Interdisciplinary Insights
Image - From the 'Not knowing' to a Critical Epistemology
Paper Presentation in a Themed Session Paula Martinelli
The academic debate about the image of art makes evident its complex substance. This work, which is based upon a thesis published in 2022, contributes to recent discussions, using the theoretical perspectives found in Semiotics and Psychoanalysis in order to treat the image as a phenomenon immersed into relations of production and communication; an interface of exchange between subjects/perceptive bodies; movement that becomes presence in different spatiotemporal contexts. An interdisciplinary approach that aims to reconcile academic knowledge and artistic practices is privileged, exploring interactions as non-linear, inferential and meaning-generating. The present work also suggests the deepening of theoretical links, highlighting possible paths for an epistemology of the image that can be compatible with artistic procedures and with the idea of authorship, which finds in the critique of creation processes the theoretical support to be treated as a path of psychic constitution and organization. For this purpose, the idea of symbol as a linguistic and imagetic entity is highlighted as a key element that connects propositions of psychoanalysis – mainly with Freud as well as several post-Freudian authors – and Peircean semiotics; from the concepts that surrounds the idea of symbol emerges a broad understanding towards the significant function exercised by subjects and images.
To Take Back Power: Teenagers Creation of Blackout Poems to Respond to Negativity
Paper Presentation in a Themed Session Siri Mohammad Roe, Hilde Tørnby
This paper explores a set of blackout poems created by a group of ninth grade students in an English classroom in the Oslo (Norway) area with a high percentage of minority students. It is a collaboration between ESL and Arts and crafts. When making blackout poetry, the student “takes a marker (usually a black marker) to already established text like a newspaper article and redacts words until a poem is formed” (Brewer, 2014; Kleon, 2010; Keith&Endsley, 2020). The idea is that these forms of texts bring new and unexpected insights into the world of everyday experience (Butler-Kisber, 2018). The original texts that form the basis for these poems are speeches or comments from online forums with rhetorics critical and often racist towards minorities. By re-inventing the comments/speeches through blackout poetry, new stories emerge. Students re-mediate (Bolter, J. D. & Grusin, R. (1999) these comments/speeches, into their own literature,thus, creating their own poetic voice. Through an art-based approach on the hatred of others, the students take agency (Rudd, 2005; 2017) as well as creating a work of art. This experience is in line with what Dewey considers “art as experience” (1934). Additonally, the blackout poems are analyzed in the framework of reader-response theory (Iser, 1974; Rosenblatt, 1994; Sipe, 2008) as well as aesthetic transformation (Østern, 2008). Furthermore, a discussion of what these blackout poems may offer in diverse learning environments (Kleon, 2010; Petchauer, 2015) and new literacy practices is undertaken.
The Embodiment of Word : The Occurrence of Text in Paintings
Paper Presentation in a Themed Session Gizela Horvath
For centuries since the Renaissance, text and image have been moving in two separate and homogeneous areas: the image was the exclusive medium of painting, while the text was the exclusive medium of literature. In the twentieth century, we encounter more and more cases when the text longs to return to the canvas. This paper attempts to classify these cases, separating them into three large classes: the juxtaposed text and image, the scribble, and the text as image. The appearance of text on canvas raises the question of whether this practice has aesthetic relevance. Should we read painted text in the same way as printed text? Does the pleasure of text change when it is embodied in visual works? My hypothesis is that here we can talk about a new kind of pleasure in the text, and I describe the specificity of this pleasure.
Featured The Eye in the Tip of the Fingers: The Tactile Cinema of Women Filmmakers
Paper Presentation in a Themed Session Orisel Castro López
Starting from the distinction between the “culture of the eye” and the “culture of the hand” by Fina García Marruz, the analysis vindicates a tactile and sensorial cinema, linked to a feminine sensibility that has been undervalued in favor of a rational and objective vision. Through films by directors such as Miñuca Villaverde, Agnès Varda, Chick Strand, Helke Sander and Sara Gómez, the work traces a cinematic lineage based on haptic perception, materiality and sensory experimentation, highlighting the persistence of these expressive forms in different moments and geographies.
