Suchergebnisse

Au cours des dernières années, le selfie est devenu une pratique culturelle quotidienne et un genre photographique d'une popularité extraordinaire – accompagné, peut-être inévitablement, par des controverses et une certaine hostilité du public. Dans le même temps, le selfie est devenu un nouvel objet d'intérêt scientifique. Et pourtant, peu de travaux ont théorisé l'esthétique du selfie. Cet article cherche à combler cette lacune. Reconfigurant trois concepts de la théorie de la photographie traditionnelle – l'indexicalité, la composition et le reflet – l'article soutient que le selfie est une image gestuelle qui transforme la représentation figurative quotidienne en un instrument de sociabilité médiatisée et incarnée. Les selfies intègrent ostensiblement les images fixes dans un circuit techno-culturel d'énergie sociale corporelle : ce circuit relie les corps des utilisateurs et leur mobilité macro-spatiale, à travers des lieux réels, et les mouvements micro-corporels des mains et des yeux qu'ils utilisent pour activer des interfaces numériques.

How do the aesthetic attributes of digital interfaces affect users' ability to respond morally to the witnessing of suffering? Focusing on mainstream Graphical User Interfaces (GUI), this article proposes a phenomenology of user experience centred on the moral obligations of attending to, engaging with and acting upon digitized Holocaust survivor testimonies. The GUI, it argues, produces a regimen of eye–hand–screen relations that oscillates between 'operative' and 'hermeneutic' modes of embodied attention, creating a default condition of bodily restlessness that threatens prolonged, empathetic encounters with depicted others. Nevertheless, interface attributes of real-time screen interaction, haptic sensuousness and user-indexicality enable moral engagement with the witness-survivor, while translating information-sharing into the moral action of co-witnessing. These attributes enable an 'ethics of kinaesthetics' that converts sensorimotor responsiveness into moral responsibility. Digital interfaces have established a historically novel situation, where moral response to distant suffering depends on the smallest movements of our fingers and eyes.

This article proposes some physiognomic speculations regarding three visual characteristics of television in its pre-digital-broadcasting form: (1) the importance of the head shot as a staple technique for representing the human figure and, hence, the primacy of the human face as a televisual image; (2) the mirrorlike reflective surface of the cathode-ray tube television screen, which makes the viewer's reflected image appear to emanate from the depths of the television set; and (3) the box-like design of television sets that turns them into miniature containers of the pictures they show. It argues that these three characteristics amounted to an integrated communicative structure that made television a key mechanism for the social construction of humanity in the second half of the twentieth century, a mechanism whose future is uncertain in the age of new digital platforms.

This article proposes some physiognomic speculations regarding three visual characteristics of television in its pre-digital-broadcasting form: (1) the importance of the head shot as a staple technique for representing the human figure and, hence, the primacy of the human face as a televisual image; (2) the mirror like reflective surface of the cathode-ray tube television screen, which makes the viewer's reflected image appear to emanate from the depths of the television set; and (3) the box-like design of television sets that turns them into miniature containers of the pictures they show. It argues that these three characteristics amounted to an integrated communicative structure that made television a key mechanism for the social construction of humanity in the second half of the twentieth century, a mechanism whose future is uncertain in the age of new digital platforms. [Reprinted by permission of Sage Publications Inc., copyright The American Academy of Political and Social Science.]

A substantial share of the photographs that are used in advertisements, product packaging, corporate marketing and website design are supplied by the stock photography business. Nevertheless, this global, billion-dollar industry, dominated by a handful of transnational corporations, remains largely invisible to consumers and has been almost totally neglected by cultural analysts. This article attempts to redress that neglect and lift the veil on a powerful force in contemporary visual culture. First it places stock photography in social and historical context, examining the consolidation of the business in its modern form in the 1970s and 1980s and setting out its core practices and discourses in the broader context of commercial culture and advertising. Next it employs the key industry terms `success' and `meaning' to offer an integrated analysis of stock photography both as a system of cultural production and as a mode of representation.

Contemporary artificial intelligence and algorithmic processes address deep-seated existential challenges and modes of desire. In so doing, they produce computational systems of imagination, an "algorithmic as if" that enables the expression, transformation, and seeming overcoming of existential limitations via technological means. This article elaborates the character of the "algorithmic as if" by focusing on Deep Nostalgia, an online tool that turns personal photographs of the deceased into looped animations which smile, blink, and move, promising to overcome mortality by technologically "resurrecting the dead." Performing a close-reading of Deep Nostalgia's technological processes and the public discourse around its 2021 launch, the article highlights its combination of computational learning, forms of visual representation (photography, video, and animation), and distinctive realignments of temporal experience. Together, these frame the "algorithmic as if" as a magical and affective space for realizing impossible longings that are also reflexive encounters with the "limit-situation" of human mortality.

This exploratory study attempts to explain how journalistic routines for covering violent conflict lead to the construction of ethnocentric news. A distinction is made between two sets of routines. One set is permanent and ensures ethnocentric control over the flow of information, while a second set varies as journalists construct coherent narratives for particular events. This latter set of routines is further broken down into what are labeled the `Victims Mode' and `Defensive Mode' of reporting. The Victims Mode is used when one's own citizens have suffered an especially tragic loss of life, while the Defensive Mode is employed when one's forces have carried out an attack that has inflicted a similar loss on the enemy. It is argued that each of these modes of reporting parallels psychological reactions that have been found in individuals. The ideas raised in the theoretical discussion are investigated by comparing coverage of two events by Israeli and Palestinian television. Two events were chosen for analysis: a Palestinian suicide bombing that killed 19 Israelis, and the killing of Hamas leader Sheik Salach Shehadeh in which 16 Palestinians were killed. An in-depth reading of the six news broadcasts provides important insights into how journalists' routines ensure a steady flow of culturally acceptable news stories that reinforce hatred between enemies.