Visual Culture and Media Studies

Art as Truth: A Treatise
By Dorian Vale

— A Foundational Text of the Post-Interpretive Movement

Art as Truth is the culminating philosophical treatise of the Post-Interpretive Movement. In this work, Dorian Vale reframes the aesthetic encounter not as a process of interpretation, but as an ontological event. Art is not understood, solved, or decoded — it is witnessed. And in that witnessing, it reveals not a meaning, but a truth.

Drawing from existential philosophy, phenomenology, and metaphysical inquiry, Vale dismantles the idea that art must be representational, symbolic, or referential to matter. Instead, he proposes that presence is the irreducible form of truth in art. The truth of a work lies not in what it says — but in what it becomes in the presence of one who refuses to violate it with meaning.

This treatise formalizes Stillmark Theory, where presence replaces permanence, and Absential Aesthetics, where absence, restraint, and unspeakability are themselves forms of knowledge. It is a rejection of both academic overreach and commercial interpretation. In its place, Vale offers a framework that returns ethics, metaphysics, and reverence to the heart of criticism.

Art as Truth establishes a new intellectual discipline — one that regards the critic not as a decoder of meaning, but as a custodian of consequence. This work marks a departure from modern and postmodern criticism alike, offering in their place a rigorous, moral, and sacred approach to art.

Few symbols have the ability to polarize public opinion as the image of the veil. It has long been stigmatized as a form of oppression or a "symbol of backwardness...a visual cue to bolster claims of the rise in Islamic militancy. " 1 The majority of work written on the practice of veiling view it through a lens of assimilation. From this perspective, the veil becomes a road block to acculturation. The ambiguity of the identity of Islamic woman compounds this issue, so interpretation relies largely on the visual symbol of the veil, or hijab, as it is more commonly referred. This interpretation is largely problematic because she is not allowed an identity beyond the superficial. This perspective is directly challenged in the graphic novel Persepolis and the comic Qahera. Persepolis is a memoir of Marjane Satrapi's coming of age in Iran during the fundamentalist revolution of the 1980s. Qahera is an online comic created by nineteen year old art student and native Egyptian, Deena Mohamed, that focuses on confronting women's rights issues within Egypt. Both texts use provocative images of the veil to articulate a new understanding of the practice. This understanding centers around key issues for the contemporary Islamic woman: freedom, identity, and otherness. To develop a concrete understanding of these issues the practice and purpose of veiling needs to be established.

BONN, West Germany (A P ) — Chancellor Helm ut Kohl's con­ servative coa lition, pledged to deploy NATO nuclear missiles in W estern Europe, swept to a solid v ic to ry in yesterday's parliamentary elections. The executive secretary o f HansJochen Vogel’s opposition Social Democrats, Peter Glotz, conceded less than an hour after the polls closed, saying his party “ d id not reach its goal.” Horst Emke, deputy chairman o f the party ’s parliam entary caucus, said: "W e have to congratulate the CDU fo r a clear e lection v ic to ry .” The main dom estic issue was the economy, gripped by recession and high unem ploym ent, but in terna­ tional a ttention focused on the debate over deploym ent o f U.S.made nuclear missiles in West Ger­ many and o ther NATO countries. Kohl and his allies support NATO’s decision to deploy 572 m edium range cruise and Pershing 2 missiles in Western Europe la ter this year — 204 o f them in West Ger­ many — unless an arm s-control agreement is r...

This text departs from three main theoretical branches of the “iconic turn” in
contemporary thought, namely, the perceptive, the anthropological, and the semiotic, with the aim of thinking about their limitations for the description and analysis of certain images whose “being-image” is occasional, depends on certain circumstances in which traits, marks, artefacts, “natural” objects, materialisations of gestures, offerings, etc. begin, in other contexts or from others perspectives, to “act-as-image”. If this occasional condition, on the one hand, weakens the possibility of an ontology of image linked to an ontology of art, as well as an iconology, on the other hand, it presents some relevant pictorial and cultural implications that can be elaborated as a "fourth approach" in the context of the iconic turn.

