Visual Domains
Pedagogies in the Visual Domain: Visualising Authorship
Paper Presentation in a Themed Session Arianne Rourke, Vaughan Rees, Kim Snepvangers
This paper anticipates the launch of an inaugural “Curated Series” within the Common Ground Research Network: Transformative Pedagogies in the Visual Domain and contains eight books with visual propositions for learning driving innovation and a substantial Community of Practice. The series statistics required a visually intelligent way to see the big data implications of this new publication comprising: 2 Series Curators, 18 Editors, 163 Authors, 21 Countries and 98 Educational Institution. The series is a salient example of internationally inclusive mentoring across countries and institutions. The Series Curators and a co-editor will present this global contribution of so many authors and editors, through data visualisation. The curators, editors and authors geographical location and associated institutions offered the opportunity to present visually the numerical and locality data generated by the authorship of this book series. Graphic designers working with the Series’ Curators, visually mapped the global reach and the critical mass of the authorship. A graphic language of colour saturation and intensity, organic and mechanical shapes, structuring and focusing lines and the relationship between these elements (influenced by Russian artist Wassily Kandinsky 1866-1944, 1923 painting, Circles in a Circle) present the visual overview and acts as a basis for the various coloured and cropped versions that are printed on the covers of the eight books. Visualisation is the premise underlying the series and so the significance of the cover design and related design identities is that it seeks to overcome barriers to connectivity and the complex nature of collaboration.
Moving Image in the Control Society, on Surveillance Image and Counteract
Paper Presentation in a Themed Session Zimu Zhang
Gilles Deleuze remarked, that following the society of discipline in the 18th and 19th centuries as explained by Foucault, we were entering the society of control. According to Deleuze, the enclosure of spaces in the disciplinary society, such as schools, hospitals, and factories is being challenged and replaced by borderless variations of corporations, which exercise control as modulation with the numerical language (Deleuze, 1992). This progression can also be seen by looking at the various forms of moving image beyond traditional cinema that are becoming ubiquitous daily displays. Among which, one significant example is the surveillance image, with its twofold phenomenon: as the coercive mechanism placed by state and corporations into civilian life, as well as the user-generated self-surveillance image and its popularization in social media and cultural productions. Situated in this context, this paper attempts to analyze the growing circulation and migration of surveillance image into different forms of audiovisual productions within Chinese society. I argue that the surveillance image has become the new “cinema of attraction” (Gunning, 1990) in digital circulation. Ranging from the indexical CCTV image to stylized live stream broadcasting, all of these can be surveillance images encompassed within the modulated network. I will also offer a critical analysis of existing moving image interventions from artists to counteract this phenomenon, with the core challenge remains what Claire Bishop termed as “the digital divide” (Bishop, 2012).
