Contemporary Visual Identities

Author(s):  
Elizete de Azevedo Kreutz

Visual identity is the result of a strategic decision that represents the ideology of an organization, through a set of ways of being and doing that represent a group of individuals in a differentiated way in comparison to other organizations. Seen as a process of representation, it is linked to the socio-historical context and follows the evolution of communication. Based on Thompson's Deep Hermeneutic and the Semantic Basin of Durand, this study presents the evolution of visual identity and the concept of Mutant Visual Identity, both Programmed as well as Poetic. It also presents the Mutant Brand as a contemporary communicational practice that is made up of an aura that must be felt, shared, make sense. It is the emotional nature of the brand.

Politik ◽  
2012 ◽  
Vol 15 (2) ◽  
Author(s):  
Casper Mølck ◽  
Malte Frøslee Ibsen

WikiLeaks has faced much criticism after massive leaks of secret US military les and diplomatic cables, revealing both trivial and compromising details of the superpower’s judgments and actions in international politics. However, in this article we argue that WikiLeaks harbours a democratic potential, which so far has been overlooked, principally because the organisation’s activities have been interpreted within a traditional Weberian theory of power focused on strategic action. Relying on Martin Saar’s re ections on power, we argue that WikiLeaks is more fruitfully understood in terms of an ontological theory of power focused on the subjectivity-constituting function of power and power as a constitutive space of potential ways of being. Placing WikiLeaks within Jürgen Habermas’s diagnosis of our present social and historical context, we argue that WikiLeaks – despite its obvious faults – harbours a democratic potential by constituting the possibility for democratic criticism of globalised functional systems that increasingly undermine the necessary condi- tions for the e cacious exercise of popular sovereignty. 


2021 ◽  
Vol 31 (2) ◽  
pp. 220-236
Author(s):  
Tore Dag Bøe

In this article, I explore the idea that there is a fundamental ethical aspect that precedes social constructionism. I suggest that within social constructionism we can identify a development from seeing knowledge as socially constructed ( epistemological social constructionism) to seeing not only knowledge, but also corporeal ways of being as socially constructed ( ontological social constructionism). As a next step, I propose incorporating what I refer to as ethical realism in social constructionist perspectives. In the encounter with the other human being, I argue that there is a real ethical impulse that precedes social constructionism and puts it in motion. This impulse is real in the sense that it is neither constructed within, nor is it dependent upon, any particular social–cultural–historical context. In this paper I consider the ethical aspects of human encounters that allow for a constructionist epistemology and ontology to emerge in the first place. I make use of ideas from Emmanuel Levinas and Jacques Rancière and consider how these thinkers are used in the work of Gert Biesta. The ideas are discussed in relation to findings from a previous study by the author and his colleagues exploring the experiences of adolescents taking part in mental health services.


Author(s):  
Uygar Abacı

This book offers a comprehensive study of Kant’s views on modal notions of possibility, actuality or existence, and necessity. It aims to locate Kant’s views on these notions in their broader historical context, establish their continuity and transformation across Kant’s precritical and critical texts, and determine their role in the substance as well as the development of Kant’s philosophical project. It makes two overarching claims. First, Kant’s precritical views on modality, which appear in the context of his attempts to revise the ontological argument and are critical of the tradition only from within its prevailing paradigm of modality, develop into a revolutionary theory of modality in his critical period, radicalizing his critique of the ontotheological and rationalist metaphysical tradition. While the traditional paradigm construes modal notions as fundamental ontological predicates, expressing different modes or ways of being of things, Kant’s theory consists in redefining them as subjective and relational features of our discursivity, expressing different modes in which our conceptual representations of objects are related to our cognitive faculty. Second, this revolutionary theory of modality does not only become a crucial component of Kant’s critical epistemology and his radical critique of rationalist metaphysics, but it is in fact directly constitutive of the critical turn itself, as Kant originally formulates the latter in terms of a shift from an ontological to an epistemological approach to the question of possibility. Thus, tracing the development of Kant’s understanding of modality comes to fruition in an alternative reading of Kant’s overall philosophical development.


2021 ◽  
Author(s):  
Liisa Graham

This thesis project analyzes the Pamela Harris Spence Bay Collection, held at the Art Gallery of Ontario (AGO). It is comprised of photographic work produced by Harris while in the Inuit community of Spence Bay, in 1972 and 1973, as well as photographs and documents pertaining to the community darkroom Harris initiated. Harris's photographs capture an Inuit community in transition, encompassing both Northern and Southern ways of being, and analyzed within the historical context of photographic representation of Indigenous communities. The community darkroom is examined through a feminist pedagogical framework, and illustrates how community members utilized photography as a tool of empowerment. This project is analyzed within the political and social contexts of the late 1960s and early 1970s, and explores the themes of community engagement, the politics of representation, and empowerment, and argues that Harris's social consciousness contributed to a shift in Indigenous visual discourse.


2021 ◽  
Author(s):  
Liisa Graham

This thesis project analyzes the Pamela Harris Spence Bay Collection, held at the Art Gallery of Ontario (AGO). It is comprised of photographic work produced by Harris while in the Inuit community of Spence Bay, in 1972 and 1973, as well as photographs and documents pertaining to the community darkroom Harris initiated. Harris's photographs capture an Inuit community in transition, encompassing both Northern and Southern ways of being, and analyzed within the historical context of photographic representation of Indigenous communities. The community darkroom is examined through a feminist pedagogical framework, and illustrates how community members utilized photography as a tool of empowerment. This project is analyzed within the political and social contexts of the late 1960s and early 1970s, and explores the themes of community engagement, the politics of representation, and empowerment, and argues that Harris's social consciousness contributed to a shift in Indigenous visual discourse.


2021 ◽  
pp. 318-334
Author(s):  
Pilar Hernández-Wolfe ◽  
Santos Jamioy Muchavisoy

In this chapter the authors discuss processes of survival and resilience for indigenous communities impacted by the enduring effects of colonization and coloniality. They focus on what resilience means for the Kamentza people, thus relocating the concept to a borderlands space where Western notions of resilience can dialogue with and be transformed by the local context of this community. They situate their analysis within an epistemology of the South; discuss resilience as a process occurring in borderland spaces; offer a narrative about the Kamentza people of Colombia highlighting key struggles, historical processes, and ways of coping with adversity; and finally, offer their view on the type of research/practice that is needed in the future from this perspective. Examining resilience processes within historical context, power differentials, and cultural systems helps us identify the complexities of communities still surviving at the margins of capitalism and Western ways of being.


2011 ◽  
Vol 16 (2) ◽  
pp. 111-117 ◽  
Author(s):  
Ype H. Poortinga ◽  
Ingrid Lunt

The European Association of Psychologists’ Associations (EFPA) was created in 1981 as the European Association of Professional Psychologists’ Associations (EFPPA). We show that Shakespeare’s dictum “What’s in a name?” does not apply here and that the loss of the “first P” (the adjectival “professional”) was resisted for almost two decades and experienced by many as a serious loss. We recount some of the deliberations preceding the change and place these in a broader historical context by drawing parallels with similar developments elsewhere. Much of the argument will refer to an underlying controversy between psychology as a science and the practice of psychology, a controversy that is stronger than in most other sciences, but nevertheless needs to be resolved.


1997 ◽  
Vol 42 (11) ◽  
pp. 990-991
Author(s):  
Isaac Prilleltensky

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