We report on creating a 3d virtual reconstruction of the scene shown in "The Arnolfini Portrait" by Jan van Eyck. This early Renaissance painting, if painted faithfully, should confirm to one-point perspective, however it has several vanishing points instead of one. Hence our 3d reconstruction had to be based on some, from an art historian’s point of view plausible assumptions on choosing a unique vanishing point and measures of certain items in the scene. We compare our approach to similar reconstructions by others. Using professional modeling and image processing computer tools, we created a 3d reconstruction of the geometry of the interior, the textures and the lighting. A perspective view of this model is compared to the original painting, showing high fidelity, but at the same time also large local mismatches due to the inconsistent handling of parallel lines in the original painting, as well as some differences in the reflected image in the mirror. A reconstruction s...

The concept of the cultural narrative, or collective cultural story, has acquired a comprehensive philosophical and political conception that differs from the concept of narrative or story in literature. The concept of narrative on the general cultural level has come to signify the grand and comprehensive conception of a certain human group's stance towards life and the world, towards the self and the other, from which it derives its general existential outlook, based on its inherited collective experiences, its historical circumstances, and its specific context. As one scholar defines it, saying that "The cultural narrative... is a story connected to the ideas, customs, and behaviors of a society... From another perspective, the cultural narrative or cultural story is a story that enables individuals of a certain culture to create meaning for life within the fabric of that culture"( ). And we can take the topic further when we consider the concept from the perspective of it being a "geocultural narrative", meaning a narrative that governs a certain group and defines its relationship with the historical geographical place in which it originated. The issue then becomes –as is currently the case in the ongoing war in Gaza and the Middle East– a struggle to dismantle the cultural narrative, not in an abstract and theoretical manner, but with the aim of controlling geography. Thus, the currently ongoing war is seen as the most prominent geocultural conflict in the twenty-first century, a conflict over dismantling the Arab-Palestinian narrative in its historical, religious, and human dimension, to control the geography and achieve military hegemony over it.

We report on creating a 3d virtual reconstruction of the scene shown in "The Arnolfini Portrait" by Jan van Eyck. This early Renaissance painting, if painted faithfully, should confirm to one-point perspective, however it has several vanishing points instead of one. Hence our 3d reconstruction had to be based on some, from an art historian's point of view plausible assumptions on choosing a unique vanishing point and measures of certain items in the scene. We compare our approach to similar reconstructions by others. Using professional modeling and image processing computer tools, we created a 3d reconstruction of the geometry of the interior, the textures and the lighting. A perspective view of this model is compared to the original painting, showing high fidelity, but at the same time also large local mismatches due to the inconsistent handling of parallel lines in the original painting, as well as some differences in the reflected image in the mirror. A reconstruction such as ours provides new details of the original scene for scholars, is useful for art historians to find out more about the way the painting was created, and could be used as an installation for exploration in museums or other learning environments by the general public.

VCS-Visual Culture Studies Call for Essays #10 "Mitologia del mostruoso visuale. Dal fantasma di Luigi XVI a Bombardiro Crocodilo" a cura di Alberto Abruzzese e Alfonso Amendola Lo stato attuale delle immagini è scosso in forma radicale dall'imporsi dell'Artificial Intelligence (AI) che apre inediti scenari e attiva cambiamenti, nell'ambito della creazione, della fruizione e della distribuzione della sfera iconica, tali da attivare una svolta epocale.

This paper examines the ontological and phenomenological shifts in digital photography within networked environments, exploring the tension between the visible simplicity of digital interfaces and the invisible complexity of algorithmic processes. Through a series of artistic projects—Send Some Candids (2011), Being Seen Trying (2014), and A Thousand Kisses Deep (2015)—the author interrogates how digital images, once uploaded, transcend their singular origins to become dynamic, self-organizing entities. These works reveal how networked images acquire organic lives, evolving through algorithmic interactions, metadata associations, and user engagements that destabilize traditional notions of authorship, meaning, and indexicality.

The analysis situates digital photography within broader theoretical frameworks, drawing on Wendy Chun’s critique of software’s ideological underpinnings, Daniel Rubinstein’s concept of the “undecidable” networked image, and Jorge Luis Borges’ Library of Babel as a metaphor for the internet’s chaotic information ecology. The author argues that the digital turn disrupts Cartesian perspectivalism, replacing linear causality with paradoxical oscillations between visibility/invisibility and simplicity/complexity. Projects like The Cassini Conspiracy (2016) further illustrate how algorithmic processing and apophenia—the human tendency to find patterns in randomness—reshape interpretations of scientific and spiritual imagery.

