Documente Academic
Documente Profesional
Documente Cultură
The Image
The Everyday Image: Reproduction and Participation
18-19 OCTOBER 2013 | UNIVERSITY CENTER CHICAGO | CHICAGO, USA | ONTHEIMAGE.COM
www.OnTheImage.com
TABLE OF CONTENTS
Welcome Letter ................................................................................................... About Common Ground ...................................................................................... The Knowledge Community ................................................................................. Community Focus ..................................................................................... Scope and Concerns ................................................................................ Engaging in the Community ...................................................................... International Advisory Board ................................................................................ The Journal ......................................................................................................... International Award for Excellence ............................................................ Submission Process ................................................................................. Journal Subscriptions, Open Access, Additional Services ......................... The Book Imprint ................................................................................................. The Conference ................................................................................................... Conference Principles and Features .......................................................... Session Descriptions ................................................................................. Conference Program and Schedule ..................................................................... Daily Schedule .......................................................................................... Conference Highlights ............................................................................... Plenary Speakers ...................................................................................... Exhibiting Artists ....................................................................................... Graduate Scholar Recipients ..................................................................... Schedule of Sessions ................................................................................ List of Participants .................................................................................... Scholar ................................................................................................................ Notes .................................................................................................................. 5 6 7 7 7 9 9 10 12 13 14 17 20 20 21 23 25 25 26 27 29 31 54 58 60
Dear Image Conference Delegates, Welcome to the Fourth International Conference on the Image. The Image Conference is a means by which we can come together to interrogate the nature and functions of image-making and images themselves. It aims to be a crossdisciplinary forum bringing together researchers, teachers and practitioners from areas of interest including: architecture, art, cognitive science, communications, computer science, cultural studies, design, education, film studies, history, linguistics, management, marketing, media studies, museum studies, philosophy, photography, psychology, religious studies, semiotics, and more. In addition to organizing The Image Conference, Common Ground publishes papers from the conference at http://ontheimage.com/publications/journal/, and we encourage all conference participants to submit a paper based on their conference presentation for peer review and possible publication in the journal. We also publish books at http://ontheimage.com/publications/books in both print and electronic formats. We would like to invite conference participants to develop publishing proposals for original works, or for edited collections of papers drawn from the journal which address an identified theme. Common Ground also organizes conferences and publishes journals in other areas of critical intellectual human concern, including humanities, design, technology, learning, and the image, to name several (http://commongroundpublishing.com). Our aim is to create new forms of knowledge community, where people meet in person and also remain connected virtually, making the most of the potentials for access using digital media. We are committed to creating a more accessible, open and reliable peer review process. Alongside opportunities for wellknown academics, we are creating new publication openings for academics from developing countries, for emerging scholars and for researchers from institutions that are historically teaching-focused. Thank you to all who have put such a phenomenal amount of work into preparing for The Image Conference. A personal thank you goes to our Common Ground colleagues who have put a significant amount of work into this conference: Samantha Imburgia, Raquel Jimenez, Emily Kasak, and Kim Kendall. We wish you the best for this conference and hope it will provide you every opportunity for dialogue with colleagues from around the corner and around the globe. We also hope you will join us at the Fifth International Conference and Exhibition on the Image to be held in Berlin, Germany at Freie Universitt Berlin, 29-30 October 2014. Yours Sincerely, Phillip Kalantzis-Cope Director, Common Ground Publishing
COMMON GROUND
Our Mission
Common Ground Publishing aims to enable all people to participate in creating collaborative knowledge and to share that knowledge with the greater world. Through our academic conferences, peer-reviewed journals and books, and innovative software, we build transformative knowledge communities and provide platforms for meaningful interactions across diverse media.
Our Message
Heritage knowledge systems are characterized by vertical separationsof discipline, professional association, institution, and country. Common Ground identifies some of the pivotal ideas and challenges of our time and builds knowledge communities that cut horizontally across legacy knowledge structures. Sustainability, diversity, learning, the future of the humanities, the nature of interdisciplinarity, the place of the arts in society, technology!s connections with knowledge, the changing role of the universitythese are deeply important questions of our time which require interdisciplinary thinking, global conversations, and cross-institutional intellectual collaborations. Common Ground is a meeting place for these conversations, shared spaces in which differences can meet and safely connectdifferences of perspective, experience, knowledge base, methodology, geographical or cultural origins, and institutional affiliation. We strive to create the places of intellectual interaction and imagination that our future deserves.
Our Media
Common Ground creates and supports knowledge communities through a number of mechanisms and media. Annual conferences are held around the world to connect the global (the international delegates) with the local (academics, practitioners, and community leaders from the host community). Conference sessions include as many ways of speaking as possible to encourage each and every participant to engage, interact, and contribute. The journals and book series offer fully-refereed academic outlets for formalized knowledge, developed through innovative approaches to the submission, peer review, and production processes. The knowledge community also maintains an online presencethrough presentations on our YouTube channel, monthly email newsletters, as well as Facebook and Twitter feeds. And Common Ground!s own software, Scholar, provides path-breaking platforms for online discussions and networking, as well as for creating, reviewing, and disseminating text and multi-media works.
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The Image knowledge community is dedicated to the concept of independent, peer-led groups of scholars, researchers, and practitioners working together to build bodies of academic knowledge related to topics of critical importance to society at large. Focusing on the intersection of academia and social impact, this knowledge community brings an interdisciplinary, international perspective to discussions of new developments in the field, including research, practice, policy, and teaching. Specific themes of interest to this community include: Theme 1: The Form of the Image Theme 2: Image Work Theme 3: The Image in Society 2013 Featured Theme: The Everday Image: Reproduction and Participation
For viewers, too, every image is seen through available cultural and technical resources for viewing, seen in a way particular to their interest and perspective. The act of viewing transforms both the image and its world. From a normative perspective then, how do interest, intention, motivation, perspective, subjectivity and identity intertwine themselves in the business of image-making? And what is the role of the viewer in reframing and revisualizing the image? And a third property of consequence the image is transformational. Its potentials are utopian. We see (the empirical). We visualize (the normative). We imagine (the utopian). There is a more-than-fortuitous etymological connection between "image! and "imagination!. Images can be willed. Images speak not just of the world, but to the world. They can speak to hopes and aspirations. The world reseen is the world transformed. What!s in the imagination for now, can become an agenda for practice and politics tomorrow. Imagination is the representation of possibility.
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! ! ! ! The International Journal of the Image
ISSN: 2154-8560, eISSN: 2154-8579
Journal Editor
David CubbyUniversity of Western Sydney, Australia
Publication Frequency
4 issues per volume; articles are published continuously online.
Acceptance Rate
32%
Circulation
217,990
Foundation Year
2010
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The International Journal of the Image presents an annual International Award for Excellence for new research or thinking in the area of the image and functions of image-making. All articles submitted for publication in The International Journal of the Image are entered into consideration for this award. The review committee for the award is selected from the International Advisory Board for the journal and the annual Image Conference. The committee selects the winning article from the ten highest-ranked articles emerging from the review process and according to the selection criteria outlined in the reviewer guidelines. The remaining nine top papers will be featured on our website.
