Search results for: visuality

Authors: Hsiao-Yung Wang

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This study aims to explore the visual roots of classical rhetoric and its implication for gender politics by the constant reference to Mikhail Bakhtin’s theory of novelist time. First, it attempts to clarify the argument that “visuality always has been integral to rhetorical consciousness” by critically re-reading the rhetorical theories of roman rhetorician such as Cicero and Quintilian. Thereby, the vague clues of visuality would be realized from the so-called ‘five canons of rhetoric’ (invention, arrangement, style, memory, and delivery), which originally deriving from verbal and spoken rhetorical tradition. Drawing on Mikhail Bakhtin’s elaboration of novelist time in contrast to epic time, it addresses the specific timeline inherent in the dynamics of visual rhetoric involves the refusing the ‘absolute past’, the focusing on unfinalized contemporary reality, and the expecting for open future. Taking the primary visions of Taipei LGBT parade over the past 13 years as research cases, it mentions that visuality could not only activate the rhetorical functions of classical rhetoric, but also inspire gender politics in the contemporary era.

Keywords: classical rhetoric, gender politics, Mikhail Bakhtin, visuality

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Authors: Grace Temiloluwa Agbede, Rodwell Makombe, Gift Mheta

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The study adopts a sociolinguistic framework to analyse trado-medical and church advertisements in Nigeria. The study employs a qualitative case-study approach to examine the language of trado-medical and church adverts in Nigeria. Obviously, language serves as an instrument of thought. Thus, it is safe to say that language is at the centre of every human activity and experience because it differentiates human beings from all other animals. The study analyses the appropriateness of language and visual elements in trado-medical and church advertisements in relation to their meaning. It focuses on billboard advertisements as well as selected Newspapers in Nigeria. It then became clearer that society influences language and vice versa. Thus, the justification for this study is predicated on the fact that more work still needs to be done to unpack the intertwined relationship among sociolinguistics, visual culture and advertisement. Given that this research focuses on visual advertisements by traditional medical practitioners and churches in Nigeria, it is therefore necessary to investigate the interplay between language and visuality in advertisements by traditional medical practitioners and churches.

Keywords: commercials, culture, language, visuality

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Authors: Hsiao-Yung Wang

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This paper aims to elaborate the standpoint of neo-Marxism of Russian philosopher Mikhail Bakhtin by critical reading his concept of Bildungsroman; thereby, it aims to map the theoretical implication of spatial rhetoric and its time politics/emancipatory politics in late Bakhtin’s thought. First, it aims to outline the two revolving rings of spatiality in Bildungsroman, proceeding from 'recollecting the past' to 'foreseeing the future' on the basis of visuality and materialistic realism. Herein, Bakhtin has temporarily been leaving his previous research concern on polyphonic novel. Second, it aims to demonstrate that although Bakhtin has constantly emphasized the necessity of reconstructing opened future space, his insistence on 'emergence' has still generated a seemingly theoretical lacuna which needs to be filled. 'Doubled heterotopia,' as popularized by contemporary rhetorician Saindon, might be an adequate approach to articulate and present the rhetorical functions and dynamics of Bakhtin’s spatial rhetoric dialectically. Based on the research findings, this paper argues that Bakhtin indeed attempted to go beyond the deterministic model of Marxism and neo-Marxism strategically and reciprocally.

Keywords: Bildungsroman, double heterotopia, emergence, Mikhail Bakhtin, neo-Marxism, spatial rhetoric, time-politics, visuality

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Authors: Rui Zhang

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Translation has been elevated to one of the key notions in contemporary cultural discourse for a wide range of fields. It focuses not only on communication or transmission of meaning between different languages, but also on ways in which the very act of translation can be understood as a metaphor for cultural process. In recent years, the notion of translation is employed by some contemporary Chinese artists in a conceptual way, whose works contribute to constructing/deconstructing global/local cultural discourse and their own cultural identities. This study examines two artworks by contemporary Chinese artist Gu Wenda from a translational perspective, namely Forest of Stone Steles - Retranslation & Rewriting of Tang Poetry and United Nations - China Monument: Temple of Heaven, aiming to broaden the scope of Translation Studies to investigate visual culture and enrich methodological approach to contemporary Chinese art. Focusing on the relationship between translation, visuality and materiality in these two works, this study explores the nature of translation as part of the production of cultural discourse in the age of globalization as well as a way of establishing cultural identity. Gu Wenda, one of the most prestigious artists in contemporary China, is considered a pioneer in ‘85 Art Movement of China, and thereafter he went abroad for his artistic pursuits. His transnational experience enriches his cultural identity and the underlying discourse constructed/deconstructed in many of his works. In the two works already mentioned, the concept of translation is deployed by Gu Wenda on both linguistic level and metaphorical level for artistic expression. These two works produce discourses in which the artist’s perception of cultural identity in a transnational context is articulated by the tension between source text and target text. Based on the conceptual framework of cultural identity proposed by Stuart Hall, analyses of Gu Wenda’s cultural identity revealed through translation in these two works are centred on two axes, i.e., the axis of similarity and continuity with Chinese intellectual culture and the axis of difference and rupture with it, and the dialogic relationship between these two vectors. It argues that besides serving as a means of constructing visuality in the two works, translation metaphorizes Gu Wenda’s journey from overcoming his cultural identity anxiety to re-establishing a transcultural identity embedded in the underlying discourse.