Central to this exploration is the collapse of photography’s indexical relationship with reality. The paper contends that digital images are no longer mere representations but processes entangled with algorithmic imperatives, metadata, and network dynamics. Emergent properties, such as self-organization and instability in viral images, challenge dialectical approaches, demanding instead a non-linear engagement with paradox. The author ultimately posits that the networked image’s undecidability reflects a broader epistemological shift, urging a reconfiguration of artistic and critical practices to navigate the interplay of algorithmic abstraction and human intuition in an era of computational ubiquity.

L'eredità di Erwin Panofsky è segnata da profonde contraddizioni. Padre indiscusso della storia dell'arte del secolo scorso, Panofsky è stato costantemente rappresentato come l'emblema dello "studioso della torre d'avorio", della supremazia del contenuto sulla forma, di una storia dell'arte refrattaria a dialogare con le trasformazioni artistiche e culturali del ventesimo secolo. Questo lavoro mette in discussione tale consolidato ritratto storiografico. Nel libro vengono infatti delineate prospettive critiche che ripercorrono l'interesse di Panofsky per l'arte a lui contemporanea, il cinema e la fotografia. Ne risulta un ritratto complesso, in cui le conquiste del XX secolo sono ripensate alla luce della tradizione umanistica, e il classico è sorprendentemente riattraversato dal contemporaneo, aprendo a interpretazioni che mettono in discussione non solo la ricezione tradizionale del corpus dell'autore, ma anche l'egemonia modernista nell'approccio all'arte e ai media del Novecento.

Every day we are exposed to the cinema, and we find many metaphors and symbolism used by the director in the cinema to convey the intended messages to its viewers. The paper focuses on the metaphors and Symbolism used in internationally acclaimed Kannada director P. Sheshadri’s Bettada Jeeva. The semiological review of the selected cinema exposes that the director has used a wide array of metaphors and Symbolism to build a strong story. Usage of these metaphors and Symbolism helped the viewers to understand the deep meaning of the story. The researcher adopted a semiological study to decode the meanings of the scenes and the characters portrayed in the cinema. The primary data was collected by watching the movie, and the secondary data was collected by a short interview with the director, books, and websites. The results show that the director successfully used metaphors and Symbolism in the cinema, which gave a solid base to the narration.

Une intervention militaire a été menée contre le gouvernement d'Adnan Menderes aux petites heures du matin du 27 mai 1960, et elle a été enregistrée dans l'histoire des coups d'État turcs comme le premier coup d'État militaire entendu à la radio. Après près de trente ans d'interrègne, les islamistes, qui ont lutté pour exister dans les années cinquante, ont émergé comme une masse religieuse sûre d'elle essayant de répondre à leurs revendications politiques dans les années soixante.

  Les importantes publications de l'époque en matière de caricatures sont Akbaba, Tef, Yön, Cumhuriyet, Milliyet, Akşam, Dünya, Tanin et Tercüman. Les principaux caricaturistes sont Nezih Danyal, Zeki Beyner, Cafer Zorlu, Erdoğan Bozok, Tan Oral, Yalçın Çetin, Şadi Dinççağ et Yurdagün Göker. Les revues d'humour doivent être fermées une à une et les quotidiens n'autorisent pas de nouveaux dessinateurs, à l'exception de quelques caricaturistes célèbres. Peu à peu, certains illustrateurs se sont tournés vers des domaines tels que le dessin animé et le théâtre.

What we see, how we see and why?

The book explains the phenomenon of the creation of images of the surrounding world in the human mind.
These images shape physiological perceptual mechanisms and visual habits and cultural competences.
In recent years, interest in visual knowledge has increased among: culture experts, psychologists, cognitive scientists, aesthetes, philosophers and even linguists. They realize that the image inevitably replaces written text from the media; in return, it builds new communication channels, creating new fields of culture.
Basic knowledge of visuality is needed today not only by painters, graphic artists, architects and filmmakers. It is also needed by teachers and instructors of many fields who want to reorient their messages towards visual communication.
The book is a guide to visuality, the task of which is to develop a certain minimum of knowledge common to all the above-mentioned fields of knowledge and practice and for numerous connoisseurs of image culture.
The impressive illustration layer of the book evokes images from prehistory to the present day and contains illustrations developed by the author.
The book in its content refers to commonly known works of art and architecture, which gives the explanations a possibly universal character. This compendium of perception and understanding of images describes the first level of visual grammar, which is – Perceptual Visual Code.

Key words:
image, imaging, visual communication, psychology of perception, visual grammar, visual arts, cognitive science, visual persuasion.




