci bir taraftan tartışılagelmiştir. Çalışma, bu insanmerkezci anlayışı aşmaya çalışarak, gerçekliğe en yakın imgeler ürettiği söylenen fotoğrafçıların insan-olmayan faillerin şiddetle kurdukları ilişkileri ortaya serdiğini ve daha önemlisi fotoğraf anındaki bu faillerin acılarının insanmerkezci anlayışla silikleştirilmemesi gerektiğini iddia eder. İnsanın yapıp-ettikleri, içerisinde bulunduğu sosyo-kültürel yapıya dair güçlü göstergeler taşırken, insan-olmayan faillerin yapıp-ettiklerinin bu denli göz ardı edilmesi ve kültürden ayrıksı biçimde ele alınması, gerçeklikle kurulan ilişkide bir çeşit “hakikat bekçisi” olan fotoğrafçıların gerçekliği yansıtırken ne denli tarafsız oldukları konusunda şüphe uyandırıyor. Bu çalışma, hem fotoğrafı çekilen insan-olmayan aktörlerin failliklerinin gösterilmesi, hem de fotoğrafı çeken fotoğrafçıların ve seyircilerin türcülük bağlamında konumlarını tartışılması açısından önemlidir.
“De Piloso Fonte Sum”: On Dishonorable Backgrounds, Lawsuits, Guilds, and Artisans in Early Renaissance Cluj. This study, based on an exceptional source (a judicial record of 1549, published here for the first time) aims at the restitution of the biography and the distinctive character and personality of an early Renaissance painter from Transylvania, Gregorius Pictor, while making recurrent references to the artistic milieu of the sixteenth century Cluj – the town where he was mainly active. The study reveals, undoubtedly, one of the most comprehensive painters’ biographies of Transylvania in early modern times. Keywords: painter; painters’ guild; biography of artists; Renaissance; Cluj; Transylvania.
Photography in the Practice of Contemporary Painting. A Pedagogical Perspective. Photography is a technological medium that suffers continuous evolution. From its earliest developments to the various types of recent printing, the photographic image has become an avatar of the world. Since images are irreversibly intertwined with human activity, their usage becomes an increasingly frequent practice in the area of traditional creative techniques. This article discusses some examples of this usage in the context of contemporary painting studios in higher education. Photography is accessed by young students and the foray into photographic documentation is now an inevitable tool. The way students use it as an intermediary can be disruptive to their learning process, as long as the role of photography in painting practice is not fully comprehended. There are different ways of integrating photography into the practice of contemporary painting. The present article addresses conceptual aspects, presents several particular situations and launches some perspectives for better understanding these practices. Photography is a tool, not an end, but what happens when these terms juxtapose or are taken for granted? What kind of painting results out of the practical process “contaminated” by photography? However, if technology is properly and timely integrated in the practice of painting, one can no longer talk about a “contamination”, but rather about a conscious process able to generate quality painting. Keywords: painting, photography, hyper-realism, photorealism, contemporary art, art teaching, art pedagogy, art courses, artist, contemporary painters
This chapter examines the depiction of visuality in Mary Elizabeth Braddon’s first novel The Trail of the Serpent (1860). It begins by outlining how the ‘dream of transparency’ survived the challenge of early physiological optics to leave behind an uncertain intellectual landscape at mid-century, in which the prospect of obtaining truth through vision was uncertain. In Braddon’s novel, anxieties about visual obfuscation and the eye’s limitations are mapped onto its ambiguous antagonist, whose exploits demonstrate the fallacy of trusting to ‘ocular demonstration’. Yet a belief in the clarifying potential of vision persists, and the metropolitan scenes in particular fail to corroborate popular beliefs about the dangerously obscuring effects of urbanity. In fact, the touristic gaze and class politics of ‘visibility’ are shown to expose as much as conceal the criminal element. Despite the eventual thwarting of the antagonist via detective processes, however, his posthumous life as a waxwork exhibited within Madame Tussaud’s—where he becomes the subject of continual misreadings—highlights the ongoing ambivalences of modern visuality.
Este artigo busca compreender o estatuto da informação visual inserida no atual contexto de produção digital e suas implicações culturais. Analisa o modo como a texto de matriz verbal é confrontado com a noção de visual. Coloca em questionamento denominações comuns nos dias de hoje como sociedade da informação e de conhecimento. Analisa os processos de enunciação possibilitados pela coexistência da imagem entre outras linguagens no meio digital, constatando sua nova vocação informativa. Para isso, utiliza um amplo espectro de pensadores cujos aportes teóricos apontam para o surgimento de um regime cultural baseado na visualidade.