Keywords: contemporary Chinese art, cultural identity, transculturality, translation

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Authors: Elvan Ender, Murat Zencirkıran

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One of the most important criteria that increase the success of design in landscape architecture is the visual effect. The characteristics that affect visual appearance in plant design vary depending on the phenological periods of the plants. In plants, although different effects are observed in different periods of the year, this effect is felt most prominently in flowering periods. For this reason, knowing the flowering time, duration and flower characteristics should be considered as a factor increasing the success of plant design. In this study, flower characteristics of natural woody plants with attractive flowers have been examined. Because of the variability of these characteristics of plants in the region, consideration of these criteria in the planting design processes in the region may increase the success of the design. At the same time, when species selection is made considering the obtained data, visuality and sustainability of natural species can be possible in Bursa city with planting design.

Keywords: Bursa, flower characteristics, natural plants, planting design

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Authors: Melissa Valle

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This paper draws upon the studies of visual culture and intersectionality to illuminate how visuality can naturalize social hierarchies. Through the use of iconography, it decodes the denotative, connotative and ideological meanings of symbols of ritualistic events in the context of the Colombian Atlantic Coast. An examination of such exceptional moments, i.e. of the spectacle, brings into focus how such performances are imbued with meaning by both the on-looker and the performer. Through an analysis of preexisting visuals (e.g., advertisements, social media) and visual materials produced by the researcher for the purpose of photo-elicitation interviews, this paper provides a contextual analysis of the ways in which three representations, popular during Colombian Atlantic coastal festivals (Negrita Puloy, Las Palenqueras, and El Son de Negro), have been historically, culturally and politically constituted. This work reveals that the visualizations are born out of and reproduce typifications systems heavily based upon race, gender, class, and ethnicity. Understanding the ways these categories are mutually constituted through the cultural practice of visual representation is essential to a more comprehensive understanding of the role such representation plays in the reproduction of social difference.

Keywords: Colombia, festivals, intersectionality, visual culture

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Authors: Feran Asur

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In cities, plants; with its visual and functional effects, it helps to provide balance between human and environmental system. It is possible to develop alternative solutions to eliminate visual pollution by evaluating the potential properties of plant materials with other inanimate materials such as color, texture, form, size, etc. characteristics and other inanimate materials such as highlighter, background forming, harmonizing and concealer. In cold climates, the number of ornamental plant species that grow in warmer climates is less. For this reason, especially in the landscaping works of urban spaces, it is difficult to create the desired visuality with aesthetically qualified plants that are suitable for the ecology of the area, without creating monotony, with color variety. In this study, the importance of plant and plant compositions in the solution of visual problems in urban environments in cold climatic conditions is emphasized. The potential of ornamental plants that can be used for this purpose in preventing visual pollution is given. It has been shown how to use prominent features of these ornamental plants such as size, form, texture, vegetation periods to improve visual landscape in urban spaces in a long time. In addition to the design group disciplines that have activity on planning or application basis in the city and its surroundings, landscape architecture discipline can provide visual improvement of the studies to be carried out in detail in terms of planting design.

Keywords: residential landscape, planting, urban space, visual improvement

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Authors: Dilara Balcı Gulpinar

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History, which can be defined as the narrative of the past, is a process of reproduction that takes place in current time. Scientificness of historiography is controversial for reasons such as the fact that the historian makes choices and comments; even the reason for choosing the subject distracts him/her from objectivity. Historians may take advantage of the current values, cannot be able to afford to contradict society and/or face pressures of dominant groups. In addition, due to the lack of documentation, interpretation, and fiction are used to integrate historical events that seem disconnected. In this respect, there are views that relate history to narrative arts rather than positive sciences. Popular historical films, which are visual historical representations, appeal to wider audiences by taking advantage of visuality, dramatic fictional narrative, various effects, music, stars, and other populist elements. Historical film, which does not claim to be scientific and even has the freedom to distort historical reality, can be perceived as reality itself and becomes an indispensable resource for individual and social memory. The ideological discourse of popular films is not only impressive and manipulative but also changeable. Socio-cultural and political changes can transform the representation of history in films extremely sharply and rapidly. In accordance with the above-mentioned hypothesis, this study is aimed at examining Turkish historical films about the conquest of Istanbul, using methods of historical and social analysis. İstanbul’un Fethi (Conquest of Istanbul, Aydin Arakon, 1953), Kuşatma Altında Aşk (Love Under Siege, Ersin Pertan, 1997) and Fetih 1453 (Conquest 1453, Faruk Aksoy, 2012) are the only three films in Turkish cinema that revolve around the said conquest, therefore constituting the sample of this study. It has been determined that real and fictional events, as well as characters, both focused and ignored, differ from one another in each film. Such significant differences in the dramatic and cinematographic structure of these three films shot respectively in the 50s, 90s, and 2010s show that the representation of history in popular cinema has altered throughout the years, losing its aspect of objectivity.