Co widzimy, jak widzimy i dlaczego?

Książka wyjaśnia zjawisko powstawania obrazów otaczającego świata w umyśle człowieka. Obrazy te kształtują fizjologiczne mechanizmy percepcyjne oraz nawyki wzrokowe i kompetencje kulturowe.
W ostatnich latach wzrosło zainteresowanie wiedzą wizualną wśród: kulturoznawców, psychologów, kognitywistów, estetów, filozofów, a nawet językoznawców. Zdają sobie oni sprawę, że obraz nieuchronnie wypiera z mediów tekst pisany; w zamian buduje nowe kanały komunikacji kreując nowe pola kultury.
Podstawowa wiedza na temat wizualności jest dziś potrzebna nie tylko malarzom, grafikom, architektom i filmowcom. Jest ona również potrzebna nauczycielom i instruktorom wielu dziedzin, którzy chcą przeorientować swoje przekazy na komunikację wizualną.
Książka jest przewodnikiem po wizualności, którego zadaniem jest wypracowanie pewnego minimum wiedzy wspólnej dla wszystkich wyżej wymienionych dziedzin wiedzy i praktyki oraz dla licznych koneserów kultury obrazu.
Imponująca warstwa ilustracyjna książki przywołuje obrazy od prehistorii do współczesności i zawiera ilustracje opracowane przez autora.
Książka w swojej treści odwołuje się do powszechnie znanych dzieł sztuki i architektury, co nadaje wyjaśnieniom możliwie uniwersalny charakter. To kompendium percepcji i rozumienia obrazów opisuje pierwszy poziom gramatyki wizualnej, którym jest – Percepcyjny Kod Wizualny.



Słowa kluczowe:
obraz, obrazowanie, komunikacja wizualna, psychologia percepcji, gramatyka wizualna, sztuki wizualne, kognitywistyka, perswazja wizualna.

In this article, I examine humorous portrayals of European music in satirical journals published in Istanbul during the 1870s. Drawing on theories of humor as a means of expressing ambiguity, I analyze a description of a private salon concert as well as polemical debates about the public performance and reception of Turkish-language operetta. Through the strategic use of irony and mistranslation, Ottoman satirists exposed the incongruities of being modern while playfully undermining perceptions of distance and proximity between “Istanbul” and “Europe.” Modernity produced a sense of dislocation, a being out of place, that was heightened by listening to unfamiliar sonic practices as part of a broader assemblage of civilized behaviors. Yet by making light of such disconcerting experiences, Ottoman satirists produced a form of cultural intimacy that relocated modernity itself within a more familiar and accessible space – as long as their readers got the joke.

Computer Science has affected almost all fields of human knowledge, contributing to scientific advances in many branches of Natural and Social Sciences. Journalism is one of the fields that is benefiting of the advance of computer science. Among the journalistic concepts that can be analyzed computationally is News Value. Novelty is one of the most important news value. A possible approach to get novelty elements in a story considers word frequency, through of the capacity to collect and analyze massive amounts of data. In this paper, we use the News Coverage Index dataset (NCI), maintained by the Pew Research Center, to analyze the novelty dynamics of news coverage, using the novelty signatures proposed by [12]. As a definition of novelty, we used the first appearance of a new lead newsmaker. Results show a good fit of the model to the dataset. Furthermore, an analysis by media sector and broad topic shows interesting insights for the analysis of media coverage.

СТАНОВИЩЕ
от доц. дн Атанас Димитров Тотляков
за присъждане на образователната и научна степен „доктор”,
научна област 8. Изкуства,
професионално направление 8.2. Изобразително изкуство,
ФАКУЛТЕТ ПО ИЗОБРАЗИТЕЛНО ИЗКУСТВО,
Катедра „Изкуствознание и художествено образование”
дисертационен труд на тема
ПЪРФОРМАНС И ПЕРФОРМАТИВНОСТ В ИЗКУСТВОТО – ПЕРФОРМАТИВНА ИНСТАЛАЦИЯ
на Яница Красимирова Фендулова
Научен ръководител: доц. д-р Марина Теофилова Теофилова

дата: 20.02.2023

Р Е Ц Е Н З И Я
от
проф. д.изк. Петер Цанев,
преподавател
в катедра Психология на изкуството и художествено образование,
Национална художествена академия, София
Професионално направление 8.2 Изобразително изкуство
относно дисертационен труд на тема:
Пърформанс и перформативност в изкуството –
перформативна инсталация
от
Яница Красимирова Фендулова
за присъждане на образователна и научна степен „доктор”
по професионално направление
8.2 Изобразително изкуство

