scholarly journals VISUALIDADE E POLÍTICA A PARTIR DE FOUCAULT / Visuality and politics from Foucault

2020 ◽  
Vol 26 (40) ◽  
pp. 283-295
Author(s):  
Marcos Namba Beccari
Keyword(s):  
Visual Culture ◽  
The Gaze ◽  
The Relationship ◽  
Visual Cultures

O artigo delineia algumas coordenadas, a partir de Foucault, para o estudo da relação entre visualidade e política. Embora Foucault não tenha dedicado nenhum estudo a este respeito, é notável a sua influência em alguns dos autores envolvidos nos chamados estudos em cultura visual. Pressupõe-se, aqui, que as culturas visuais são indissociáveis de uma esfera político-discursiva que torna possível a visualidade. Esta, por sua vez, é encarada como um campo de batalha no qual a verdade é disputada. Sob esse prisma, são pontuadas as seguintes coordenadas: política como agonismo, exterioridade constitutiva, verdade como organização do olhar, arqueologia e genealogia da visualidade.Palavras-chave: Foucault; Visualidade; Política; Discurso.AbstractThis paper outlines some coordinates, from Foucault, for the study of the relationship between visuality and politics. Although Foucault has not dedicated any work about this, his influence on some of the authors involved in so-called studies in visual culture is remarkable. Here, it is assumed that visual cultures are inseparable from a political-discursive sphere that makes visuality possible. Visuality, in turn, is defined as a battlefield in which the truth is disputed. Under this bias, the following coordinates are highlighted: politics as agonism, constitutive exteriority, truth as the organization of the gaze, archeology and genealogy of visuality.Keywords: Foucault; Visuality; Politics; Discourse.

scholarly journals Shaping Toronto: female economy and agency in the corset industry, 1871-1914

2021 ◽  
Author(s):  
Alanna M. M. McKnight
Keyword(s):  
Nineteenth Century ◽  
Material Culture ◽  
The Body ◽  
Fashion History ◽  
Women's Bodies ◽  
The Gaze ◽  
Female Consumers ◽  
Private And Public ◽  
Female Bodies ◽  
The Relationship

In amplifying the contours of the body, the corset is an historical site that fashions femininity even as it constricts women’s bodies. This study sits at the intersection of three histories: of commodity consumption, of labour, and of embodiment and subjectivity, arguing that women were active participants in the making, selling, purchasing and wearing of corsets in Toronto, a city that has largely been ignored in fashion history. Between 1871 and 1914 many women worked in large urban factories, and in small, independent manufacturing shops. Toronto’s corset manufacturers were instrumental in the urbanization of Canadian industry, and created employment in which women earned a wage. The women who bought their wares were consumers making informed purchases, enacting agency in consumption and aesthetics; by choosing the style or size of a corset, female consumers were able to control to varying degrees, the shape of their bodies. As a staple in the wardrobe of most nineteenth-century women, the corset complicates the study of conspicuous consumption, as it was a garment that was not meant to be seen, but created a highly visible shape, blurring the lines between private and public viewing of the female body. Marxist analysis of the commodity fetish informs this study, and by acknowledging the ways in which the corset became a fetishized object itself, both signaling the shapeliness of femininity while in fact augmenting and diminishing female bodies. This study will address critical theory regarding the gaze and subjectivity, fashion, and modernity, exploring the relationship women had with corsets through media and advertising. A material culture analysis of extant corsets helps understand how corsets were constructed in Toronto, how the women of Toronto wore them, and to what extent they actually shaped their bodies. Ultimately, it is the aim of this dissertation to eschew common misconceptions about the practice of corsetry and showcase the hidden manner in which women produced goods, labour, and their own bodies in the nineteenth century, within the Canadian context.

scholarly journals Staging tourism: Performing place

2019 ◽  
Author(s):  
Nina Boyd ◽  
Jan Smitheram
Keyword(s):  
Research Methodology ◽  
Dominant Mode ◽  
Paradigmatic Shift ◽  
The Public ◽  
Iterative Design ◽  
The Gaze ◽  
Final Experiment ◽  
Human Scale ◽  
The Relationship ◽  
Design Experiments

