In contemporary society, ‘the visual’ becomes a traversing denominator passing through the most diverse articulations: from new media, branding, drone vision and robot culture to cityscapes, design and art. The transvisuality project in three volumes promotes the turn away from the predominance of a focus on representations in studies of visual culture. Volume 2 introduces visual organisation in-the-making as an effect of manifold traversing articulations and interconnected practices: how is the ‘stuff’ of visuality—an image like a photograph, an incident on TV, a cinematic oeuvre—intertwined in a range of cultural practices, transformed and transgressed by them in transvisuality. The aim of the book is to map how visual organizations are traversing culture as articulatory practices in situ. The resulting case studies take their departure in different materialities and agencies of empirical, embedded visuality—from canvas to drone camera—and illustrate how transvisuality evolves in and around publics and communities on the one hand and through bodies and media on the other. The visual articulations analysed in this volume span from cellphone videos to forensic images, from biomedia to robots, from bunker ruins to Kalighat pat paintings, from a Palestinian wedding dress to video footage of unknown strangers in a metro, from the Gorgon Stare to movies becoming art installations. While the first volume addresses the boundaries of the notion of visuality and creative openings that visual culture studies offer, the third volume maps visuality in contexts of design, creativity and brand management.
- a broad and daring new approach to visual culture based on research from all continents of the world; - a further build up of the transdisciplinary platform of Transvisuality, inaugurated inn Volume 1 of the series; - a new way of approaching the visual in terms base on key terms such as visual organization and non-representation; - contributors’ backgrounds transcend disciplinary (material culture, memory studies, media aesthetics, film studies, performance studies, literature, postcolonial studies and many more) and geographical borders; - answers current calls for more-than-representational approaches to the visual - the visual is embodied in cognitive and emotional processes, materialized and organised to create meaning and sustain social networks and cohesion.
Marie-Luise Angerer is professor of media and cultural studies at the Academy of Media Arts Cologne, Germany. She is currently working on the relationship of affect & media technology. Her publications include, among others, Vom Begehren nach dem Affekt (Zürich, Berlin: diaphanes, 2007); with C. König), Gender goes Life. Die Lebenswissenschaften als Herausforderung für die Gender Studies (Bielefeld: Transcript, 2008); ‘Affective Troubles and Cinema’ in: B. Bennett, M. Furstenau, and A. Mackenzie (eds), Cinema and Technology. Cultures, Theories, Practices (Hampshire: Palgrave Macmillan, 2008), pp. 214-25; and ‚Feeling the Image: Some Critical Notes on Affect’ in: O. Grau (with T. Veigl) (eds.): Imagery in the 21st Century (Cambridge, Mass., London: MIT Press, 2011), pp. 219-34. Gunhild Borggreen is Associate Professor in Visual Culture at University of Copenhagen. Her research includes issues of performance, gender, and nation in contemporary Japanese art and visual culture. Her publications include ‘Fear of falling: misperformance and re-enactment in national spectacle’, Performance Research, 15: 2 (May 2010) and ‘Cute and Cool in Contemporary Japanese Visual Arts’, Copenhagen Journal of Asian Studies, 29:1 (2011). Her book Disrupted Images. Nation in Contemporary Japanese Visual Culture is forthcoming from Brill. Gunhild was a Japan Foundation Fellow in Tokyo in 2011, where she pursued her interest in visual robot culture. Fiona Cameron, PhD, is a Senior Research Fellow at the Institute for Culture and Society, University of Western Sydney. She has researched and published widely on museums and their agency in contemporary societies around ‘hot’ topics of societal importance and the digital, materiality and museum collections. Fiona has been a chief investigator on seven ARC grants on topics ranging from the agencies of the museum in climate change interventions to material culture, collections, documentation and complexity. She has published widely in heritage, museum, material culture and cultural studies journals. Recent books include three co-edited collections, Theorizing Digital Cultural Heritage: A Critical Discourse (MIT Press 2007) and Hot Topics, Public Culture, Museums (Cambridge Scholars 2010); Climate Change Museum Futures (Routledge, forthcoming),a co-authored monograph, Theorizing Digital Cultural Heritage for a complex, entangled world (MIT