Refract: An Open Access Visual Studies Journal最新文献_第6页

Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes 纯粹的形象:卡拉瓦乔、精湛技艺和美杜莎的回避的眼睛

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151222

Hana Nikčević

引用次数: 0

Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire 摄影测量与中山馆——重建文溪大火的城市记忆

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151258

H. Chang

{"title":"Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire","authors":"H. Chang","doi":"10.5070/r73151258","DOIUrl":"https://doi.org/10.5070/r73151258","url":null,"abstract":"Author(s): Chang, Haoran | Abstract: In accordance with the government’s scorched-earth policy, on November 12, 1938, a devastating fire was started in the city of Changsha, China. This military strategy calls for the intentional burning and destruction of all valuable resources, such as buildings, food, and transportation infrastructure, to prevent the invading enemy from utilizing them. During the Second Sino-Japanese War (1937–1945), the governor of Changsha followed instructions from the Nationalist government to execute this scorched-earth policy. Yet officials mistakenly initiated the fire too quickly and destroyed the more-than-three-thousand-year-old city. In this fire, thousands of people lost their lives, and the majority of the city’s buildings were destroyed. Referred to today as the Changsha Fire of 1938, or the Wenxi Fire, this event left Changsha one of the most damaged cities during World War II, alongside Stalingrad, Hiroshima, and Nagasaki. Zhongshan Pavilion is one of the few architectural structures that survived the 1938 Wenxi Fire. As technology widely applied in cultural preservation, photogrammetry can play a significant role in preserving this structure for future generations. Yet this project intends to further the conversation about the role of photogrammetry in memory preservation by considering the Zhongshan Pavilion as a heterogeneous site. The resulting virtual 3-D model opens new potentialities in challenging historical narratives that are told in the singular voice (the state’s) as presented at the physical site in Changsha. Rather than following the path of criticizing digitalization as an extension and magnification of fragmentedness and rootlessness, the constructed virtual 3-D model of Zhongshan Pavilion may expand the fixed and structured memory preserved in the physical location and bring vitality to the preservation of multiple memories in a new kind of public space.","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127032441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa 奖杯与吸引力:德属西南非洲的殖民摄影与目击幽灵

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151257

JB Brager

{"title":"The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa","authors":"JB Brager","doi":"10.5070/r73151257","DOIUrl":"https://doi.org/10.5070/r73151257","url":null,"abstract":"Author(s): Brager, JB | Abstract: To work with images of atrocity is a fraught project. Sedimented constructs shaped through racist and settler colonial violence continue to define the production and consumption of the visual, as well as memory practice and scopic politics. These retinal sedimentations must be looked at plainly and addressed openly, to name the ways in which history and identity shape the function of the eye. I turn to the understudied visual archive of German colonialism in South West Africa, with an emphasis on colonial photography, with the aim of tying the visuality of colonial violence in German South West Africa to broader studies of colonial photography, images of racial violence, and the ways in which these images circulated as discourse. I am particularly concerned with the location of witnessing, and the ways in which things look differently from different positions—what I refer to through the concept of parallax—and the effects of this on visual consumption. Images of violence travel, through a visceral witnessing that can be grotesquely pornographic—in the words of Claudia Rankine, “the dead body as an object that satisfies an illicit desire”—or evidentiary. I use viscerality in this context to think about a methodology of witnessing that attends to embodiment, experience, and feeling. The resignification of images, however didactic and captioned, depends on the eye and the gut of the viewer—the transhistorical viewer is not a passive or innocent witness. This is especially important in the context of the pornotroping tendency of white supremacist culture to fetishize the image, particularly of Black injury and death, and the ability of images of violence to re-traumatize survivors.","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"195 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132491833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Traces, Fragments and Voids: An Artist Representing Detroit's Vanishing Homeland 痕迹、碎片与空洞:一位代表底特律消失家园的艺术家

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151221

W. Sage

引用次数: 0

Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space 城市记忆中的权力几何:透过空间再现的概念解读塔克西姆广场

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151200

Ceren Göǧüş, Asiye Akgün Gültekin

{"title":"Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space","authors":"Ceren Göǧüş, Asiye Akgün Gültekin","doi":"10.5070/r73151200","DOIUrl":"https://doi.org/10.5070/r73151200","url":null,"abstract":"Author(s): Goǧus, Ceren; Akgun Gultekin, Asiye | Abstract: Can memory be manipulated? How far can the will to remember resist the manipulation of the hierarchy? Isolation and exclusion are still useful as disciplinary tools of power. Since this is the case, what role do so-called public spaces serve in memorializing certain isolated histories while separating and thus excluding others? If memory spaces exist in correlation with loss of memory, can searching for traces underneath the layers be the worst enemy of forgetting? How can the search for traces in official spatial histories reveal whose memory is being prioritized as truthful historical account and whose memory has been forgotten? Official spatial histories demand that certain memories are forgotten and thus delegitimized; does this render the readings of spaces as alternative memorialization meaningless? If so, does trying to create memory spaces cause monumentality independent from memory? Does the very act of formalizing spaces of memory create a certain monumentality independent from those who remember it? How will urban geographies, condemned to be symbolic spaces of politics, resist this?","PeriodicalId":343897,"journal":{"name":"Refract: An Open Access Visual Studies Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121177710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Interview with Boreth Ly on Her New Book, Traces of Trauma 采访博思·莱，谈她的新书《创伤的痕迹》

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151198

Boreth Ly, Catherine Ries, Michelle Yee, Christina Ayson Plank

引用次数: 0

Floodplain (126) 泛滥平原(126)

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151225

Montana Torrey

引用次数: 0

Douce Mélancholie: Sonic Negotiations of Absence in the Works of Susan Philipsz and Félicia Atkinson 杜斯·姆姆兰切利:苏珊·菲利普兹和菲姆西娅·阿特金森作品中缺席的声音谈判

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151224

Jenny Wu

引用次数: 0

Mining Things: Confronting Loss and Flux in the Slate Industry Ruins of Northwest Wales 采矿物:面对西北威尔士石板工业遗址的失落与变迁

Refract: An Open Access Visual Studies Journal Pub Date : 2020-12-21 DOI: 10.5070/r73151201

Seb Wigdel-Bowcott

引用次数: 0

Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon 跨自我影像实践、非殖民化摄影与Alok Vaid-Menon的作品

Refract: An Open Access Visual Studies Journal Pub Date : 2019-11-11 DOI: 10.5070/r72145857

A. Lehner

引用次数: 6