Suchergebnisse

International audience ; L'essor des Visual Studies dans le monde académique étasunien durant les années 1990 s'inscrit dans le sillage de l'institutionnalisation des Cultural Studies outre-Atlantique. Il implique spécifiquement le décentrement de la discipline de l'histoire de l'art vers l'étude interdisciplinaire des visibilités socioculturelles. Cet article revient sur la montée en puissance de ces études dans un climat encore marqué par les « guerres culturelles » engagées par la droite néoconservatrice à l'encontre de certaines franges du champ universitaire et artistique au cours des années 1980. En abordant les conflits suscités par les Visual Studies au sein de la gauche intellectuelle comme un élément inhérent à leur définition savante, il analyse certaines politisations académiques des notions de « culture visuelle » et d'« études visuelles » dans le contexte d'une importation et d'une redéfinition françaises actives de ces catégories.

International audience ; L'essor des Visual Studies dans le monde académique étasunien durant les années 1990 s'inscrit dans le sillage de l'institutionnalisation des Cultural Studies outre-Atlantique. Il implique spécifiquement le décentrement de la discipline de l'histoire de l'art vers l'étude interdisciplinaire des visibilités socioculturelles. Cet article revient sur la montée en puissance de ces études dans un climat encore marqué par les « guerres culturelles » engagées par la droite néoconservatrice à l'encontre de certaines franges du champ universitaire et artistique au cours des années 1980. En abordant les conflits suscités par les Visual Studies au sein de la gauche intellectuelle comme un élément inhérent à leur définition savante, il analyse certaines politisations académiques des notions de « culture visuelle » et d'« études visuelles » dans le contexte d'une importation et d'une redéfinition françaises actives de ces catégories.

Drawing on a critical overview of Jay David Bolter's volume Digital Plenitude (2019), the essay aims to provide a contribution to the theoretical debate on user experience design in the system of digital image displacement that is definable as "visual plenitude." The starting hypothesis is that today's visual plenitude – characterized by the hybridization of high and popular culture, old and new media, conservative and radical political instances – promotes self-reflective user experiences and forms of trainings to its very visual procedures. In particular, by navigating along the epistemological dichotomies identified by Bolter (catharsis/flow, originality/remix, spontaneity/procedurality, history/simulation), and by using the tools of software and visual studies, we will examine an "imaginary media" presented in the episode of the animated series Rick & Morty (Adult Swim, 2015-) titled The Vat of Acid Episode (2020), where Rick builds his nephew Morty a remote control that allows him to save and reload moments of his real life. The story of this device is considered as an example of "visual training" which guides the character and the spectators through the power relations among forms of audiovisual narration and strategies of capitalization of the imaginary, transparent uses and fantasies linked to digital display devices and invisible and material consequences linked to their global usage. ; Partendo da una ricognizione critica del volume Plenitudine digitale di Jay David Bolter (2019), il saggio intende fornire un contributo al dibattito teorico sull'esperienza utente nel sistema di produzione e disposizione delle immagini digitali che è definibile come "plenitudine visuale". L'ipotesi di partenza è che l'odierna plenitudine visuale - caratterizzata dall'ibridazione fra cultura alta e popolare, vecchi e nuovi media, istanze politiche conservatrici e radicali - promuova esperienze utente di auto-riflessione e addestramento alle stesse procedure visuali. In particolare, navigando lungo le dicotomie epistemologiche individuate da Bolter (catarsi/flusso, originalità/remix, spontaneità/proceduralità, storia/simulazione), e adoperando gli strumenti dei software e visual studies, si prenderà in esame un "media immaginario" presentato nella puntata della serie animata Rick & Morty (Adult Swim, 2015-) intitolata The Vat of Acid Episode (L'episodio della vasca d'acido, 2020), dove Rick costruisce al nipote Morty un telecomando che gli permette di salvare e ricaricare istanti della propria vita reale. La storia di questo device è inquadrata come oggetto di training visuale per guidare il personaggio e lo spettatore fra le relazioni di potere che intercorrono tra forme del racconto audiovisivo e strategie di capitalizzazione dell'immaginario, utilizzi trasparenti e fantasie legate ai dispositivi di visione digitali e conseguenze invisibili e materiali connesse al loro utilizzo globale.