Abstract
I propose that Henri de Toulouse-Lautrec drew upon early film techniques to simulate movement in his work, particularly his Au cirque drawings, 1899. Moving picture devices and popular interest in them had been prevalent since the 1830s. As the century progressed, artists and scientists developed cameras capable of capturing sequences of movement in photographs and, finally, film. The impact of these technological advances on the avant-garde during the last quarter of the nineteenth century remains an open question. This question seems especially pressing when one considers that artists patronized and depicted the same establishments that screened films: dancehalls, cafs, and circuses. In this paper, I explore the connection between art and film through a discussion of how the depiction of movement developed in Lautrec!s work throughout his career, culminating in the circus series. These drawings demonstrate an awareness of and involvement with the visual tools of nascent cinema. His competition with film corresponded to the previous generation!s competition with photography, and his engagement with film opens onto a modernism focused on movement and technology.!
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SUBMISSION PROCESS
Every conference delegate with an accepted proposal is eligible and invited to submit an article to The International Journal of the Image. Full articles can be submitted using Common Ground!s online conference and article management system CGPublisher. Below please find step-by-step instructions on the submission process. 1. Submit a presentation proposal or article abstract. 2. Once your conference proposal or paper abstract has been accepted, you may submit your article to the journal by clicking add a paper from your proposal/abstract page. You may upload your article anytime between the first and the final submission deadlines, which can be found on the next page. 3. Once your article is received, it is verified against template and submission requirements. Your identity and contact details are then removed, and the article is matched to two appropriate reviewers and sent for review. You can view the status of your article at any time by logging into your CGPublisher account at www.CGPublisher.com. 4. When reviewer reports are uploaded, you will be notified by email and provided with a link to view the reports (after the reviewers! identities have been removed). 5. If your article has been accepted, you will be asked to accept the Publishing Agreement and submit a final copy of your article. If your paper is accepted with revisions, you will be asked to submit a change note with your final submission, explaining how you revised your article in light of the reviewers! comments. If your article is rejected, you may resubmit it once, with a detailed change note, for review by new reviewers. 6. Accepted articles will be typeset and the proofs will be sent to you for approval before publication. 7. Individual articles may be published online first with a full citation. Full issues follow at regular, quarterly intervals. All issues are published 4 times per volume. 8. Registered conference participants will be given online access to the journal from the time of registration until one year after the conference end date. Individual articles are available for purchase from the journal!s bookstore. Authors and peer reviewers may order hard copies of full issues at a discounted rate. !
SUBMISSION TIMELINE
You may submit your final article for publication to the journal at any time. We are in the process of moving from one annual deadline to four quarterly deadlines. The timeline for the final deadline for Volume 4 is:
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Personal Subscriptions
As part of their conference registration, all conference participants (both virtual and in-person) have a one-year online subscription to The International Journal of the Image. This complimentary personal subscription grants access to both the current volume of the journal as well as the entire backlist. The period of complimentary access begins at the time of registration and ends one year after the close of the conference. After that time, delegates may purchase a personal subscription. To view articles, go to the bookstore: http://ijx.cgpublisher.com/]. Select the Login option and provide a CGPublisher username and password. Then, select an article and download the PDF. For lost or forgotten login details, select forgot your login to request a new password.
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The rights to the articles remain with the subscribing institution. Both the author and the institution can also share the final typeset version of the article in any place they wish, including institutional repositories, personal websites, and privately or publicly accessible course materials. We support the highest Sherpa/Romeo access levelGreen. For more information on Institutional Open access or to put us in touch with your department head or funding body, please contact us at support@commongroundpublishing.com.
Editing Services
Common Ground offers editing services for authors who would like to have their work professionally copyedited. These services are available to all scholarly authors, whether or not they plan to submit their edited article to a Common Ground journal. Authors may request editing services prior to the initial submission of their article or after the review process. In some cases, reviewers may recommend that an article be edited as a condition of publication. The services offered below can help authors during the revision stage, before the final submission of their article.
What We Do
Correct spelling, grammatical, and punctuation errors in your paper, abstract and author bionote. Revise for clarity, readability, logic, awkward word choice, and phrasing. Check for typos and formatting inconsistencies. Confirm proper use of The Chicago Manual of Style.
Contact us at support@commongroundpublishing.com to request a quote or for further information about our services.
Citation Services
Common Ground requires the use of the sixteenth edition of the Chicago Manual of Style for all submitted journal articles. We are pleased to offer a conversion service for authors who used a different scholarly referencing system. For a modest fee, we will convert your citations to follow the Chicago Manual of Style guidelines.
What We Do
Change referencesinternal citations and end-of-article referencesto confirm proper use of the sixteenth edition of The Chicago Manual of Style, using either the author-date or notes and bibliography format of The Chicago Manual of Style. Check for typos and formatting inconsistencies within the citations.
Contact us at support@commongroundpublishing.com to request a quote or for further information about our services.
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Translation Services
Common Ground is pleased to offer translation services for authors who would like to have their work translated into or from Spanish or Portuguese. Papers that have undergone peer review and been accepted for publication by one of Common Ground!s journals are eligible for this translation service. Papers can be translated from Spanish or Portuguese into English and published in one of Common Ground's English-language journals. Or they may be translated from English into either Spanish or Portuguese and be published in one of Common Ground's Spanish and Portuguese-language academic journals. In this way we offer authors the possibility of reaching a much wider audience beyond their native language, affirming Common Ground's commitment towards full internationality, multiculturalism, and multilingualism. All translations are done by certified professional translators with several years of experience, who are highly educated, and have excellent writing skills.
The Process
Contact support@commongroundpublishing.com to express your interest in having your article translated. Our editorial team will review your article and provide you with a quote based on our paper!s word count. Once you accept the quote, a translator will be assigned to your article. Within 14-21 business days of your confirmed payment, you will receive a draft of your translated article. You will have a chance to communicate with the translator via the draft using Word!s track changes function. Based on that communication, the translator will supply you with a final copy of your translated article.
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The Search for New Media: Late 20 Century Art and Technology in Japan Jean Ippolito There has been burgeoning interest in documenting the history of digital media within the international art and technology movement so prevalent today. What once was referred to as computer art has earned the new title digital media in the art world. In the field of art history it dissolves into the larger art category called New Media which includes performance, installation, environmental art, and other venues that do not necessarily include technology. This book makes parallels between the process of production in traditional media and the reiterative algorithm in digital media within Japan!s avant-garde of the 1970s.
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International
This conference travels around the world to provide opportunities for delegates to see and experience different countries and locations. But more importantly, The Image Conference offers a tangible and meaningful opportunity to engage with scholars from a diversity of cultures and perspectives. This year, delegates from over 22 countries are in attendance, offering a unique and unparalleled opportunity to engage directly with colleagues from all corners of the globe.
Interdisciplinary
Unlike association conferences attended by delegates with similar backgrounds and specialties, this conference brings together researchers, practitioners, and scholars from a wide range of disciplines who have a shared interest in the themes and concerns of this community. As a result, topics are broached from a variety of perspectives, interdisciplinary methods are applauded, and mutual respect and collaboration are encouraged.
Inclusive
Anyone whose scholarly work is sound and relevant is welcome to participate in this community and conference, regardless of discipline, culture, institution, or career path. Whether an emeritus professor, graduate student, researcher, teacher, policymaker, practitioner, or administrator, your work and your voice can contribute to the collective body of knowledge that is created and shared by this community.
Interactive
To take full advantage of the rich diversity of cultures, backgrounds, and perspectives represented at the conference, there must be ample opportunities to speak, listen, engage, and interact. A variety of session formats, from more to less structured, are offered throughout the conference to provide these opportunities.
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Garden Sessions
Garden Sessions are informal, unstructured sessions that allow delegates a chance to meet plenary speakers and talk with them at length about the issues arising from their presentation. When the venue and weather allow, we try to arrange for a circle of chairs to be placed outdoors.