дата на изготвяне: 5/03/2023

In a media context, visual literacy is a more limited set of abilities, skills, and competencies than in the design aspect, as the design itself relies entirely on the visual language in the communication process. In a design context, visual literacy is quite complex, multi-layered, and multimodal. Visual literacy in the field of media sciences is related to the communication process itself, and in the field of design, it is rather oriented to the recipient in the communication process. For the recipient of the design to be able to claim to be visually literate, it is not enough for him to be able to read images alone, as media content users do. It is necessary to have skills for visual reading, visual writing, and additional visual skills.

The purpose of this exegesis research paper is to locate my art practice as a new form 'body art' within the field of self-portraiture in contemporary art in Australia. This practice-led research enquiry will ask the following question: how can the body be employed as a tool to create a portrait of self to create growth and transformation? Traditionally, self-portraits are constructed with a mirror in a frontal, vertical manner

The popular notion that photography is able to capture time and to permanently freeze, or mummify, a scene of life, is the consequence of the idea that the instant is inextricably linked to the notion of the "real". It is as if there was no mediation or conceptual operation between reality and the resulting formal image.

Memory, trauma and remembrance mechanisms can be addressed both by plots of animated films and explored through media of expression and representation techniques chosen by creators of animated films. In recent years these themes have featured greatly in world cinema, especially in animated documentary. Recently, an increasing number of independent Polish productions make evident a preoccupation with the fallibility of historical records. Contested memory – unsanctioned by the state – regularly brings forth the notions of collective, prosthetic (Alison Landsberg), and post-memory (Marianne Hirsch), alongside narratives that inspect the impairments of the recollection process.
Juxtaposing different memory concepts/models with their artistic readings, while relating to the more popular(ized) examples of works such as Yuri Norstein's Tale of Tales, Ulo Pikkov's Body Memory, and Ari Folman's Waltz with Bashir, this paper focuses on works of Polish and Polish-born artists of the last two decades (from 2005 to 2022) who explore notions of contested histories and personal remembrance, primarily, Zbigniew Czapla, Izabela Plucińska, and Jarosław Konopka. Rather than tapping into the prevailing form of 3D computer animation, the respective artists' styles make prolific use of a chosen technique's connotative quality and expressive capability that lends itself to the subject - collaged photographs from a family album tarnishing with age, post-head injury recollections turning malleable with the aid of plasticine, puppets made out of twine disintegrating in a spinning danse macabre. In an age of progressive dematerialisation, these artists emphasize imperfections, signs of wear, fingerprint traces, blemishes, the Mandelbrotian roughness at the animated cut-outs' edges, heralding the return of the repressed tangibility. In these cases, the medium of one's choice is transformed from a mere instrument to a representation strategy parallel to the plot, if not its prime mover, this way exploring, even in an extra-documentary context, strategies of expressive authenticity.

The contemporary scenario demands an interpretation of reality as inherently hybrid, and of the individual's condition as osmotic and "ecomedial", marked by a constantand seamlesstransition between off-and on-screen realities (that of the digital devices we use, which configureand are configured asthe environments we inhabit). Contemporary audiovisual production seems to take this into consideration by configuring multiple forms of interaction with interactive digital media. If fictional desktop cinema has demonstrated the possibility of representing these media spaces as environments in which to develop sometimes complex stories, also using the framework of film genres, other forms of experimentation lie outside the regime of fictional storytelling, establishing a fruitful dialogue with contemporary documentary forms. I intend to focus attention precisely on this aspect. What is at stake is both the modes of access to narrative materials and their organization during consumptionas in the case of web documentariesand the interplay between archival material research and imaginative configuration of the film during production, as in the desktop documentary, where what Francesco Casetti has defined as a complex "ecology of operations" seems to be at the center of attention. In all these forms of contamination between audiovisual production and interactive digital media, a fusion between contemporary documentary cinema, archival materials, and digital technologies emerges and reinforces itself, also manifesting in the visualorganizational fabric of the film, a peculiar perceptual and operational ecology characterizing the relationship between user and interface, which needs to be carefully examined and understood. This article is structured into three parts. In the first part, I will attempt to theoretically define the ecological configuration on which today's media systemwithin which we act and carry out our daily activitiesis based. I will specifically outline the peculiar aspects of the contemporary ecological perspective, which presents significant differences compared to traditional media ecology. In the second part, I will focus on two films by the French scholar and filmmaker Chloé Galibert-Laîné with the aim of investigating certain modes of "staging" contemporary digital media made possible by audiovisual media. In the conclusions, I will attempt to advance some considerations regarding the narrative and aesthetic specificities of the desktop documentary and its potential to intercept and narrate a reality that seamlessly traverses both material and virtual spaces.