Loin to be reduced to the question of relationship between text and image and logocentrism, the novel study of the relationship between Visual Studies and iconology shows that any logos of and on images have a theoretical but also practical, ideological or even idolâtric dimension. Based on a genealogy of iconology, from Philostrate to Cesare Ripa, from Luther to Bacon, from Jesuit to W. J. T. Mitchell, an archaeology of Visual Studies shows that, successively knowing by image and knowing the image, iconology goes beyond the artistic sphere from the outset to place the question of the meaning and power of images in the rhetorical, religious and political field. ; Loin de se réduire à la question des rapports entre texte et image et du logocentrisme, l'étude inédite des rapports entre Visual Studies et iconologie montre que tout logos des et sur les images engage une dimension théorique mais aussi pratique, idéologique voire idolâtrique. S'appuyant sur une généalogie de l'iconologie, de Philostrate à Cesare Ripa, de Luther à Bacon, des jésuites à W. J. T. Mitchell, une archéologie des Visual Studies montre que, successivement savoir par l'image et savoir sur l'image, l'iconologie dépasse d'emblée la sphère artistique pour situer la question du sens et du pouvoir des images dans le champ rhétorique, religieux et politique.

William Penn's place in the history of political philosophy is both unique and peculiar. His works raised the interest of contemporary thinkers such as Voltaire and Montesquieu, who also praised his practical contribution as legislator for the British colony of Pennsylvania as well as peacemaker with the Native people of North America. After falling into relative oblivion over the course of the Nineteenth Century, Penn's figure attracted renewed scholarly interest in the 1920s and '30s, at the height of totalitarianism, when he was newly appreciated as an early prophet of pacifism, Europeanism, and cosmopolitanism. In 1979, almost three centuries after the publication of his project for European peace, Penn's ideas were at least in part realized with the first direct election of the European Parliament. Today, his works are still worth considering, particularly for his thoughtful reflections on the aristocracy of merit or virtue, a subject at the very core of his thinking.

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

The 43rd UID conference, held in Genova, takes up the theme of 'Dialogues' as practice and debate on many fundamental topics in our social life, especially in these complex and not yet resolved times. The city of Genova offers the opportunity to ponder on the value of comparison and on the possibilities for the community, naturally focused on the aspects that concern us, as professors, researchers, disseminators of knowledge, or on all the possibile meanings of the discipline of representation and its dialogue with 'others', which we have broadly catalogued in three macro areas: History, Semiotics, Science / Technology. Therefore, "dialogue" as a profitable exchange based on a common language, without which it is impossible to comprehend and understand one another; and the graphic sign that connotes the conference is the precise transcription of this concept: the title 'translated' into signs, derived from the visual alphabet designed for the visual identity of the UID since 2017. There are many topics which refer to three macro sessions: - Witnessing (signs and history) - Communicating (signs and semiotics) - Experimenting (signs and sciences) Thanks to the different points of view, an exceptional resource of our disciplinary area, we want to try to outline the prevailing theoretical-operational synergies, the collaborative lines of an instrumental nature, the recent updates of the repertoires of images that attest and nourish the relations among representation, history, semiotics, sciences.