Talking Circles
Held on the first day of the conference, Talking Circles offer an early opportunity to meet other delegates with similar interests and concerns. Delegates self-select into groups based on broad thematic areas and then engage in extended discussion about the issues and concerns they feel are of utmost importance to that segment of the community. Questions like Who are we?, What is our common ground?, What are the current challenges facing society in this area?, What challenges do we face in constructing knowledge and effecting meaningful change in this area? may guide the conversation. When possible, a second Talking Circle is held on the final day of the conference, for the original group to reconvene and discuss changes in their perspectives and understandings as a result of the conference experience. Reports from the Talking Circles provide a framework for the delegates! final discussions during the Closing Session.
Workshop/Interactive Session
Workshop sessions involve extensive interaction between presenters and participants around an idea or handson experience of a practice. These sessions may also take the form of a crafted panel, staged conversation, dialogue or debate all involving substantial interaction with the audience. A single article (jointly authored, if appropriate) may be submitted to the journal based on a workshop session.
Virtual Presentations
If unable to attend the conference in person, an author may choose to submit a virtual presentation. Opportunities and formats vary but may be a YouTube presentation or an online discussion with interested delegates at the conference. Abstracts of these presentations are included in the online session descriptions, and an article may be submitted to the journal for peer review and possible publication, according to the same standards and criteria as all other journal submissions.
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Saturday, 19 October
08:30-all day 08:45-09:00 09:00-09:35 09:35-10:00 10:00-10:45 10:55-12:10 12:10-13:10 13:10-14:50 14:50-15:05 15:05-16:45 16:45-17:15 Conference Registration Desk Open Host Remarks Plenary Session Natasha Egan Garden Session and Coffee Break Workshops, Poster Sessions, and Focused Discussions/Roundtables Parallel Sessions Lunch and Talking Circles Parallel Sessions Coffee Break Parallel Sessions Closing Session
CONFERENCE SECRETARIAT
Samantha Imburgia Raquel Jimenez Emily Kasak Kim Kendall
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PLENARY SPEAKERS
Natasha Egan is Associate Director and Curator at the Museum of Contemporary Photography at Columbia College Chicago. Egan has organized numerous international and national exhibitions such as Alienation and Assimilation: Contemporary Images and Installations from the Republic of Korea; Andrea Robbins and Max Becher: The Transportation of Place; Consuming Nature: Naoya Hatakeyama, Dan Holdsworth, Mark Ruwedel and Toshio Shibata; Manufactured Self, photographs about how we identify ourselves through what we consume with international artists from Africa, Asia, Europe and the United States; Made in China, visually focusing on the global impact of manufacturing in China through photography, video and installation; Loaded Landscapes looking at historical and contemporary sites of trauma and conflict; The Edge of Intent examining the utopian aspirations of urban planners and how their visions adapt to changing environments; Reversed Images: Representations of Shanghai and Its Contemporary Material Culture; and The Road to Nowhere? for Fotofest 2010 Contemporary US Photograph with eighteen US artists. Egan has contributed essays to such publications as Shimon Attie: The History of Another (Twin Palms Press, 2004); Photography Plugged and Unplugged (Contemporary Magazine, 2004); Brain Ulrich: Copia (Aperture, 2006); Beate Gtschow LS / S (Aperture, 2007); Michael Wolf: The Transparent City (Aperture, 2008); Placing Memory: A Photographic Exploration of Japanese American Internment (University of Oklahoma Press, 2008); and Stacia Yeapanis (Aperture 2009). In addition, she teaches in the photography and humanities departments at Columbia College Chicago and juries local and national exhibitions. She holds an MA in museum studies, an MFA in fine art photography, and a BA in Asian studies. Erkki Huhtamo holds a PhD in Cultural History. He is a media archaeologist, author, and exhibition curator. At DMA his areas are the history and theory of media culture and media arts. He is known internationally as a pioneer of an emerging approach called media archaeology. It excavates forgotten, neglected and suppressed media-cultural phenomena, helping us to penetrate beyond canonized "grand narratives" of media culture. Professor Huhtamo pays particular attention to the "life" of topoi, or clichd elements that emerge over and over again in media history and provide "molds" for experiences. What may seem new things often prove to be just newly packaged ideas repeated during hundreds and even thousands of years. Professor Huhtamo has applied this approach to phenomena like "peep media" (a notion he has coined), the screen, panoramas and dioramas, video games, and mobile media. He has also written about the work of many media artists, including Paul deMarinis, Rafael Lozano-Hemmer, Golan Levin, and Bernie Lubell. Professor Huhtamo's most recent books are Media Archaeology. Approaches, Applications, and Implications (ed. with Dr. Jussi Parikka, University of California Press, 2011) and the large monograph Illusions in Motion. Media Archaeology of the Moving Panorama and Related Spectacles (The MIT Press, 2013). He is currently working on a book on interactive media (The MIT Press, under contract). #Professor Huhtamo has curated numerous exhibitions and events, including the major international exhibition Alien Intelligence (KIASMA Museum of Contemporary Art, Helsinki, 2000). He has served in many art exhibition and festival juries, including Siggraph, Ars Electronica, and the Interactive Media Festival. He has lectured widely in Europe, the United States, Japan, and elsewhere, and written and directed television series about media culture, including Archaeology of the Moving Image (YLE, The Finnish Broadcasting Corporation, 1995-96). Professor Huhtamo has also adapted his ideas to stage works. In 2005-06 he performed a multi-media performance titled Musings on Hands with acclaimed media artists Golan Levin and Zachary Lieberman (Tmema) at Waseda University's Ono Memorial Hall, Tokyo, and at the Ars Electronica 2006 festival in Linz, Austria. More recently Professor Huhtamo introduced Mareorama Resurrected, a stage work that features a reconstruction of a nineteenth-century moving panorama and live piano music (performed so far in Los Angeles, Chicago, and Pittsburgh), and From Dole to the Pole, or Professor Huhtamo's Daring Adventures (Los Angeles, 2012). The latter performance features authentic nineteenth-century magic lanterns and hand-painted lantern slides, live music, and 'follies' sound effects. Professor Huhtamo owns an extensive collection of antique optical viewing devices and documents, such as magic lanterns, peep show boxes, camera obscuras, praxinoscopes, kinoras, etc., which he often demonstrates to his students.