This study explores the newspaper illustrations associated with the Civil War Battle of Wilson’s Creek which took place near Springfield, Missouri. Within three weeks of this August 10, 1861, encounter, five published images of the battle appeared in the widely circulated, New York-based newspapers, Harper’s Weekly and Frank Leslie’s Illustrated Newspaper. Like most illustrations in Civil War papers, these early depictions of the Battle of Wilson’s Creek are understudied. Scholars have yet to address these images as imaginative constructions with roots in the Western visual tradition. Understanding these roots and their iconographic implications provides important insights into the cultural and social history of the Civil War era.

The text examines the illustrators’ allusions to earlier heroic and religious images encouraged audiences to see General Nathaniel Lyon (the first Union general to die in the Civil War) as a martyr to the federal cause.  Four of the five aforementioned images portray Lyon’s fatal charge, his fall, or his battlefield death.  Elements such as Lyon’s hat and his horse became powerful signifiers that reinforced the heroic narrative that was constructed for the general in the Union press. When one learns to “read” these images, it becomes clear that they are subjective inventions that advance an emphatically Northern viewpoint.  Without an illustrated paper in 1861, the South had no organ to advance a pro-Southern vision of the Wilson’s Creek battle. Subsequently, the visual traditions begun by the Northern papers continued throughout the nineteenth century.

This article focuses on the genre distinction between artistic and legal photographs of faces: while the artistic portrait tends to express the singular soul of the person pictured, the biometric mugshot aims to scan singular physical traits without any psychological expression. How do these photographic genres allow us to identify the represented person? What do each of them seek to recognize? To grasp our metaphysical expectations of photographic technology, and thus to bridge the gap between discursive styles of these two photographic genres, I revise Derrida’s deconstruction of the law of genre. Further, I argue that Derrida’s and Nancy’s subversive readings of Kant’s concepts of parergon and schema help us to understand the rhetorical setting of the human mind, which organizes the photographic work of framing fragments. Finally, I explain the metaphysical conditions of possibility for both photographic genres by situating their opposite goals in the interval of personal recognition constructed by metonymical schematism.

Gli schermi che ci circondano, che portiamo addosso o che addirittura stiamo diventando ci spingono a interrogarci sui loro rapporti col nostro corpo. Una novità assoluta per noi umani? Tutt’altro. Esplorare quali siano stati tali rapporti nel nostro passato preistorico e storico è decisivo per riflettere su quelli che si stanno stabilendo nel presente o profilando nel futuro. Le tecnologie che indosseremo – da quelle che utilizzano la mano al posto dei display ai tatuaggi temporanei intelligenti – rimettono infatti al centro dei rapporti che intratteniamo con l’ambiente proprio il corpo, questa volta digitalmente aumentato e connesso, producendo inaggirabili conseguenze sulle nostre relazioni con noi stessi, gli altri, il mondo.

In the digital age, the act of taking selfies has evolved into a complex and multifaceted form of self-expression, akin to the historical tradition of self-portraiture. While psychologist Jean Twenge argues that selfies can promote narcissism, their responsible use can foster self-esteem and personal creativity. Selfies, like the intricate self-portraits of past artists, allow individuals to capture and convey their identities, emotions, and experiences through a modern lens. This digital self-representation, enhanced by the accessibility of social media, transforms selfies into a legitimate art form, bridging personal narratives with broader cultural and social contexts. By meticulously selecting environments, lighting, and filters, individuals use selfies to document significant moments and engage in a deeper exploration of self, fostering connections and preserving memories. In this light, selfies emerge as intimate time capsules, embodying the enduring legacy of artistic expression and the contemporary quest for identity and belonging.