This project examines the relationship between architecture and the tourist experience. In architecture, an understanding of the active tourist body is underdeveloped as visuality is often positioned as the dominant mode of analysing tourism. This project mobilizes the tourist by recognising a paradigmatic shift from the”‘gaze” towards “performance”, which privileges the multisensuous experiences of the tourist engaged with architecture. The project investigates how architecture can stage and amplify the performances of tourists in order to produce place, en route. To test this enquiry, a “design through research” methodology is employed where the design proposition is developed through iterative design experiments. The design proposition is explored across three increasing scales, progressing the research through stages of development and refinement. The first experiment engages with the human scale through a 1:1 installation. The next experiment amplifies the practices of performing tourism through the design of a hotel. In the final experiment, the design of an artificial island stages the public performances of tourists.

scholarly journals infância, cultura visual e educação

2020 ◽  
Vol 16 (36) ◽  
pp. 01-20
Author(s):  
Adriana Hoffmann Fernandes ◽  
Helenice Mirabelli Cassino
Keyword(s):  
Elementary School ◽  
Visual Culture ◽  
Philosophical Approach ◽  
Multiple Images ◽  
The World ◽  
Visual Framing ◽  
The Media ◽  
The Relationship ◽  
The Way

This article combines thoughts about childhood, visual culture and education. It is known that we live among multiple images that shape the way we see our reality, and researchers in the visual culture field investigate how this role is played out in our culture. The goal is to make some applications those ideas, to think about the relationship between the images and education. This article tries to grasp what visual culture is and in what ways presumptions about childhood generate and are generated by this association. It also discusses the genesis of these presumptions and the images they generate through a philosophical approach, questioning the role of education in a culture tied to the media, and about how children, who are familiar with multiple screens, presage a new visual literacy. We see how images play a fundamental role in the way children give meaning to the world around them and to themselves, in the context of their local culture. Given this context, it is necessary to consider how visual culture is tied to the elementary school, and what challenges confront the generation of wider and more creative ways to approach visual framing in children’s education.

Grains of Resonance: Affect, Pornography and Visual Sensation

Somatechnics ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 351-368 ◽  
Author(s):  
Susanna Paasonen
Keyword(s):  
Visual Culture ◽  
Power Control ◽  
Visual Sensation ◽  
Media Technologies ◽  
The Gaze ◽  
Methodological Challenges

In studies of pornography to date, feminist theorisations of looking have largely focused on issues of power, control and the gaze. Much, however, remains to be said of being impressed by images and sounds beyond conceptualisations of the gaze. This article investigates the possibilities of resonance as an analytical concept in and for addressing affective intensities in encounters with pornography and, with some reservations, with visual culture more generally. The article argues for the need of tactile concepts for tackling the force of images and our myriad ways of engaging with them – not as mere surfaces but as material entities that we are drawn to and impressed by. Rather than defining resonance as impersonal affective potentiality or force, the article addresses it as dynamic encounters between images, media technologies and the particular, historically layered sensoria of the viewing bodies. By doing so, the article explores both connections and differences between theorisations of affect and the methodological challenges that these distinctions pose.

Gaze-related activity of putative inhibitory burst neurons in the head-free cat

1993 ◽  
Vol 70 (6) ◽  
pp. 2678-2683 ◽  
Author(s):  
K. E. Cullen ◽  
D. Guitton ◽  
C. G. Rey ◽  
W. Jiang
Keyword(s):  
The Body ◽  
Head Movements ◽  
Related Activity ◽  
Visual Axis ◽  
Abducens Nucleus ◽  
Gaze Shifts ◽  
Burst Neurons ◽  
The Gaze ◽  
Output Neurons ◽  
The Relationship

1. Previous studies in the cat have demonstrated that output neurons of the superior collicular as well as brain stem omnipause neurons have discharges that are best correlated, not with the trajectory of the eye in the head but, with the trajectory of the visual axis in space (gaze = eye-in-head + head-in-space) during rapid orienting coordinated eye and head movements. In this study, we describe the gaze-related activity of cat premotor “inhibitory burst neurons”(IBNs) identified on the basis of their position relative to the abducens nucleus. 2. The firing behavior of IBNs was studied during 1) saccades made with the head stationary, 2) active orienting combined eye-head gaze shifts, and 3) passive movements of the head on the body. IBN discharges were well correlated with the duration and amplitude of saccades made when the head was stationary. In both head-free paradigms, the behavior of cat IBNs differed from that of previously described primate “saccade bursters”. The duration of their burst was better correlated with gaze than saccade duration, and the total number of spikes in a burst was well correlated with gaze amplitude and generally poorly correlated with saccade amplitude. The behavior of cat IBNs also differed from that of previously described primate “gaze bursters”. The slope of the relationship between the total number of spikes and gaze amplitude observed during head-free gaze shifts was significantly lower than that observed during head-fixed saccades. 3. These studies suggest that cat IBNs do not fit into the categories of gaze-bursters or saccade-bursters that have been described in primate studies.(ABSTRACT TRUNCATED AT 250 WORDS)