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Marina Kassianidou Marina Kassianidou is an artist and academic whose practice combines painting, drawing, collage, installation, sitespecific art, and found objects. She graduated from Stanford University, where she was a CASP/Fulbright scholar, with degrees in Studio Art and Computer Science (both with Distinction). She obtained an MA in Fine Art from Central Saint Martins College of Art and Design. She is currently a PhD candidate in Fine Art at Chelsea College of Art and Design, University of the Arts London, UK. She has exhibited her work in group exhibitions in the UK, USA, Cyprus, Israel, Germany, Greece and France and she has had solo exhibitions in Nicosia, Cyprus (Gloria Gallery, 2006, 2008) and London, UK (Tenderpixel Gallery, 2009). She has been a resident artist at the Virginia Center for the Creative Arts, Hambidge Center for the Creative Arts and Sciences, Ragdale Foundation, and at the Stonehouse Center for the Contemporary Arts. She has participated in conferences in Europe and the USA and her writings and work have appeared in the journals Arteri (Cyprus, UK), ArtSEEN (Florence, London, New York) and The International Journal of the Image. Her work is currently featured in the book Beyond Contemporary Art by Etan Ilfeld. Daniel Labbato Daniel Labbato lives in the Mid-Hudson Valley, New York, working as an associate professor of communication and media at SUNY New Paltz. Besides his past work in the film, television, and commercial industries, his theoretical interest in the image has lead him to create video and multimedia art projects that give an open-reading for the viewer (viewer as author) to create meaning. Terry Matassoni Terry Matassoni was born in Melbourne, Australia in 1959. He studied at the Victorian College of Arts, Melbourne, where he completed a Diploma and a Postgraduate Diploma in Fine Art. He obtained a Master of Fine Arts Degree at Deakin University in 2004. He has held 27 solo exhibitions in Melbourne, Sydney, Adelaide and Fremantle, Italy and Auckland, New Zealand, and participated in group shows in Toronto, Denmark and Berlin. Matassoni has been awarded various art prizes including the Sir Russell Drysdale Memorial Prize for drawing. In 1992 he was commissioned to paint a tram by the Victorian Ministry of the Arts, and was artist in residence at St John Baptiste College in New York in 1993. In 2003 a survey of his work was held at Stonnington Stables, the Deakin University Gallery. In 2012 he had a major curated exhibition spanning 23 years of work at The Maroondah Art Gallery, Melbourne. His work is held by major Art collections including the National Gallery of Victoria, Heide Museum of Modern Art, The Museum of New Zealand, the Museum of Contemporary Art, Sydney, the Museum of Victoria, Melbourne, and several regional and university galleries throughout Australia. He has lectured at the Institute of Koorie Education, Deakin University since 2000. Russell Prather Russell Prather is a visual artist who has exhibited his work nationally in solo and group shows including 4 Real, 4 Faux: Animating the Vernacular at Truman State University, The Texas National at Stephen F. Austin State University, The Arrowhead Biennial at the Duluth Art Institute and the 2012 Upper Peninsula Focus at the DeVos Museum at Northern Michigan University. Prather is professor of eighteenth and nineteenth century literary and visual culture in the Department of English at Northern Michigan University in Marquette, and directs the department's Master of Arts program. He has published both art and criticism, including William Blake and the Problem of Progression in the journal Studies in Romanticism.
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GRADUATE SCHOLAR RECIPIENTS
Joshua Trey Barnett is an associate instructor and graduate student in the department of communication and culture at Indiana University in Bloomington. Working at the crossroads of rhetoric and visual culture, Joshua!s award-winning research on both queer and environmental issues is published in the Southern Communication Journal, the Journal of Leisure Research, Speaker & Gavel, Just Leisure: Things We Believe In, and Public Speaking: The Virtual Text. Amber Rae Bowyer is an Annenberg Fellow at the University of Southern California, pursuing a PhD from the Bryan Singer Division of Critical Studies in the School of Cinematic Arts. She holds an MA from the same program, and a BA with honors in Critical Studies in Film from the University of California, Santa Cruz. Within the discipline of Film Studies, Amber!s scholarly interests center on knowledge production and film theory, with attention to an array of film practices ranging from Science Fiction, Educational and Documentary filmmaking, to Animation and Comics. Amber has also earned the USC Visual Studies Certification, and is enthusiastic about the potentials of Visual Studies as an interdisciplinary approach to enrich and more broadly apply existing theories of cinema. Amber!s specialization in moving image appropriation unites her radical cultural politics with her interest in knowledge production, her facility for film theory, and her taste for creative experimentation. Her proposed dissertation topic deals with the inherent politics of the appropriated moving image, across the traditions variously considered found footage, collage film, and compilation documentary. This set of case studies addresses continuities and discontinuities in the politics of reuse, remix, and redress across film history, as well as the ways cinematic appropriation has influenced visual and digital culture at large. Charli Brissey is a choreographer and video artist currently pursuing her MFA in Kinetic Imaging at Virginia Commonwealth University. Integrating dance and digital training with her interests in queer theory, Brissey!s research examines social understandings and expectations of the body through the lenses of feminist critique and animalism. Her work has been presented and produced at a variety of venues, including the Dance on Camera Festival at Lincoln Center, the Center for Performance Research, Dance New Amsterdam, the CURRENT SESSIONS at Wild Project Theater, Body Cinema/International Video Dance Festival of Burgundy, and The Eye Institute. Brissey was recently awarded a Virginia Museum of Fine Arts Graduate Fellowship for her work in film and video. Anna Clareborn is a graduate student at the Art History department at Uppsala University in Sweden, where she also earned her B.A. in Art History and her B.A. in Classical Archaeology and Ancient History. Her main research interests include visual aspects of cultural heritage and political imagery. She holds the full research scholarship for art history at the Swedish Institute in Rome for the 2013-2014 academic year. Jamie Coull is a PhD candidate in the School of Media, Culture & Creative Arts at Curtin University in Perth, Western Australia. She received a Bachelor of Education from the University of Southern Queensland and a Bachelor of Arts (Hons) from Curtin University. Jamie is an experienced high school teacher; however her career goals are now firmly focused on arts research and tertiary teaching. Jamie!s research interests include collaborative creativity, identity formation in performances of desire and fantasy, shifting notions of queerness, and how the act of seeing and being seeing might be challenged in age of web 2.0. Jamie!s current research project towards PhD is an autoethnography which investigates what is a stake when one!s private, subjective fantasies become tangled up with notions of seeing and being seen in performance, not least within the age of social media and web 2.0. The autoethnography specifically focuses on Jamie!s interest in and practice of faux queen drag in online and live settings. As a result, much of the focus of her research surrounds notions of queerness in the faux queen community and the risks and rewards of presenting performances and images online. In 2012 Jamie was awarded an Australian Postgraduate Award and Curtin Research Scholarship. In 2014, Jamie has been invited to the University of Maryland Women!s Studies Department to complete her final year of PhD study as a J1 Visiting Scholar. Randy Davis is currently in the dissertation stage (ABD) of the Media, Art and Text (MATX) PhD program at Virginia Commonwealth University (VCU). He earned his BS degree in Psychology at VCU in 1983. He has lived and worked in Bosnia (1998), Kosovo (1999) and Afghanistan (2004). In 2007, He returned to VCU to further his education and in 2008 was awarded a second bachelors degree (BA) in International Studies with a concentration in World Cinema and a minor in Spanish. In the same year, he earned a graduate certificate in Documentary Filmmaking from George Washington University and in 2010, he was awarded a MS degree in Mass Communications with a concentration in Multimedia Journalism (VCU). In the MATX program, his focus is on Soviet Cinema and film as documentary.