Este artículo tiene como objetivo delinear estrategias para el análisis de micropoéticas escénicas destinadas a las infancias desde las categorías de género y sexo. Para hacerlo, se desarrollarán los postulados de Judith Butler (2016, 2002) acerca de la performatividad del género como un acto estilizado y reiterado, constitutivo de las categorías generizadas. Serán contrapuestos con la comprensión del teatro para niños como un acontecimiento formativo de identidades. Se destacará su producción a partir de relaciones contingentes entre productores y espectadores que son, por tanto, asimétricas. Finalmente, a modo de ejemplo, se aplicarán las estrategias al caso La bella durmiente contada por una abuela, de Lorena Velazquez y Juan Carlos Fiasconaro.This work aims at devise strategies to analyze stage micropoetics for infancies from gender and sex categories. Towards this goal, we will delve into Judith Butler’s position (2016, 2002) on gender performativity as a stylized and repetitiv...

Mao Zedong claims: History is created by the people. What a profound claim! Doubtlessly, in the rolling thunder of history, we hear the firm, solid footsteps of great leaders, as President Nixon asserts. Still, it is the people, and only the people, who are the real movers of world history, as Mao Zedong says. It is on the shoulder of the people, and only on the shoulder of the people, which a nation-state can stand. It is in the character and spirit of the people, and only in the character and spirit of the people, that the fate of a nation-state lies. No wonder, when the people stand, a nation-state stands. When the people crawl, the nation-state crawls. When the people display self-pity, a nation-state reflects that self-pity. When the people of the nation are "rusty," the nation-state is rusty. And when a people is dying, a nation-state is vanishing. That much we learn from premodern and modern Chinese history, and that much we ought to learn from modern Chinese history, as we are told by Liu Yazhou, one of the most influential strategic thinkers in China today. The competition in the world today is not between nation-states, but between peoples; that much we learn from, and that much we ought to learn from pre-modern and modern Chinese history, as Liang QiChao and Liu insist. History is a teacher. President Xi Jinping says that a nation-state's present comes from her past. A bloody, tearful history is a profound teacher. Pre-modern and modern Chinese history is a bloody, tearful history and a profound teacher. What can we, and what should we learn from this "teacher,"-that is the question which Liu Yazhou asks. As a passionate patriot, a staunch communist, a top Chinese army general and a profound strategic thinker, Liu thinks about China over the long haul, historically and strategically. With historical realism, his three articles "On Spirit: The 70 th Anniversary of the Victory of the War of Resistance against Japan," "Re-commemorating 1644：The 360 th Anniversary of the Jiashen Year," and "National Shame: On China's Defeat in the War of 1894" which are included in this volume epitomize some of his meditations. The essays, full with profound insights, are pregnant with a grandiose vision, and present a creative, idiosyncratic prospective. Using China's two wars with Japanthe War of Jiawu, and the War of Resistance against Japanand the downfall of China's Ming Dynasty in 1644 as the double mirrors, as well as the May 4 th Movement as the vista from which both pre-1915 China and pos-1915 China were mirrored, Liu explores three profound themes that are central to China's present Journal of East-West Thought Special Edition March eastward, we are the iron-made New 4 th Army ; March eastward, we are the iron-made New 4 th Army.

La transition de la Turquie vers le multipartisme repose sur deux dynamiques fondamentales : interne et externe. En raison du mauvais cours de l'économie, de larges pans de la population et des groupes de capitaux ont voulu obtenir une part du pouvoir. Et la Turquie ressent le besoin de se rapprocher des États-Unis et de l'Occident, et que l'Union soviétique est devenue une menace sérieuse pour la Turquie.

Le magazine d’humour Markopaşa a servi à reconstituer le terrain d'opposition par l'humour, basée sur l'observation et la critique. Les islamistes ont eu l'occasion de s'exprimer politiquement dans la période entre 1945 et 1960.

Les caricaturistes (Oğuz Aral, Tonguç Yaşar, Bedri Koraman, Nehar Tüblek, Altan Erbulak, Semih balcıoğlu, Selma Emiroğlu Aykan, Mustafa (Mim) Uykusuz, Ali Ulvi Ersoy, Turhan Selçuk, Adil Nuri Erkoç (Eflatun Nuri), Ferruh Doğan Akdilek, etc.) des années cinquante sont appelés "Génération 50" et pour de nombreux chercheurs en art, les années cinquante sont les années brillantes de l'histoire de la caricature turque.

