Estética post-humana en la obra gráfica de Claudio Romo

This paper considers the graphic work of the Chilean artist Claudio Romo from a post-human perspective. Romo's work realizes an opening of imaginaries, above all, new configurations of human being, in order to reconsider the boundaries of human nature and propose a new humanism in relation to a new understanding of modernity. After a theoretical tour of post-humanism, especially of Rosi Braidotti's philosophical nomadism, the paper will approach the post-human bestiary that elaborates Romo, on the one hand, as a questioning of access to empirical realities and, on the other hand, as a presentation of potential life forms. The paper will conclude on the presence, in Romo’s work, of a new affirmative humanism, that is, the experimentation of new modes of subjectivization, as well as the approach of new modes of knowledge.

Chaos Theory Is For Lovers

<p>This portfolio includes creative writing that was undertaken at the International Institute of Modern Letters in 2012. The project also features illustration, photography, cartoons and other graphic work alongside my writing. CHAOS THEORY IS FOR LOVERS subscribes to the DIY aesthetic I employ as a comic and self-published zinemaker. Once I completed this very challenging body of written work, I wanted to give the text a fun and experimental visual life. I hope this portfolio is as rewarding to read as it was to create.</p>

Chaos Theory Is For Lovers

<p>This portfolio includes creative writing that was undertaken at the International Institute of Modern Letters in 2012. The project also features illustration, photography, cartoons and other graphic work alongside my writing. CHAOS THEORY IS FOR LOVERS subscribes to the DIY aesthetic I employ as a comic and self-published zinemaker. Once I completed this very challenging body of written work, I wanted to give the text a fun and experimental visual life. I hope this portfolio is as rewarding to read as it was to create.</p>

Efektivitas Flat Design dalam Motion Graphic “Pentingnya Rating Usia Film Bagi Anak”

AbstrakAktivitas menonton film adalah salah satu bentuk hiburan bagi masyarakat, baik di bioskop maupun melalui kanal streaming online. Saat ke bioskop kadang kita melihat orang tua yang membawa anaknya menonton film yang tidak sesuai rating usianya. Hal tersebut tentu saja dapat memberikan dampak buruk bagi anak. Meskipun rating usia penonton film selalu tertera di tiap media promosinya, namun tetap saja masih sering ditemui orang tua yang acuh akan hal tersebut. Maka dari itu penelitian ini bertujuan untuk mendukung rancangan motion graphic tentang sosialisasi pentingnya rating film, khususnya untuk target para orang tua. Dengan menganalisa efektivitas karya motion graphic tersebut melalui pendekatan kualitatif, diharapkan dapat membantu para orang tua supaya lebih bijak dan selektif dalam memilih film untuk ditonton bersama anaknya di bioskop. Elemen visual yang menerapkan gaya flat design akan dianalisa menggunakan prinsip-prinsip motion graphic untuk menentukan efektivitasnya.Kata kunci: motion graphic, rating usia film, flat designAbstractThe activity of watching movies is a form of entertainment for the community, both in the cinema and through online streaming channels. When we go to the cinema, we sometimes see parents bringing their children to watch films that do not match their age rating. This of course can have bad impacts on children. Eventhough the age rating of film viewers is always listed in each of the promotional media, parents still often find it indifferent. Therefore, this study aims to support the design of motion graphics about the socialization of the film ratings importance, especially for the parents. By analyzing the effectiveness of motion graphic work through a qualitative approach, it is hoped that it can help parents to be wiser and more selective in choosing films to watch with their children in theaters. The visual elements that apply the flat design style will be analyzed using motion graphic principles to determine their effectiveness.Keywords: motion graphic, film age-rating, flat design

Crafting Lissa, an Ethno-Graphic Story

This chapter discusses Lissa: A Story about Medical Promise, Friendship, and Revolution, an inaugural book of the University of Toronto Press that is based on Sherine Hamdy's ethnographic work on organ transplantation in Egypt and Coleman Nye's research on cancer genetics in the United States. It describes Lissa as a graphic work of what the groundbreaking ethnographic filmmaker Jean Rouch called “ethnofiction.” It also follows two women in Lissa as they grapple with difficult medical decisions in the context of the popular uprisings that began in January 2011. The chapter explores the collaborative dimension of Lissa at the heart of its success in reaching a range of audiences within and beyond anthropology, while also making valuable methodological contributions to the field. It cites Lissa as a unique example of the possibilities of collaborative scholarship to unsettle conventional ideas of authorship, expertise, voice, text, theory, and study.

Forging intragenerational and common memories: Revisiting Paracuellos’s graphic violence in times of confinement

In our times of confinement, cultural production has become as important as it is precarious. Reading habits were revamped during the most stringent moments of the early lockdown. Some would consume new products, some would revisit their favourite classics. In this article, I analyse Carlos Giménez’s pioneering graphic work, a(n) (auto)biographical series of comics surrounding children’s experiences in Francoist orphanages, or ‘Homes’ (Hogares de Auxilio). I argue that Paracuellos operates as an isotopic and confining device at formal, thematic, intragenerational and affecting levels. It displays an aesthetic of confinement and brings together a set of core themes that generate a continuum of isotopic semantics, catalysing the work’s capacity to affect and be affected. Graphic violence is as its core and serves as the main constant, be that presently exercised or absently loomed, in a context of pathos, loss and scarcity. This article further explores how the comics series pulls back the veil on the folds of early Francoism as well as the later transition to democracy, a period of ‘lockdown’ for cultural memory in general, and for the experienced confinement in the Francoist ‘Homes’ in particular. The piece suggests that in retrieving this collection of common memories of recurrent episodes of violence experienced individually, Giménez’s work ultimately nuances the monolithic concept of collective memory within cultural production.

Schulzowska „teoria obrazu” w interpretacji Anny Juraschek

The article is a review of and a discussion with the recent monograph by Anna Juraschek, Die Rettung des Bildes im Wort. Bruno Schulz’ Bild-Idee in seinem prosaischen und bildnerischen Werk, Göttingen 2016. Juraschek has put forward the following thesis: alongside his own specific philosophy of language expressed in his narrative works and essays, Bruno Schulz also suggests a particular philosophy of image/picture, which he develops in his visual art. This “program” is not specified and may be reconstructed only by interpreting his graphic works; it is, however, corroborated by the poetics of Schulz’ stories. Juraschek regards the “word” and the “image” in Schulz as artistic entities, and emphasizes the visual nature of his fiction and the narrative qualities of his graphic works. She points at Schulz’s crossing of the boundaries between different arts and claims that the writer criticizes the very notion of mimesis (a statement that, according to the reviewer, may be questioned). Juraschek tries to reconstruct the main sources inspiring Schulz’s idea of image/picture: the classic European painting, German literature (i.e. Leopold von Sacher-Masoch and Joseph von Eichendorff), as well as German philosophers and cultural critics such as Walter Benjamin. According to the reviewer, there are three points that Juraschek’s study can contribute to Schulz studies. First, the German scholar succeeds in systematizing different kinds of verbo-visual relations and interactions in Schulz’s oeuvre. Second, she fully appreciates his graphic work which thus far seems to have been undervalued, especially by Polish scholars. Last but not least, Juraschek brings to the fore some striking affinities between the ideas of Schulz and those of Walter Benjamin. As a possible background of interpreting Schulz, the philosophical writings of Benjamin are a context which certainly deserves more investigation.

FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves

Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.