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Daniel Grinberg is a graduate student and associate instructor studying Film and Media in the department of Communication and Culture at Indiana University. Previously, he studied English Literature and Foreign Affairs at the University of Virginia. His current research focuses on the documentary, particularly through the lenses of memory and spatiality, as well as trauma, representations of war, and postcoloniality. Some of his upcoming projects will interrogate gendered space in the Vietnam War documentary and responses to state-sponsored Internet blackouts in wartime. Kimberly Musial is a doctoral candidate at The Pennsylvania State University. Her research interests include nineteenth-century European art, post-1945 American and European art, and the Northern Renaissance. Her forthcoming dissertation explores the connections between art, gender, sexuality, and technology in Henri de Toulouse-Lautrec!s uvre. In the fall of 2012, she received a Dissertation Fellowship to focus on research and writing. She has presented papers across the United States and in Poland, and she has an article soon to be published in the International Journal of the Image. At Penn State, she worked as a curatorial assistant and collections aide at the Palmer Museum of Art and All-Sports Museum, respectively. She has also taught art history courses at Penn State and the American InterContinental University. She recently moved to Vermont from New Orleans and is bracing for the New England winter. Indira Neill Hoch is a graduate student and research assistant at University of Illinois at Chicago in the department of Communication. Her prior degrees include a BA in German and Art History at Bryn Mawr College and an MA in Humanities/Film Studies from the University of Chicago. Her research areas include social media, video game studies, and online fandom communities with a focus on the interaction between text and image, as well as conduct control among online community participants. Her prior research includes gender performances on LiveJournal.com kink memes and how social norms are established and perpetuated on Tumblr. She is currently in the middle of a large project investigating sexuality and race depictions in single player video games. Meaghan Niewland is a new media designer, artist and entrepreneur with a unique combination of expertise in multimedia development and communications strategy. She is currently based in Hamilton, Ontario, Canada and is the sole proprietor of the design firm, Niewland Media, as well as a Research Assistant for the Communication Studies and Multimedia department at McMaster University. Meaghan is a recent graduate of the Communication and New Media Master of Arts program at McMaster University where she also earned her Honours Bachelor of Arts degree in Communication Studies and Multimedia. Her MA thesis, Framed in Time: A Cinemagraph Series of the Everyday & Grounded Theory of Cinemagraphy, includes an original cinemagraph series and provides a historical and critical analysis of cinemagraphs otherwise known as living photographs. Her work utilizes Grounded Theory methodology to theorize the artistic themes in this new media format. Further research interests include new media methods, sound art, photography as well as branding and cognition with particular focus on neuromarketing and the embodied mind. Meaghan has been recognized with numerous awards, publications and creative achievements and has been acknowledged for teaching excellence by the Graduate Students Association and the Centre for Leadership in Learning at McMaster. Prior to pursuing her Master!s degree, Meaghan lived and worked in Las Vegas as Director of Media Relations and Professional DJ for an established entertainment agency. Felicity Strong is an independent curator and PhD candidate in her second year of research at the University of Melbourne, Australia. She holds a Bachelor of Arts in Art History from the University of Melbourne and received First Class Honours for her thesis which explored the development of the Gallery of Modern Art in Brisbane. She has also completed a Master of Art Curatorship and has worked in commercial galleries in Melbourne and London. Her PhD research is focused on discovering the extent to which perceptions of art forgery are influenced by depictions in cultural context, such as in literature, on screen and within an art museum environment. Felicity is a member of the Board of Management of BLINDSIDE Artist Run Initiative in Melbourne, where she holds the position of Social Media Coordinator. She has curated exhibitions at BLINDSIDE and Brunswick Street Gallery, Melbourne. Sajda van der Leeuw is a graduate student at the Institute of Fine Arts of New York University, supported by a Fulbright scholarship and several Dutch funds. She graduated in 2012 in a MA in Philosophy at the University of Amsterdam, the Netherlands, with a thesis about aesthetic presence. She also holds a BA in Art History and a BA in Philosophy from this university, with emphases on aesthetics, metaphysics, theories of the image and mimesis, European and American modern and contemporary art, as well as German romantic art. Her main interests range from questions concerning society and art, theories of identity and representation, art and politics, to contemporary theories of the image.
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Friday, 18 October
08:00-09:00
CONFERENCE OPENING
Phillip Kalantzis-Cope, Common Ground Publishing, USA 09:20-09:55
PLENARY SESSION
Erkki Huhtamo, Design Media Arts, University of California, Los Angeles "From Topos to Virus: Lessons from the Past for Today's Networked Visual Culture" 09:55-10:30
The Image Out of History: Ben Russells Let Each One Go Where He May and the Resistance of the Gesture
Giles Simon Fielke, University of Melbourne, Australia Beginning with a consideration of the contemporary relevance of Kulturwissenschaft, this paper examines the work of contemporary artist and film-maker Ben Russell, his production of images, and cultural memory.
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11:20-13:00 (Friday, Cont'd) Studio, Image, Album, Ruin: Nineteenth Century Mexican Photographs and the Idealized Nation
Prof. Ral Rodrguez-Hernndez, University of Rochester, United States Prof. Claudia Schaefer, University of Rochester, United States Nineteenth-Century Mexican photographic studios, family albums, and middle-class portraiture offer material evidence of the ideological value of modernity, readable today as the monumental ruins of that national project.
Profiling the Self, the Other, Image, Social Media and Art: 3D Social Media
Prof. Azyz Sharafy, Washburn University, United States The paper presents the exploration of self, others, facial profiles and images as 3D art. Also, the use of this 3D art as a real world social media is discussed.
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11:20-13:00 (Friday, Cont'd) Re-reading Architectural Representations through the Human Figure
!rem Uslu, Kocaeli University, Turkey Semiotical reading of architectural representations prepared by architects will be performed through the reason and the way human figures are used.
Skewed Villainy: The Problematic Image of the Eastern Antagonist (or, Dr. No Was a Monkey)
Dr. Abraham Kawa, ndependent Researcher, Cultural Studies Theorist, and Author of Genre Fiction, Greece Using examples ranging from James Bond to Iron Man, this paper traces how the "Eastern villain" stereotype has become compromised by real terrorism and growing disbelief in its Manichaean simplicity.
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11:20-13:00 (Friday, Cont'd) Framed In Time: A Cinemagraph Series of the Everyday and Grounded Theory Study of Cinemagraphy
Meaghan Niewland, McMaster University, Canada A historical and critical analysis of the Cinemagraph. Utilizing Grounded Theory, this study theorizes artistic themes in this new media format, supported by an original cinemagraph series of the everyday.
13:00-13:50
LUNCH
13:50-15:30
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13:50-15:30 (Friday, Cont'd) Images of Womens Bodies in Public Spaces: A Long-term Political Narrative
Dr. Pamela Flores, Universidad del Norte, Colombia We argue that the use of the body made by Femen and the images it produces are part of a long-term political narrative constructed by the successive waves of feminism.
A Subdued Palette: Using the Color Spectrum and Illustrations to Retrieve Memories of Life in Soviet Latvia
Anna Romanovska, OISE, University of Toronto, Canada Color can be used to heal, to show and tell. In this paper I explain a color-informed methodology, created to guide the structure for life history study of Soviet Latvia.
Seeing, Filming and Imagining Space: Images of (Post)Modern Cityscapes in Contemporary Brazilian Cinema
Dr. Maria Helena Braga e Vaz da Costa, Federal University of Rio Grande do Norte - UFRN, Brazil The paper will discuss the aesthetics involved in the process of constructing and imagining the city within the context of the contemporary Brazilian cinemas representation of architecture and urban space.
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Social-cultural Images of Muslims and Islam in the United States: The First Decade after the September 11th Terrorist Attacks
Izabela Marianna Handzlik, University of Social Sciences and Humanities, Poland Determining the dominant topoi and discourses in the American press, this presentation aims to conduct an analysis of social-cultural images of Muslims and Islam in the first decade following 9/11.
Fear versus Anger: Determining Which Type of Photograph Will Dissuade Participation in a Rally
Michael Friedman, University of Tennessee at Chattanooga, United States The study examined two types of media photographs used to dissuade the public from participating in a rally, fear and anger photographs.
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Quotidian Photographs: Looking Back at Ernest Coles Photographs of Apartheid South Africa
Sally Gaule, University of the Witwatersrand, South Africa This paper examines how Ernest Coles images of everyday life reveal the sense of suffocating embrace, unceasing surveillance and the pervasive control to which Africans were subjected during Apartheid.