The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media

2021 ◽  
Vol 20 (1) ◽  
pp. 85-112
Author(s):  
Alison Griffiths
Keyword(s):  
New Media ◽  
Visual Culture ◽  
Middle Ages ◽  
Thought Experiment ◽  
Building Blocks ◽  
Roman De La Rose ◽  
The Gaze ◽  
Cinematic Space ◽  
The Rich ◽  
The Middle Ages

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

Pop Culture/Visual Culture

2015 ◽  
Author(s):  
Rebecca Wanzo
Keyword(s):  
Visual Culture ◽  
Performance Studies ◽  
Art History ◽  
Film Studies ◽  
Pop Culture ◽  
Gender And Sexuality ◽  
The Gaze ◽  
Feminist Study ◽  
History Of ◽  
And Performance

Feminist scholars in fields as varied as art history, film studies, cultural studies, literary studies, sociology, communications, and performance studies have made important contributions to discussions about representations of gender and sexuality in everyday life. This chapter examines themes and issues in the feminist study of popular culture and visual culture, including: the history of sexist representation; the gendered nature of the “gaze” and the instability of that concept; the question of whether or not representation has effects; the anxieties surrounding consumption of “women’s texts”; and the challenges in deciphering women’s agency and authorship given constraints produced by institutions and ideology.

Ex-centric Cinema: Machinic Vision in the Powers of Ten and Electronic Cartography

2012 ◽  
Vol 18 (1) ◽  
pp. 99-119 ◽  
Author(s):  
Janet Harbord
Keyword(s):  
Visual Culture ◽  
Google Earth ◽  
The Body ◽  
Educational Film ◽  
Space Travel ◽  
Cultural Form ◽  
Different Dimensions ◽  
The Spectator ◽  
The Relationship ◽  
Made In

After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projector) lacking in human qualities. This article argues that the newly configured body–machine relationship provided by cinema became a marginalized feature of cinematic culture, an ex-centric cinema relegated to the sub-fields of science and educational film. In the mid-20th century the project surfaces spectacularly in the work of pioneering designers Charles and Ray Eames, most poignantly in their film Powers of Ten (first made in 1968, remade in 1977) , a journey into the cosmos and back again into the body of a man. Bringing together discourses of space travel, cartography, physics and cinema, the film moves us towards an understanding of visual culture as an apparatus of calculated possibilities, where visualization replaces representation. If we take the Powers of Ten as a non-representational film, an ex-centric cinematic practice, we uncover non-linear and non-representational ways of apprehending the relationship between bodies and matter. This literal line of flight is one path that cinema may have taken. Its presence, however, is detectable outside of the cinema, in the software programs of electronic cartography copyrighted as Google Earth. The human body is not made virtual by its engagement with calculated visualization but is in turn part of the field of enquiry, equally porous, and definable in various scales and in different dimensions.

scholarly journals The senses as a resource of meaning in the construction of the Stranger: an approach from Georg Simmel’s relational sociology

2017 ◽  
Vol 21 (1) ◽  
pp. 15-41
Author(s):  
Olga Sabido Ramos
Keyword(s):  
Latin American ◽  
Analytical Framework ◽  
Analytical Relation ◽  
Relational Sociology ◽  
The Gaze ◽  
The Senses ◽  
Relationship Of ◽  
The Stranger ◽  
The Relationship ◽  
American Cities

This article explores the analytical relation between senses, space, and the stranger in Simmel’s relational thought. We can say that Simmel provides an analytical framework for thinking of how we create forms of socialization that take place from the senses. The senses mark areas of familiarity and strangeness among people and, the senses are a resource of meaning in the construction and exclusion of the stranger. Specifically, the article recovers Simmel's reflections regarding the relationship of estrangement that develops from the gaze, smell, and hearing, supplemented by recent empirical research in these fields and some examples related to Latin American cities.

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