scholarly journals Off the Wall with Shchedryk

2021 ◽  
Vol 1 (2) ◽  
pp. 52-65
Author(s):  
Kalli Paakspuu
Keyword(s):  
Visual Images ◽  
Experimental Film ◽  
Dominant Culture ◽  
Archetypal Images

This paper examines how music and juxtapositions can ground a story in a longer history where the potential of images and cutting points become a dialectics of point, counter-point, and fusion in a revisitation of archetypal images and as a co-authorship of reception. A visual dialogue evolves in the film Shchedryk (2014) through a remediation of scenes from Sergei Eisenstein’s Battleship Potemkin (1925), Alexander Dovzhenko‘s Earth (1930) and Norman McLaren’s experimental film Synchromy (1971). People who do not have recourse to the dominant culture are through recipient-co-authorship able to replay things in more sophisticated ways. Judith Butler’s idea of the performative and of subjects re-performing an injury (Butler 1993) can be introduced to the multi-screen experience. Foregrounding the wounding aspect as visual images is about ‘bad pleasure’ (O’Brien & Julien 2005). If realness is a standard by which we judge any performance, what makes it effective is its ability to compel beliefs and embody and reiterate norms (Butler, 387). Image Credit: Frame from Shechedryk, directed by Kalli Paakspuu

scholarly journals A Place for Shadows: A Prolegomena to the Authorship Practices and Films of Joanna Margaret Paul

2021 ◽  
Author(s):  
◽  
Dick Whyte
Keyword(s):  
Metropolitan Areas ◽  
Specific Reference ◽  
Experimental Film ◽  
Dominant Culture ◽  
Art Object ◽  
Wide Range ◽  
Mass Circulation ◽  
Narrative Forms ◽  
Capitalist Ideology ◽  
Experimental Films

<p>This is an "authorship" study of New Zealand artist Joanna Margaret Paul, with specific reference to her "experimental film" works. Though I will draw on a wide range of theorists, my overall approach is what Laura Marks calls "intercultural cinema." For Marks the term "intercultural cinema" refers to a specific "genre" or "movement" of experimental films created by authors caught "between two or more cultural regimes of knowledge." Intercultural film-makers include feminist, queer, indigenous and immigrant authors (any "minority" which possesses its own "regime of knowledge" and makes experimental film) living in "Western metropolitan areas," whose dominant culture is capitalist, masculine, "hegemonic, white and Euro-American" (a second regime of knowledge). What draws intercultural cinema together (and indeed, one could argue, experimental film in general) is an oppositional stance toward capitalist ideology, the commodification of the art object and the uniformity of classical narrative forms. As David Bordwell and Kristen Thompson write, experimental films are "often deliberate attempts to undercut the conventions of commercial narrative filmmaking" and, as Marks writes, intercultural cinema "flows against waves of economic neocolonialism," and is "suspicious of mass circulation... [as] making commercial cinema still involves significant compromises."</p>

scholarly journals A Place for Shadows: A Prolegomena to the Authorship Practices and Films of Joanna Margaret Paul

2021 ◽  
Author(s):  
◽  
Dick Whyte
Keyword(s):  
Metropolitan Areas ◽  
Specific Reference ◽  
Experimental Film ◽  
Dominant Culture ◽  
Art Object ◽  
Wide Range ◽  
Mass Circulation ◽  
Narrative Forms ◽  
Capitalist Ideology ◽  
Experimental Films

<p>This is an "authorship" study of New Zealand artist Joanna Margaret Paul, with specific reference to her "experimental film" works. Though I will draw on a wide range of theorists, my overall approach is what Laura Marks calls "intercultural cinema." For Marks the term "intercultural cinema" refers to a specific "genre" or "movement" of experimental films created by authors caught "between two or more cultural regimes of knowledge." Intercultural film-makers include feminist, queer, indigenous and immigrant authors (any "minority" which possesses its own "regime of knowledge" and makes experimental film) living in "Western metropolitan areas," whose dominant culture is capitalist, masculine, "hegemonic, white and Euro-American" (a second regime of knowledge). What draws intercultural cinema together (and indeed, one could argue, experimental film in general) is an oppositional stance toward capitalist ideology, the commodification of the art object and the uniformity of classical narrative forms. As David Bordwell and Kristen Thompson write, experimental films are "often deliberate attempts to undercut the conventions of commercial narrative filmmaking" and, as Marks writes, intercultural cinema "flows against waves of economic neocolonialism," and is "suspicious of mass circulation... [as] making commercial cinema still involves significant compromises."</p>

Learning From (Test) Experience

2020 ◽  
Vol 228 (4) ◽  
pp. 264-277 ◽  
Author(s):  
Evan E. Mitton ◽  
Chris M. Fiacconi
Keyword(s):  
Recognition Memory ◽  
Test Performance ◽  
Memory Performance ◽  
Judgments Of Learning ◽  
Visual Images ◽  
Memory Tests ◽  
Recognition Memory Performance ◽  
Study Test ◽  
Explicit Feedback

Abstract. To date there has been relatively little research within the domain of metamemory that examines how individuals monitor their performance during memory tests, and whether the outcome of such monitoring informs subsequent memory predictions for novel items. In the current study, we sought to determine whether spontaneous monitoring of test performance can in fact help individuals better appreciate their memory abilities, and in turn shape future judgments of learning (JOLs). Specifically, in two experiments we examined recognition memory for visual images across three study-test cycles, each of which contained novel images. We found that across cycles, participants’ JOLs did in fact increase, reflecting metacognitive sensitivity to near-perfect levels of recognition memory performance. This finding suggests that individuals can and do monitor their test performance in the absence of explicit feedback, and further underscores the important role that test experience can play in shaping metacognitive evaluations of learning and remembering.