Press, forthcoming) and monograph, Unruly governmentalities for an uncertain world Rafael Cardoso is a writer and art historian, with a PhD from the Courtauld Institute of Art / U. London (1995). He is the author of numerous books on the history of Brazilian art and design, the most recent of which are Design para um mundo complexo (2012); Impresso no Brasil, 1808-1930: Destaques da história gráfica no acervo da Biblioteca Nacional (2009); and A arte brasileira em 25 quadros (1790-1930) (2008), as well as several works of fiction. He is associated with the Universidade do Estado do Rio de Janeiro (Instituto de Artes) and is also active as an independent curator. Leora Farber is Director of the Research Centre, Visual Identities in Art and Design (VIAD), Faculty of Art, Design and Architecture, University of Johannesburg. She holds a BA Fine Art (University of the Witwatersrand) and MA Fine Art (cum laude), (University of the Witwatersrand). She works as an artist, arts-writer, editor, and curator. She has published in academic journals, edited three volumes and two themed editions of journals, and has exhibited widely on solo and group exhibitions in South Africa and internationally. She is registered for a practice-based D (Phil) in Visual Art at the University of Pretoria. Asbjørn Grønstad is profesor of visual culture in the Department of information science and media studies at the University of Bergen, where he is also founding director of the Nomadikon Center for Visual Culture. His latest books are Ethics and Images of Pain (co-edited with Henrik Gustafsson, Routledge, 2012) and Screening the Unwatchable: Spaces of Negation in Post-Millennial Art Cinema (Palgrave Macmillan, 2011). He is a founding editor of the journal Ekphrasis: Nordic Journal of Visual Culture. Tore Kristensen is Professor in Strategic Design at Copenhagen Business School, Denmark, affiliated with the Center for Design and Business Development - CDV and Imagine... Creative Industries Research. His latest research areas include creativity and design, consumers' value creation, and transformations of users as created by cultural institutions in art, science, play and culinary experiences. Latest publications include 'The Physical Context of Creativity', in Creativity and Innovation Management, 13.2 (June 2004); together with G. Gabrielsen, R. Wilke, L. Kahle and T. Plenborg, 'Is good design good business?', in G. Rusten and J.R. Bryson (eds.), Industrial Design and Competitiveness: Spatial and Organizational Dimensions (Palgrave Macmillan 2009); and together with G. Gabrielsen and J.L. Zaichkowsky 'Whose design is it anyway? Priming designer and shifting preferences', International Journal of Market Research, 52.1 (2010). Eric Louw, School of Journalism & Communication at the University of Queensland, previously worked at a number of South African universities and also ran a development NGO. Louw has published extensively in the field of political communication. His books are: The Media and Political Process; The Media and Cultural Production; New Voices Over the Air. The Transformation of the South African Broadcasting Corporation in a Changing South Africa;South African Media Policy; The South African Alternative Press; and The Rise, Fall and Legacy of Apartheid. Anders Michelsen is Associate Professor at the Department of Arts and Cultural Studies, University of Copenhagen, where he coordinated the first master program in Visual Culture Studies in Denmark. His research-topics and interests lie within the interdisciplinary field emerging from contemporary art and culture, design and technology, history and globalization, especially as related to visual culture, design, computer media, and creative imaginaries. He has among others co-authored Designmaskinen. Design af den moderne verden [The Design Machine. Design of the Modern World] (1999) and contributed to Kunstteori. Positioner i nutidig kunstdebat [Art Theory. Positions in Contemporary Art Discourse] (1999). He is director of the PeaceWare-platform and co-director of PeaceWare-Somaliland (http://www.peaceware.net/) which focuses on participatory action research in ICT4D. Having worked as a freelance art critic, he is on the board of Atlantica Revista de Arte y Pensamiento, Gran Canaria, Ekfrase: Nordisk Tidsskrift For Visuell Kultur, Bergen and Øjeblikket, Copenhagen. Lila Lee-Morrison is currently a research assistant within the Department of Arts and Cultural Sciences at Lund University as part of an interdisciplinary research initiative with the Department of Ethnography involving the cultural analysis of issues surrounding biopolitics. Her research specifically explores the relationship between visual imaging techniques and the construction of geopolitical landscapes through the contemporary