Keywords: cinema, conquest of Istanbul, historical film, representation

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Authors: Elif Tugce Aksun Tumerkan, Chris Lowe, Hannah Krupa

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Fluorescent proteins are self-sufficient in forming chromophores with a visible wavelength from 3 amino acids sequence within their own polypeptide structure. This chromophore – a molecule that absorbs a photon of light and exhibits an energy transition equal to the energy of the absorbed photon. Fluorescent proteins (FPs) consisted of a chain of 238 amino acid residues and composed of 11 beta strands shaped in a cylinder surrounding an alpha helix structure. A better understanding of the system of the chromospheres and the increasing advance in protein engineering in recent years, the properties of FPs offers the potential for new applications. They have used sensors and probes in molecular biology and cell-based research that giving a chance to observe these FPs tagged cell localization, structural variation and movement. For clarifying functional uses of fluorescent proteins, electrophoretic properties of these proteins are one of the most important parameters. Sodium dodecyl sulphate polyacrylamide gel electrophoresis (SDS-PAGE) analysis is used for determining electrophoretic properties commonly. While there are many techniques are used for determining the functionality of protein-based research, SDS-PAGE analysis can only provide a molecular level assessment of the proteolytic fragments. Before SDS-PAGE analysis, fluorescent proteins need to successfully purified. Due to directly purification of the target, FPs is difficult from the animal, gene expression is commonly used which must be done by transformation with the plasmid. Furthermore, used gel within electrophoresis and staining agents properties have a key role. In this review, the different factors that have the impact on the electrophoretic properties of fluorescent proteins explored. Fluorescent protein separation and purification are the essential steps before electrophoresis that should be done very carefully. For protein purification, gene expression process and following steps have a significant function. For successful gene expression, the properties of selected bacteria for expression, used plasmid are essential. Each bacteria has own characteristics which are very sensitive to gene expression, also used procedure is the important factor for fluorescent protein expression. Another important factors are gel formula and used staining agents. Gel formula has an effect on the specific proteins mobilization and staining with correct agents is a key step for visualization of electrophoretic bands of protein. Visuality of proteins can be changed depending on staining reagents. Apparently, this review has emphasized that gene expression and purification have a stronger effect than electrophoresis protocol and staining agents.

Keywords: cell biology, gene expression, staining agents, SDS-page

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Authors: Carolina Brandão Piva

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In our visual culture, images play a newly significant role in the basis of a complex dialogue between imagination, creativity, and social practice. Insofar as imagination has broken out of the 'special expressive space of art' to become a part of the quotidian mental work of ordinary people, it is pertinent to recognize that visual representation can no longer be assumed as if in a domain detached from everyday life or exclusively 'centered' within the limited frame of 'art history.' The approach of Visual Culture as a field of study is, in this sense, indispensable to comprehend that not only 'the image,' but also 'the imagined' and 'the imaginary' are produced in the plurality of social interactions; crucial enough, this assertion directs us to something new in contemporary cultural processes, namely both imagination and image production constitute a social practice. This paper starts off with this approach and seeks to examine the artistic practice of two women from the State of Goiás, Brazil, who are ordinary citizens with their daily activities and narratives but also dedicated to visuality production. With no formal training from art schools, branded or otherwise, Maria Aparecida de Souza Pires deploys 'waste disposal' of daily life—from car tires to old work clothes—as a trampoline for art; also adept at sourcing raw materials collected from her surroundings, she manipulates raw hewn wood, tree trunks, plant life, and various other pieces she collects from nature giving them new meaning and possibility. Hilda Freire works with sculptures in clay using different scales and styles; her art focuses on representations of women and pays homage to unprivileged groups such as the practitioners of African-Brazilian religions, blue-collar workers, poor live-in housekeepers, and so forth. Although they have never been acknowledged by any mainstream art institution in Brazil, whose 'criterion of value' still favors formally trained artists, Maria Aparecida de Souza Pires, and Hilda Freire have produced visualities that instigate 'new ways of seeing,' meriting cultural significance in many ways. Their artworks neither descend from a 'traditional' medium nor depend on 'canonical viewing settings' of visual representation; rather, they consist in producing relationships with the world which do not result in 'seeing more,' but 'at least differently.' From this perspective, the paper finally demonstrates that grouping this kind of artistic production under the label of 'mere craft' has much more to do with who is privileged within the fields of power in art system, who we see and who we do not see, and whose imagination of what is fed by which visual images in Brazilian contemporary society.

Keywords: visual culture, artistic practice, women's art in the Brazilian State of Goiás, Maria Aparecida de Souza Pires, Hilda Freire

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