A lack of media art in Iceland at the turn of last century, whether electronic or digital, initiated this research. The deficiency encouraged the author to undertake analysis of the history of art in Iceland, at a time when it was becoming independent from Denmark. This period is characterized by the nation's quest of identity, where the definition of cultural particularity dominated the discourse on art. By placing the art of the past in the context of the colony, and modern art in that of the struggle for independence, it is possible to show that the lack of media arts can be explained by the postcolonial situation after the war. Finally, it shows how the isolation of artists was broken in this context. To conclude it examines how the political and cultural institutions have reacted to the globalization of electronic and digital technology that has contributed to change the artistic creation and practices. ; Une absence d'oeuvres d'art des médias en Islande au tournant du siècle dernier, qu'elles soient électroniques ou numériques, a initié cette recherche. Elle a incité l'auteur à entreprendre une analyse de l'histoire des arts plastiques du pays au moment où il était en train de devenir indépendant du Danemark. Cette période est marquée par une quête identitaire, où la définition de la particularité culturelle a dominé le discours sur l'art. En plaçant l'art du passé dans le contexte de la colonie, et l'art moderne dans celui de la lutte pour l'indépendance, il devient possible de montrer que l'absence des arts des médias peut être expliquée par le contexte postcolonial de l'après-guerre. Elle montre finalement comment l'isolement des artistes a été brisé dans ce contexte. Pour finir elle examine comment le pouvoir politique et les institutions culturelles ont réagi à la globalisation des technologies électroniques et numériques qui ont contribué à changer la création et la pratique artistique.

A lack of media art in Iceland at the turn of last century, whether electronic or digital, initiated this research. The deficiency encouraged the author to undertake analysis of the history of art in Iceland, at a time when it was becoming independent from Denmark. This period is characterized by the nation's quest of identity, where the definition of cultural particularity dominated the discourse on art. By placing the art of the past in the context of the colony, and modern art in that of the struggle for independence, it is possible to show that the lack of media arts can be explained by the postcolonial situation after the war. Finally, it shows how the isolation of artists was broken in this context. To conclude it examines how the political and cultural institutions have reacted to the globalization of electronic and digital technology that has contributed to change the artistic creation and practices. ; Une absence d'oeuvres d'art des médias en Islande au tournant du siècle dernier, qu'elles soient électroniques ou numériques, a initié cette recherche. Elle a incité l'auteur à entreprendre une analyse de l'histoire des arts plastiques du pays au moment où il était en train de devenir indépendant du Danemark. Cette période est marquée par une quête identitaire, où la définition de la particularité culturelle a dominé le discours sur l'art. En plaçant l'art du passé dans le contexte de la colonie, et l'art moderne dans celui de la lutte pour l'indépendance, il devient possible de montrer que l'absence des arts des médias peut être expliquée par le contexte postcolonial de l'après-guerre. Elle montre finalement comment l'isolement des artistes a été brisé dans ce contexte. Pour finir elle examine comment le pouvoir politique et les institutions culturelles ont réagi à la globalisation des technologies électroniques et numériques qui ont contribué à changer la création et la pratique artistique.

A lack of media art in Iceland at the turn of last century, whether electronic or digital, initiated this research. The deficiency encouraged the author to undertake analysis of the history of art in Iceland, at a time when it was becoming independent from Denmark. This period is characterized by the nation's quest of identity, where the definition of cultural particularity dominated the discourse on art. By placing the art of the past in the context of the colony, and modern art in that of the struggle for independence, it is possible to show that the lack of media arts can be explained by the postcolonial situation after the war. Finally, it shows how the isolation of artists was broken in this context. To conclude it examines how the political and cultural institutions have reacted to the globalization of electronic and digital technology that has contributed to change the artistic creation and practices. ; Une absence d'oeuvres d'art des médias en Islande au tournant du siècle dernier, qu'elles soient électroniques ou numériques, a initié cette recherche. Elle a incité l'auteur à entreprendre une analyse de l'histoire des arts plastiques du pays au moment où il était en train de devenir indépendant du Danemark. Cette période est marquée par une quête identitaire, où la définition de la particularité culturelle a dominé le discours sur l'art. En plaçant l'art du passé dans le contexte de la colonie, et l'art moderne dans celui de la lutte pour l'indépendance, il devient possible de montrer que l'absence des arts des médias peut être expliquée par le contexte postcolonial de l'après-guerre. Elle montre finalement comment l'isolement des artistes a été brisé dans ce contexte. Pour finir elle examine comment le pouvoir politique et les institutions culturelles ont réagi à la globalisation des technologies électroniques et numériques qui ont contribué à changer la création et la pratique artistique.