use of biometrics in border control and in drone warfare. She holds a Masters Degree in Visual Culture from Lund University and a Bachelors Degree in Political Science from Hunter College in New York. Her research interests include visual technologies developed for warfare and national security and a study on the historical context of relationships between visuality, technology and society. Outside of academic practice, she draws on and is inspired by her background professional experience and practice of documentary photography. Sarah Mengler is a PhD student in Art History at the University of Cambridge. Her doctoral research is focused on developing new vocabularies for interpreting Indigenous material culture. Sarah was a Research Officer at the University of Western Sydney on the Reconceptualising Heritage Collections project and has also previously worked in the Department of Anthropology, University College London. Khaled Ramadan is a documentarist, curator and cultural writer, working between Europe, Asia and the Arab world. He curated the Maldives Pavilion at the 55th Venice Biennale 2013; Co-curated Manifesta 8, Spain; Guangzhou Triennial, Guangdong Museum of Modern Art, China; and projects for UCCA, Beijing, and Museo Nacional Centro de Arte Reina Sofía, Madrid. He worked as senior advisor for the Manifesta Foundation, NL; Spanish Art Council; Maldives Ministry of Culture; the Danish Art Council and the Nordic Institute for Contemporary Art (NIFCA). He published several books and articles in international publications, e.g. BRUMARIA (Spain), Manifesta Journal, NL; and Peripheral Insider, Copenhagen University Press. In 2009 Al-Jazeera TV produced a documentary about Ramadan’s activities. He is member of the International Association of Curators of Contemporary Art (IKT) and The International Association of Art Critics (AICA) www.chamberarchive.org | www.artconsultancy.info Sambudha Sen is a Professor of English at the University of Delhi. He is the author of London, Radical Expression and the Making of the Dickensian Aesthetic ( Ohio State University Press, 2012) and with four others Khaki Shorts and Saffron Flags ( Longman: 1993). His essays on the print culture of nineteenth century Britain have appeared in journals like Representations, English Literary History and Nineteenth Century Literature. Karl Erik Schøllhammer is Phd in Semiotics and Latin American Literature from Aarhus University and associate professor in Literary Studies at the Ponteficia Universidade Católica in Rio de Janeiro. Since 2011 he is Chair of the Department of Letters at PUC-Rio. He is author, co-author and organizer of several books. His most recent titles of integral authorship are Além do visível - o olhar da literatura (2007), Ficção brasileira contemporânea (2009 & 2011) and Cena do Crime (Fortcoming May 2013). Bodil Marie Stavning Thomsen (b. 1956) is Associate Professor at the Department of Aesthetics and Communication, Aarhus University. Her research in visual culture includes fashion, film, video and new media interfaces. Recent publications: ‘The Haptic Interface: On Signal Transmissions and Events’, in C. U. Andersen and S. B. Pold (eds.): Interface Criticism: Aesthetics Beyond Buttons (Aarhus University Press: Aarhus 2011) and ‘The Signaletic, Haptic and Real-Time Material’, in Jørgensen, Sundholm and Thomsen (eds.), From Sign to Signal, a cluster of articles in Journal of Aesthetics and Culture, vol. 4, 2012. (http://www.aestheticsandculture.net/index.php/jac). Kassandra Wellendorf is a film director and media artist with a B.A. in Film and Media Studies and a M.A. in Visual Culture from the University of Copenhagen. Wellendorf has produced films and video art since the Nineties and has participated in a large number of international festivals. She has exhibited video installations at the National Museum of Denmark, Kunstmuseum Magdeburg (DE), Skive Art Museum (DK) & the Museum of Contemporary Art (DK). During the last five years, she has primarily specialized in interactive media art and performance. Employed as Teaching Associate Professor, Department of Arts and Cultural Studies, University of Copenhagen. Frauke Wiegand is currently a PhD student in Visual Culture at the Copenhagen Doctoral School for Cultural Studies, Literature and the Arts. She graduated in African studies and media studies from Humboldt and Freie Universität Berlin with extensive stays in Southern Africa. Her PhD project maps the interplay of situated experiential remembering and objects of cultural memory at tourist sites of ‘difficult heritage’. Her research interests include the dynamics of cultural memory formation, post-colonial thinking, global im/mobilities, and imaginaries and ideas of ‘Africa’ and the South in contemporary media and arts.