WORKSHOP (13:50-14:35)
Room 6 Augusto Boals Image Theatre: A Physical Representation of the Social Effects of the Image
Joni Starr, Michigan State University, United States Karenanna Creps, Michigan State University, United States Participants will engage in Image Theatre as created by theatre practitioner Augusto Boal. This practice allows participants to physically perform images that highlight challenges of individuals and society.
15:30-15:45
COFFEE BREAK
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"No Soy Invisible!" or Im Not Invisible: Social Drama in Rosario GarciaMonteros "Las Malas Intenciones"
Pablo Celis, University of Kansas, United States Cayetana, the protagonist of the 2011 Peruvian film Las malas intenciones, through the use of images, engages in a learning experience that fits Victor Turners model of social drama.
Recuperating Detournement: Making Space for Moving Image Appropriation in Visual Studies
Amber Rae Bowyer, University of Southern California, United States The application of Guy Debords theories of detournement to examples of found footage and moving image remix across history helps establish an investigation into appropriation as utterance in Visual Studies.
The Image as Revolutionary?: Kristeva's 'Severed Heads' and the Political Function of the Work of Art
Dr. Georganna Ulary, Marist College, United States This paper provides a critical analysis of the political function of the image. It explores the meaning of and implications that follow from Kristevas hypothesis that art works are political.
Picturing the Offender: The Image as a Construction of Power, Popular Culture and Difference
Natasha Carrington, Monash University, Australia This paper will consider influences that shape the ways in which we conceptualize criminality.
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Transformation of an Image into Architectural Space by the Operation of Layering: House II Designed by Peter Eisenman
Duygu Tuntas Karaman, Middle East Technical University, Turkey Architectural images with variations on their configurations and difference in positions have the potential to define and generate complex architectural forms when they are formulated by the operation of layering.
Unveiling the Pre-designed Vanishing-point in the Architectural Image Space: Reframing Perspectival Space with the Aid of Photograph as a Mode of Architectural Representation
Bilge Beril Kapusuz, Gazi University, Turkey Perspective projection enables production of architectural space as an image beforehand; pre-designed vanishing point is argued to be spatially dictated which is unveiled by the photographic representation of the space.
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Image of Beauty Transferred from the West to the East: A Plastic Surgery Craze
Jessica El-Khoury, Texas Tech University, United States This study explores the impact of Western mediated images on Middle Eastern females. Does the silicon cut the nerves of the persons own culture from growing, or pause the process?
Images We Live By: The Audial Image in the Poetry of Robert Frost
Dr. Salwa Nugali, King Saud University, Saudi Arabia Frost's poetry gives a new turn to the understanding of an image. The images can be audial. When this happens, his poetry sheds light on our human perception generally.
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15:45-17:20 (Friday, Cont'd) Virtually Invisible: Photography and the Image in the Demotic Space
John Hillman, University of Falmouth, United Kingdom The image is described by Flusser as being a significant surface. Rather than describe it as surface, is it perhaps better considered as an invisible, virtual, demotic space?
19:00-21:00
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Saturday, 19 October
08:45-09:00
HOST REMARKS
09:00-09:35
PLENARY SESSION
Natasha Egan, Associate Director and Curator at the Museum of Contemporary Photography, Columbia College, Chicago, USA "Archive State: Artists Using the Everday Image to Define a Historical Period" 09:35-10:00
FOCUSED DISCUSSIONS/ROUNDTABLES
Room 1 Advertising and Education: Using Advertising Techniques in Education
Cheryl Dimson, El Camino College / Coastline ROP, United States This roundtable is a discussion of why advertises can communicate complex messages in 60 seconds while educators have issues keeping todays student engaged.
Dancing with Projected Images: An Analysis of Sticky by the DaDa Dance Project
Dr. Elisabeth Hostetter, Rowan University, United States Melanie Stewart, Rowan University, United States Choreographer Melanie Stewart devised a duet by working in a state-of-the-art virtual reality system known as the CAVE. Our roundtable explores the future of three-dimensional imaging in live performance.
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POSTER SESSIONS
Room 1 The Accidental in Contemporary Photography
Justin Waddell, The Alberta College of Art and Design, Canada The use of the term accidental is an attempt to discuss the often unconscious or intuitive approach to contemporary image-making.
High Fives and Neil Young for the Road: Lynda Barrys "Writing the Unthinkable" as (A)esthetic Experience
Elaine Claire Villacorta, University of the Philippines, Diliman, Philippines Stories involving a dog with a connection to Neil Youngs music were formed through images via cartoonist Lynda Barrys method, Writing The Unthinkable. They subsequently take form as comic strips-in-progress.The
Marketing Mussolini: The Visualization and Commodification of Problematic Cultural Heritage in Contemporary Italy
Anna Clareborn, Uppsala University, Sweden The manner in which controversial cultural heritage is commercialized in museums and similar heritage environments in contemporary Italy, with a focus on issues of staging, authenticity and visualization.
The Role of Images in Saving and Revitalizing Interior Salish: Extremely Endangered Languages of the American Indians of the Columbian Plateau
Dorothy E. Munson, Eastern Washington University, United States LaRae Wiley, Salish School of Spokane, United States Christopher Parkin, Salish School of Spokane, United States Interior Salish languages of the American Indians of the Columbian Plateau are dangerously close to being extinct. Images are key elements of concerted efforts to save and revitalize Salish languages.
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WORKSHOP
Room 5 Difficult Choices: Poster Creation in the Digital Era
Prof. Nelu Wolfensohn, University of Quebec in Montreal, Canada The workshop will examine the interplay between cognitive processes and digital image manipulations involved in poster design from initial conception to the final result.
WORKSHOP
Room 6 A Historical Visualization of Race: Teaching Historical Thinking with Image Saturated Presentations
Jeannette Gabriel, College of Education, United States History visualization is the intertwined relationship between visual imagery, historical thinking, consciousness and empathy. This session adopts this emergent model to critically assess teaching high school students about racial tensions.
10:55-12:10
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10:55-12:10 (Saturday, Cont'd) Map Representing the Earth Representing the Map: Satellite Images
Nazli Tumerdem, Istanbul Technical University, Turkey Exploring how the emergence of the easily accessible satellite images of the Earth generate a new scale in today's city due to the shifts in perceiving and representing the world.
From the Renaissance to New Media: Students Explore Image Making in Italy
Dr. Karen Ritzenhoff, Central Connecticut State University, United States Seven undergraduate students ventured to Tuscany during spring break 2013 with cameras to capture the legacy of the Renaissance in Florence. They contrasted the cityscape and advertising with art history.
An Innovative and Effective Approach to Teaching Foundation Fine Art Studio Courses
Prof. Martin Wnuk, San Jacinto College, United States My presentation describes an approach to creating two dimensional and multi-media art that is systematic, progressive and repeatable, elements that are often missing from foundation courses.
Cultural Icons in Multimodal Writing: How Image and Text Combine to Create Cultural Identity
Dr. Monique Lebrun, University of Quebec (Montral), Canada Dr. Nathalie Lacelle, University of Quebec (TroisRivires), Canada Dr. Jean-Franois Boutin, University of Quebec (Lvis /UQAR), Canada Popular culture and its icons emulate teens sociocultural identity when they are asked to produce a multimodal message (eg personnal journal), exposing their integration of the visual-textual relation.
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10:55-12:10 (Saturday, Cont'd) History in the Making: The Extraordinary Everyday in "Chronicle of a Summer"
Daniel Grinberg, Indiana University, United States Analyzing the 1961 documentary Chronicle of a Summer, I investigate how filmic mediation elevates ordinary moments into extraordinary events and expands the historiographical and aesthetic capabilities of quotidian images.