Time Window from Visual Images to Visual Short-Term Memory: Consolidation or Integration?

2004 ◽  
Vol 51 (1) ◽  
pp. 45-51 ◽  
Author(s):  
Yuhong Jiang
Keyword(s):  
Short Term Memory ◽  
Time Window ◽  
Short Interval ◽  
Visual Images ◽  
Short Term ◽  
Temporal Window ◽  
Term Memory ◽  
Visual Short Term Memory ◽  
Probe Task ◽  
Long Time

Abstract. When two dot arrays are briefly presented, separated by a short interval of time, visual short-term memory of the first array is disrupted if the interval between arrays is shorter than 1300-1500 ms ( Brockmole, Wang, & Irwin, 2002 ). Here we investigated whether such a time window was triggered by the necessity to integrate arrays. Using a probe task we removed the need for integration but retained the requirement to represent the images. We found that a long time window was needed for performance to reach asymptote even when integration across images was not required. Furthermore, such window was lengthened if subjects had to remember the locations of the second array, but not if they only conducted a visual search among it. We suggest that a temporal window is required for consolidation of the first array, which is vulnerable to disruption by subsequent images that also need to be memorized.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Thanato-Laboratorien. Theorien von Tod und Sterben und Elias Canettis Buch gegen den Tod

2020 ◽  
Vol 4 (1) ◽  
pp. 67-86
Author(s):  
Elisabeth Heyne
Keyword(s):  
Human Life ◽  
Death And Dying ◽  
Point Of View ◽  
Visual Images ◽  
Elias Canetti ◽  
History Of ◽  
Series Of Experiments ◽  
First Time ◽  
Textual Form ◽  
Or History

AbstractAlthough visual culture of the 21th century increasingly focuses on representation of death and dying, contemporary discourses still lack a language of death adequate to the event shown by pictures and visual images from an outside point of view. Following this observation, this article suggests a re-reading of 20th century author Elias Canetti. His lifelong notes have been edited and published posthumously for the first time in 2014. Thanks to this edition Canetti's short texts and aphorisms can be focused as a textual laboratory in which he tries to model a language of death on experimental practices of natural sciences. The miniature series of experiments address the problem of death, not representable in discourses of cultural studies, system theory or history of knowledge, and in doing so, Canetti creates liminal texts at the margins of western concepts of (human) life, science and established textual form.

Modern Radiodiagnostics Technology of Metastasises in Pelvic Lymph Nodes

2017 ◽  
pp. 100-108
Author(s):  
V. N. Diomidova ◽  
O. A. Еfimova
Keyword(s):  
Lymph Node ◽  
Magnetic Resonance ◽  
Lymph Nodes ◽  
Metastatic Lymph Node ◽  
Magnetic Resonance Tomography ◽  
Visual Images ◽  
Pelvic Lymph Nodes ◽  
High Information Content ◽  
Pelvic Cancer ◽  
High Information

The analysis of the diagnostic informativeness of modern radiodiagnosticis methods in determining metastatic lymph node of pelvic cancer gynecological organs according to domestic and foreign publications. At the present stage methods of obtaining visual images pelvic lymph nodes are radiodiagnostics technologies (radiological, ultrasound, magnetic resonance tomography, scintigraphic). The analysis has shown that the researches devoted to diagnostic informational content of modern methods of radiodiagnosis in a differentiation of nature of damage of pelvic lymph nodes aren't enough. According to the literature, the most rational and perspective method for radiodiagnosis metastatics lymph node is a magnetic resonance imaging due to the high information content and thus specificity. At the same time, the continued relevance of further study of methods of radiodiagnostics in order to find the optimal one for the assessment of pelvic lymph nodes.

Analysis of the Complementarity and Clarification Captions Bring to Road Carnage Print Media Images: A Case of The Herald Newspaper

2020 ◽  
Vol 16 (2) ◽  
Author(s):  
Josephat Mutangadura ◽  
J C Mann ◽  
L Odendaal
Keyword(s):  
Print Media ◽  
Visual Image ◽  
Visual Images ◽  
Media Images ◽  
Verbal Form ◽  
The Road ◽  
Communication Activity

Most visuals in media stories either complement or are complemented by captions that accompany them. This study sought to establish the complementary and clarifying effect of captions that go with road carnage images in The Herald newspaper, a local daily published in Zimbabwe. A study was carried out which involved an interview with photo-journalists from the stable and an analysis of three visual images chosen from the publication. It was established that even as a visual, image can stand alone (but not always); it can tell 95 per cent of the story but will only be complete with an accompanying caption. It was also established that captions need not tell the obvious, but provide that which the picture will be lacking to complete the road carnage story. Captions, therefore, help complete the story as regards the when, where, how, who and what of the depiction. The visual image and the caption combine to complete a communication activity as the verbal and non-verbal form of languages. The study recommends that captions should be edited not only by photo-editors and journalists, but also by practising language people.

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