Dodici anni fa, quando ho battezzato il gruppo di ricerca che dirigo in Francia con un gioco di parole tipo « Vivere tra/mite gli schermi » – Vivre par(mi) les écrans –, certo non immaginavo fino a che punto quel titolo sarebbe arrivato a risultare indovinato. L’ho scoperto tornando a insegnare in Cina per cinque settimane dopo un’assenza di sei anni, di cui all’incirca quattro trascorsi – là come qua – fronteggiando la pandemia di Covid-19.

Introduction

The term "Culture Industry" was coined by German philosopher and social theorist Theodor Adorno in his 1941 essay "The Culture Industry: Enlightenment or Mass Deception" Adorno used the term to describe the mass production of standardized cultural goods, such as movies, music, and television shows, in a capitalist society. He argued that these goods were not intended to enlighten or educate the public, but rather to manipulate and control them.

In this study, where I observe the transformation of advertisements, which have become parts of everyday life, into the behavior of contemporary individuals through the behaviors in the marketing of capital production and the necessary 'language' and 'image' transfer, I will attempt to present a sociological analysis of the reflection of the masculine-domination language used on social behaviors by focusing on the use of the phenomenon of the female body regarding the behaviors developed by individuals towards women in everyday life, based on Psychologist Albert Bandura's socio-cognitive theory.

Although closely related to behavioral approaches, the social learning theory, which accelerated the evolution from pure behaviorism in the experimental psychology field of the 20th century (classical conditioning and operant conditioning proposed by Pavlov and Skinner), to the social learning theory as we know it today, was first proposed by Julian Rotter in 1947.

In this study, I have written about Bandura's theory and John Berger's approaches to images with an innovative academic language.

Constant electronic fetal monitoring has become a ubiquitous part of birth management in most high-income countries, both reflecting and creating the social context. This article uses a post-structuralist feminist critique to show that the use of the cardiotocograph in birth reinforces and reflects the logic of the separate sovereign self. This creates a rupture in the intrinsic relationality of the mother-fetus and the mother-midwife on a philosophical and physiological level. The cardiotocograph in labour privileges the medical model, constrains women through wires and the imperative to 'keep the trace', takes everyone's attention and gives midwives tasks other than caring for the woman. It externalises the fetus and gives it selfhood separate from the mother, to the extent that it can seem like the machine is keeping the baby alive. This undermines women's and midwives' subjective knowledge, relegating women to organic containers. A reimagining of birth that centres relationality would start by acknowledging the nature of the self as semi-permeable and the being/doing, both/and nature of the mother-placenta-fetus in pregnancy and birth. Intermittent auscultation of the fetal heart in labour is better able to centre the mother-placenta-fetus relation and the midwife-mother relation.

El siglo XVIII conoció la emergencia de un extenso repertorio de artefactos que, adoptando formas tan diversas como las de un cajón, un carromato, una habitación o una infraestructura monumental, ofrecieron un amplio abanico de experiencias visuales, incluyendo la experiencia inmersiva en la perspectiva espacial, la tridimensionalidad o la sensación de movimiento. Acompañadas por comentarios explicativos o música, dichas máquinas ópticas recorrieron las ferias y las plazas, o se instalaron en salones y edificios, evocando paisajes, vistas de ciudades o acontecimientos de actualidad. El presente trabajo de carácter exploratorio avanza en la identificación y análisis de las evidencias documentales relacionadas con los medios visuales de carácter inmersivo localizados en España datados entre 1734 y 1908: entre la aparición del término «mundinovi» en el Diccionario Autoridades de la Real Academia Española (RAE) y el estreno del Cinefluo. El texto pone en valor una aproximación a su historia para así fortalecer el conocimiento sobre la arqueología de los medios de comunicación visual en España.

Mushrooms have long occupied a highly ambivalent position in the cultural imagination, inciting disgust and fear, as well as wonder and fascination. Neither plants, nor animals, they grow up unexpectedly but also in regular lines or circles. Some of them are medicinal and edible, whereas others are toxic or even poisonous. Sometimes they are both. Employing the ambivalence of mushrooms as an analytic lens, this article interrogates the processes of othering through which certain bodies are more susceptible to be othered than other bodies. Mobilising Sara Ahmed’s analytic framework on othering as an embodied process, this transnational ecofeminist intervention provides an insight into how forests, mushrooms and their foragers have been deployed in the Brexit campaign’s migratism and explores its racist entanglements. The article argues that research into social and environmental histories of how meaning is constructed and embodied in human and non-human bodies and the places they inh...