The Emergent Image: Image Making in the Design of the Comic as Sequential Art
Dr. Janet Blatter, Concordia University, Canada Wayne Murray, Canada This cognitive case study examines how a Webcomic artist juggles multiple design goals in drawing images. We seek to broaden understanding of the polysemic nature of the emergent image.
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12:10-13:10
13:10-14:50
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Re-imaging the City through the Act of Graffiti: On Tags and Urban Parasites
Senem Yildirim, Gazi University Faculty of Architecture/ Department of Architecture, Turkey A discussion of the changing urban image through the creation and the use of interstitial spaces by a radical act of re-appropriation of urban space through graffiti.
Corporate or Community: A Typographical Exploration of How Signage is Used in Local Businesses within South Auckland, New Zealand
David Sinfield, Auckland University of Technology, New Zealand The aim in this paper is to examine examples of signage from areas of South Auckland, and point out the subtleties and indifferences in comparison to the corporate branding machine.
"Heres Looking at Shoes": Exploring the Relationship between Popular Representations and Embodied Experiences of Shoes
Alexandra Sherlock, University of Sheffield, United Kingdom How do images affect experience and vice versa? I investigate this question by looking at popular representations of an item of clothing represented extensively in popular culture: Clarks Originals Shoes.
A Rhetorical Reading of the Diet Industry by Comparison to Religious Dogma: Forty Days in the Desert, but I Look So Good
Don Govang, Lincoln University, United States Techniques of the diet industry are read by comparisons to ones used by religions. Beyond absolution and redemption, the industry uses religious attacks against opposing dogma to recruit members.
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Contemporary Global Art Cinema and the Long Take: Pedro Costa, Corneliu Porumboiu and Apichatpong Weerasethakul
Bjorn Nordfjord, University of Iceland, Iceland Long associated with both realism and modernist aesthetics, the presentation describes how the long take appears fundamentally altered in contemporary art cinema, now emphasizing asceticism and the mundane.
An Example of Ideology and Representation in Science Fiction Cinema: TRON, and TRON:Legacy
zgr al"kan, Anadolu University, Turkey This paper explains the cinematographic features of TRON and TRON:Legacy films through visual and narrative structure comparing TRON:Legacy with TRON to discuss the relation between ideology and genre cinema.
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14:50-15:05
COFFEE BREAK
15:05-16:45
Architectural Image as a Reproductive Aesthetic Experience: SANAAs Louvre Lens Museum Example
Ayse Zeynep Aydemir, Istanbul Technical University, Turkey The paper focuses on the reproduction of the architectural image through a variety of production processes and aesthetic experience within the example of SANAAs Louvre-Lens Museum.
Fragmentary Landscapes/Landscape Fragments: Photography and Seismicity in the Imagining of Southern California
Dr. Fiona Hackett, Doctoral studies undertaken at University College Dublin Clinton Institue of American Studies, Ireland A contemporary photographic practice informed by seismology and American landscape photography is discussed. It emanates from doctoral research investigating the relationship between photography, seismology and visual representation of Southern California
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Take(s) One to Know One: Photography as Analogy for the Polemic of Practice- based Research
Colleen Boyle, RMIT University, Australia The photographs capacity to represent an external world that simultaneously reflects inner subjective thought can be seen as analogous to the polemic of research via art-practice.
Gazing Back: Dandyism in the Work of Claude Cahun and Adrian Piper
Molly J. Hildebrand, Tufts University, United States I compare the work of two visual artists, Claude Cahun and Adrian Piper. I argue that through their invocation of the dandy, both artists document the possibilities of visual subversion.
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15:05-16:45 (Saturday, Cont'd) "Responsive" Marks: Rethinking the Self and the Other through Visual Art
Marina Kassianidou, Chelsea College of Art and Design, University of the Arts London, United Kingdom This paper discusses a practice-based fine arts research that questions the notion and significance of an artist's mark through subtle marks or interventions on preexisting mass-produced images.
Emancipating Meaning for Viewers of Art through the Performance of Visual Rhetoric: A Transactional Reading of the Nude in Painting and Photography
Nicole Cardassilaris, Ball State University, United States Different than a historical approach, my study aims to examine how the performance of visual rhetoric by art viewers can emancipate new meaning for both novice and experienced viewers.
From a False Messiah to Just Another Latin American Dictator: Analysis of Hugo Chvezs Image in the Mainstream U.S. Media upon His Death
Douglas Wilbur, The University of Texas at San Antonio, United States Dr. Juyan Zhang, United States This paper is a qualitative textual analysis of mainstream newspaper coverage of Hugo Chavez's image upon his death.
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COLLOQUIUM
Room 6 Negotiating an Image: A Textual Analysis of Female Athlete Photographic SelfRepresentations
Dr. Vikki Krane, Bowling Green State University, United States Dr. Sally Ross, Grand Valley State University, United States Katie Sullivan Barak, Bowling Green State University, United States Chelsea Kaunert, Bowling Green State University, United States Campbell Query, Bowling Green State University, United States Textual analysis of female athletes self-designed photographic representations revealed themes of action shots, multiple identities, and sport scenes. These images reflect how athletes negotiate femininity, athleticism, and other social identities.
Cultural Photojournalism: The Case of the Artists Portraits and the Visual Construction of Authorship
Teresa Mendes Flores, Universidade Lusfona de Humanidades e Tecnologias, Portugal Carla Maria Batista, CIMJ Number: 504142976, Portugal We will analyse one of the uses of photography regarding cultural journalism: the artists portraits and their visual construction as the most present cultural agent in newspapers pages.