The chapter discusses the haptics and intermedial agencies in comics and comics as a space of affects and percepts, self and other. It discusses Joe Sacco's rejection of closure in comics and how Sacco proposes sense-making through many concessions of self, identity, regimes of knowledge, and 'scopic' regimes. It renders the image of Sacco's "defeatist" as a morphogenetic model of becoming articulated through an ethical temporality, summing up by dwelling upon Sacco's use of perceptual modalities and haptic multitudes in comics constructing "blocs of sensation." It argues that blocs of sensation resist fixities by making sense of the defeatist by turning the comic into a site of affects and perceptions.
In this work I ponder about the archive based on three images from the late nineteenth and early twentieth centuries: the drawing of a monster from the Teratology collection of the Museo Nacional de México preserved today in the Biblioteca Nacional de Antropología e Historia; the photography of animals that are part of what was the collection of the Museo de Historia Natural del Chopo and that today protects the Fototeca Nacional; and the copy of a drawing of a hysterical woman that is part of the iconography of the French hospital de la Salpêtrière and that was reproduced in Mexico in a scientific journal. With the perspective offered by the “archival turn”, these individual images speak about the procedures of classification, hierarchy and exclusion that organized the knowledge system. They also show three ways of articulating madness, the bestial and the primitive, three figures of the Other from the West, three paths that lead to the “Indian”, that descendant of the pre-Hispanic inhabitants of the American continent on whose erasure was erected the scientific normalizing discourse and the nation-state.
The COVID-19 pandemic has reorganized existing methods of exchange, turning comparatively marginal technologies into the new normal. Multipoint videoconferencing in particular has become a favored means for web-based forms of remote communication and collaboration without physical copresence. Taking the recent mainstreaming of videoconferencing as its point of departure, this anthology examines the complex mediality of this new form of social interaction. Connecting theoretical reflection with material case studies, the contributors question practices, politics and aesthetics of videoconferencing and the specific meanings it acquires in different historical, cultural and social contexts.
In the article we discuss the meaning of the body in its material dimension in relation to its transformation in the current context, which is determined by the multi-layered convergence of biopolitics (Foucault 1978–79), necropolitics (Mbembe 2003), digital psychopolitics (Han 2014), and gore capitalism (Valencia 2010). It is an inquire of the ways in which the contemporary body becomes a form of mass media for certain populations who choose to consent to the mandate of making themselves entrepreneurs of their own bodies within the livestream regime (Valencia 2016, 2018). The author analyzes a variety of representations of femininity taking physical form g-locally in bodies, which—in an effort to comply with capitalist mandates and with binary choreographies of gender and sexuality—become businesses themselves.
The aim of this article is to explore the critical role of vision and act of seeing in the poetics of Wilkie Collins’s The Woman in White in the context of the ocular dynamics of the nineteenth-century in general and the generic markers of the sensation novel in particular. The conceptual equivalence Collins builds between the agencies of seeing and knowing will be explored by paying particular attention to the ways in which power is exercised on the axis of the modality of the visual. Taking visibility and invisibility as the controlling agencies in The Woman in White, the discussion will focus on exploring the scopic aspects of the novel in its historical and theoretical context, and reading the semiosphere of the novel as a dynamic space of interaction between and vision and ocular power.
Este artigo adota como ponto de partida algumas questões fundadoras do campo de estudos dedicado às histórias das exposições. Objetiva-se, a partir de tal repertório teórico-conceitual, refletir sobre dois processos que adquirem relevância diante do lugar privilegiado da cultura nas disputas narrativas contemporâneas: por um lado, propõe uma análise dos esforços institucionais e curatoriais de descolonização dos acervos e das narrativas contadas por meio da exposição de importantes coleções; por outro, reconhece a diversidade de regimes escópicos que marcam o contexto latino-americano contemporâneo, instaurando uma zona de indeterminação e constante negociação entre o projeto colonial e científico de museu e imaginários populares dissidentes.