16:45-17:15
CONFERENCE CLOSING
Phillip Kalantzis-Cope, Common Ground Publishing, USA
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LIST OF PARTICIPANTS
Tiffany Tony D. Chase Carl Eduardo Luis Marcos Ayse Zeynep Katie Sullivan Joshua Carla Maria Janet Alain Doro Amber Rae Colleen Charli Ian zgr Nicole Natasha Doina Pablo Patrick Jennifer Eun Jung Benek Anna Susan Maria Helena Braga e Vaz da Jamie Lee Karenanna Randy Brian Kristine Kenneth Cheryl Melissa J. Natasha Jessica Trkan Gregory Giles Simon Jonathan Kevin Pamela Victor Guilherme Roy F. Michael Jeannette Sue Akin Allard Angier Antonucci Arajo de Oliveira Batista Arraes Aydemir Barak Barnett Batista Blatter Blunt Boehme Bowyer Boyle Brissey Brown al!kan Cardassilaris Carrington Carter Celis Ceyssens Chisholm Choi Cincik Clareborn Close Costa Coull Creps Davis DeLevie Diekman DiMaggio Dimson Dolese Egan El-Khoury Erdem Ferris Fielke Finn Fisher Flores Flores Foscolo de Moura Gomes Fox Friedman Gabriel Gallagher The University of Memphis California State University, San Marcos Alfred University Central Connecticut State University Universidade de So Paulo - USP University of California, Irvine/UFSC-Brazil Istanbul Technical University Bowling Green State University Indiana University Bloomington Centre for Research on Media and Journalism Concordia University University of Massachusetts Dartmouth The School of the Art Institute of Chicago University of Southern California RMIT University Virginia Commonwealth University University of Wollongong Anadolu University Ball State University Monash University University of Lincoln University of Kansas University Hasselt Belgium University of Western Ontario DaDa Dance Project Istanbul Technical University Uppsala University University of Manitoba Federal University of Rio Grande do Norte Curtin University of Technology Michigan State University Virginia Commonwealth University University of Colorado Denver California State University, San Marcos Capital Community College El Camino College/Coastline ROP City University of New York's Graduate Center/Brooklyn College Columbia College Chicago Texas Tech University Konya University University of Technology, Sydney University of Melbourne Wilfrid Laurier University University of Otago Universidad del Norte Universidade Lusfona de Humanidades e Tecnologias Fulbright University of Missouri University of Tennessee at Chattanooga University of Iowa AUT University USA USA USA USA Brazil USA Turkey USA USA Portugal Canada USA USA USA Australia USA Australia Turkey USA Australia UK USA Belgium Canada USA Turkey Sweden Canada Brazil Australia USA USA USA USA USA USA USA USA USA Turkey Australia Australia Canada New Zealand Colombia Portugal USA USA USA USA New Zealand
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Sally Sarah Nancy Regina Alison Don Daniel Aslihan Alannah Fiona Izabela Marianna Kevin Paul Holly Molly J. Will John Elisabeth Erkki Lars Bilge Beril Elvin Nergiz Marina Chelsea Abraham Vikki Andreas Daniel Thierry Flix Anna Monique Meredith Terry Teresa Victoria Niva Clem Sonia Jakub Richard Dorothy E. Kimberly Orayb A. Indira Hyacinth Chidozie Meaghan Bjorn Carmen Joe Salwa Sharon David Olusola Andrew Lee Rivaldo Alfredo Daniel Eugene Vesna Gaule Glover Gomez Goodyear Govang Grinberg Gunhan Gunter Hackett Handzlik Henry Hertz Hey Hildebrand Hill Hillman Hostetter Huhtamo Jerlach Kapusuz Karaaslan Klose Karadas Kassianidou Kaunert Kawa Krane Kratky Labbato Lagrange Lambert Leahy Lebrun Massar Matassoni Mendes Flores Millious Monro Montano Morawski Morris Munson Musial Najjar Neill Hoch Ngumah Niewland Nordfjord Norris Norris Nugali Oiga Onipede Owen Paccola Palmer Park Pavlovic University of the Witwatersrand Bradley University Universidad del Norte (Colombia)/Ohio University University of the Arts London Lincoln University Indiana University Middle East Technical University Griffith University University College Dublin Clinton University of Social Sciences and Humanities Columbia College Chicago School of the Art Institute of Chicago University of Toledo Tufts University Anglia Ruskin University, Cambridge University of Falmouth Rowan University University of California, Los Angeles Auckland University of Technology Gazi University anakkale Onsekiz Mart University Anadolu University Chelsea College of Art and Design, University of the Arts London Bowling Green State University Independent Researcher, Author, Cultural Studies Theorist Bowling Green State University University of Southern California State University of New York at New Paltz Catholic University of Leuven University of Montreal Chapman University University of Quebec Graduate Theological Union Deakin University Universidade Lusfona de Humanidades e Tecnologias Queen's University University of Lincoln Unisinos Jagiellonian University Avondale College Eastern Washington University The Pennsylvania State University Northern Illinois Universit University of Illinois at Chicago Alvan Ikoku Federal College of Education, Owerri McMaster University University of Iceland University of Alberta Brock University King Saud University University of Illinois at Chicago Dominica State University Cabrini College Faculdade de Agudos - FAAG Monash University University of Minnesota, Twin Cities Vanderbilt University South Africa USA USA UK USA USA Turkey Australia Ireland Poland USA USA USA USA UK UK USA USA New Zealand Turkey Turkey Turkey UK USA Greece USA USA USA Belgium Canada USA Canada USA Australia Portugal Canada UK Brazil Poland Australia USA USA USA USA Nigeria Canada Iceland Canada Canada Saudi Arabia USA Dominica USA Brazil Australia USA USA
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Richard Pablo Maria Russell David Campbell Monique Eduardo Jos Troy Joanne Haywood David Karen Amanda Sanja Ral Emilie E M Anna Tania Sally Daniel Asta Christopher Claudia Nelyse Apparecida Melro Claudia Thomas Patricia Grandini Azyz Alexandra David Llian de Carvalho Joni Melanie Rod Felicity Aaron Teresa Funda Christopher Ronald Andrea Heta Nazli Duygu Seray Georganna "rem Sajda Alexandra Jos Adam Paul Marisol Guy Elaine Claire Justin Nicole Edward Douglas Peterson Petrucci Portugal Prather Prochaska Query Redmond Reinato Rhoades Richardson Richmond Ritzenhoff Roberts Rodes RodrguezHernndez Roman Romanovska Romero Ross Rourke Rowe Rowe Salamanca Salzedas Schaefer Schurch Serrano Sharafy Sherlock Sinfield Soares Starr Stewart Stoneman Strong Sultanik Tam Tan Terry Thoma Trivedi Tumerdem Tuntas Karaman Trkay Ulary Uslu van der Leeuw Verity Vidal Villa Villacorta Waddell Weatherly Wendt Wilbur Michigan State University York University Goldsmiths University of London North Michigan University University of Illinois, Urbana-Champaign Bowling Green State University AUT University Pontificia Universidade Catolica de Goias Universit de Montral Curtin University Simpson College Central Connecticut State University Swansea Metropolitan University Griffith University University of Rochester Aix-Marseille Universit OISE, University of Toronto IDSVA - Institute of Doctoral Studies in the Visual Arts Grand Valley State University Goldsmiths University of London University of Melbourne University of Melbourne Pontificia Universidad Javeriana/University California Berkeley Artes e Comunico da Universidade Estadual Paulista University of Rochester Clemson University Universidade Estatual Paulista Washburn University University of Sheffield Auckland University of Technology Federal University of Rio de Janeiro Michigan State University Rowan University National University of Ireland, Galway University of Melbourne College of Westchester Alberta College of Art and Design Kocaeli University Centennial College and McMaster University University of Leeds Freelance Architect and Arts Journalist Istanbul Technical University Middle East Technical University Middle East Technical University Marist College Kocaeli University New York University University of Lincoln Technical University Graz Columbia College Chicago University of the Philippines, Diliman The Alberta College of Art and Design Nexen Energy ULC Pratt Institute University of Texas at San Antonio USA Canada UK USA USA USA New Zealand Brazil Canada Australia USA USA UK Australia USA France Canada USA USA UK Canada Canada Colombia Brazil USA USA Brazil USA UK New Zealand Brazil USA USA Ireland Australia USA Canada Turkey Canada UK USA Turkey Turkey Turkey USA Turkey USA UK Austria USA Philippines Canada Canada USA USA
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Tara Michelle Martin Nelu Jiawei Senem Ozgun Diane Winters Wnuk Wolfensohn Xu Yildirim Yuceturk Zeeuw University of Auckland San Jacinto College University of Quebec in Montreal University of Lincoln Gazi University Istanbul Technical University Ferros State University New Zealand USA Canada UK Turkey Turkey USA
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Conference Focus Entering its fifth year, the conference will explore the nature and functions of image-making and images. The conference is a cross-disciplinary forum which brings together researchers, teachers, and practitioners to discuss the role of the image. The resulting conversations weave between the theoretical and the empirical, research and application, market pragmatics and social idealism. Call for Papers & Work and Conference Details To learn more about the conference, including speakers, session formats, venue, and registration, visit the conference website at www.ontheimage.com/the-conference. Alumni Registration Rate We are pleased to offer the Alumni Registration Discount to delegates who have attended The Image Conference in the past. Conference alumni will receive a $US 150 discount ($50 discount for students) off the full conference registration rate. Please visit the registration page for details at www.ontheimage.com/the-conference/registration.