Resume. Artiklen tager udgangspunkt i problemerne med at forstå og forudsige den moderne, teknisk-videnskabelige udviklings virkninger. Der peges på en række forhold, der hver især er karakteriseret ved en principiel uforudsigelighed (kausaliteten rækker ud over intentionaliteten; uforudsigelighed knyttet til det innovative potentiale; kontraintentionel brug; emergent dannelse af infrastrukturelle niveauer) og som tilsammen konstituerer et grundlæggende post-festum problem, som konsekvens af, at de teknologiske indgreb er vores vigtigste og ofte eneste kilde til viden om deres egen rækkevidde. Artiklens anden del præsenterer et bud på hvordan de videnskabelige paradigmer, der ligger bag den viden, der implementeres i teknologien, også kan bidrage til at beskrive typiske risikostrukturer, knyttet til de teknologier, der anvender denne viden. Vægten er lagt på to aspekter. For det første det naturdomæne, der udgør teknologiens materielle substrat, og for det andet de naturvidenskabelige koncepter af de domæner, der er grundlaget for teknologiudviklingen. Der fokuseres på den klassiske fysiks partikelmekaniske paradigme, verden som partikelsystem (eller maskine), verden som energi-og driftssystem frem til de informationsteoretiske beskrivelser, verden som informationssystem, der i dag udvikles både indenfor fysik, biologi, informations-og cognitionsteori og iøvrigt i en række andre fagvidenskaber og i nye tværfaglige forskningsretninger. I artiklens sidste del fokuseres der på forskydninger i konceptualiseringen af iagttagerpositionen, hvor ideen om den udenforstående iagttager i fysikken afløses af teorier, der inddrager iagttageren som del af fysiske univers i det 20. århundredes første del, mens ideen om den fuldstændige iagttagelse gradvis opgives til fordel for ideer om forskellige iagttagelsesperspektiver, et skifte der beskrives som fremkomsten af et scanningsperspektiv. Dette ses som videreudvikling af Carlo Ginzburgs 'sporparadigme' og identificeres på en række forskellige forskningsområder. Det konkluderes at man i den klassiske naturvidenskab antog at ikke-videns problemerne, kunne betragtes og behandles som et metafysisk spørgsmål, der især angik "begyndelsesbetingelserne" mens man i moderne naturvidenskab og de tilhørende videnskabeligt baserede teknologier møder uforudsigelighedsproblemet "inde" i den videnskabelige forudsigelses områder og teknologiernes virkningsfelt.
Network research has recently been adopted as one of the tools of the trade in archaeology, used to study a wide range of topics: interactions between island communities, movements through urban spaces, visibility in past landscapes, material culture similarity, exchange, and much more. This Oxford Handbook is the first authoritative reference work for archaeological network research, featuring current topical trends and covering the archaeological application of network methods and theories. This is elaborately demonstrated through substantive topics and case studies drawn from a breadth of periods and cultures in world archaeology. It highlights and further develops the unique contributions made by archaeological research to network science, especially concerning the development of spatial and material culture network methods, and approaches to studying long-term network change. This is the go-to resource for students and scholars wishing to explore how network science can be applied in archaeology through an up-to-date overview of the field.
A Continental philosophy approach illuminates the BioEpisteme as an information science knowledge regime, analyzing implications of the digital encoding and manipulation of biology with critical genealogies of unreason, episteme, and autoimmunity.
It could be claimed that screens, understood as technical objects, work as prostheses primarily meant to enhance the screen functions rooted in our body. This is the case with skin-shields probably used in some prehistoric painting techniques studied by the well-known specialist Michel Lorblanchet in some decorated caves located in southwestern France.
Other cases of screens as prostheses of our bodies refer to different kinds of veil, where the related ancient Greek term peplos still echoes in the etymon of “skin.” One of the most important examples in our culture is that of the veil that divided, not only visually, the inner space of the Jewish Tabernacle into two areas based on their sacredness.
Another main instance is the “intersection” that Leon Battista Alberti describes in his seminal treatise On Painting (1435): he suggests that painters should place a veil featuring a grid of squares between themselves and the observed scene, in order to represent it as accurately as possible, thus inaugurating a radically sIl ecularized characterization of veils.
In the context of the Enlightenment developments of this same characterization, one of the authors discovered (in the treatise titled The Microscope Made Easy, published for the first time in 1742) that the term “screen” had penetrated the scientific sphere, designating a crucial component of the “solar microscope,” which could propose an individual or even collective observation of nature, at once magnified and protected from the dangers of direct experience.
Finally, we can find further signs of the exteriorization of the human body meant as proto-screen in analog photography and cinema, both of which employ words like film or “pellicle” in a peculiar and very significant way that is still reminiscent of the skin and its use in shadow play.
But the past thirty years of digital revolution radically transformed our experiences of screens. Indeed, if film technology remains designed for the reproduction of previously recorded images, since World War II radar, television and then computers have started adopting screens that allow the real-time transmission of images as well as other kinds of information, and that would later become interactive. Thus, they are once more revealing new ways of being operational thresholds.
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