Paper delivered: ‘How GIFs "Language" and What They Might Mean’, University Center Chicago, October 18th-19th

Fourth International Conference on

The ImageThe Everyday Image: Reproduction and Participation

18-19 OCTOBER 2013 | UNIVERSITY CENTER CHICAGO | CHICAGO, USA | ONTHEIMAGE.COM

FOURTH INTERNATIONAL CONFERENCE ON THE IMAGE

UNIVERSITY CENTER CHICAGO CHICAGO, USA

18-19 OCTOBER 2013

www.OnTheImage.com

International Conference on the Image www.ontheimage.com/the-‐conference First published in 2013 in Champaign, Illinois, USA by Common Ground Publishing LLC www.commongroundpublishing.com © 2013 Common Ground Publishing All rights reserved. Apart from fair dealing for the purposes of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please contact cg-‐[email protected].

TABLE OF CONTENTS Welcome Letter ................................................................................................... 5

About Common Ground ...................................................................................... 6

The Knowledge Community ................................................................................. 7

Community Focus ..................................................................................... 7

Scope and Concerns ................................................................................ 7

Engaging in the Community ...................................................................... 9

International Advisory Board ................................................................................ 9

The Journal ......................................................................................................... 10

International Award for Excellence ............................................................ 12

Submission Process ................................................................................. 13

Journal Subscriptions, Open Access, Additional Services ......................... 14

The Book Imprint ................................................................................................. 17

The Conference ................................................................................................... 20

Conference Principles and Features .......................................................... 20

Session Descriptions ................................................................................. 21

Conference Program and Schedule ..................................................................... 23

Daily Schedule .......................................................................................... 25

Conference Highlights ............................................................................... 25

Plenary Speakers ...................................................................................... 26

Exhibiting Artists ....................................................................................... 27

Graduate Scholar Recipients ..................................................................... 29

Schedule of Sessions ................................................................................ 31

List of Participants .................................................................................... 54

Scholar ................................................................................................................ 58

Notes .................................................................................................................. 60

5 The Image Conference, 2013

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 cross-disciplinary 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 well-known 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 Universität Berlin, 29-30 October 2014. Yours Sincerely, Phillip Kalantzis-Cope Director, Common Ground Publishing

The Image Conference, 2013 6

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 separations—of 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, technologyʼs connections with knowledge, the changing role of the university—these 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 connect—differences 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 presence—through presentations on our YouTube channel, monthly email newsletters, as well as Facebook and Twitter feeds. And Common Groundʼs 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.


THE IMAGE KNOWLEDGE COMMUNITY Community Focus The concerns of this conference aim to open broad-ranging and interdisciplinary conversations on the nature and functions of image-making and image. These knowledge forums bring together researchers, teachers and practitioners to discuss questions of shared interest and common concern. The resulting conversations weave between the empirical and the theoretical, research and its application, the ideal and the pragmatic. 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

Scope and Concerns The Defining Image The foundations of our species being, and the narratives of species history are marked by imagery—the parietal, megalithic art and body art of first peoples, the iconography and symbology of religions, the graphic-representational roots of writing. We are, uniquely in natural history, the symbolic species. And within our peculiar species history, the development of capacities to create images parallel speaking and precede writing. Since the beginnings of modernity, however, we have increasingly focused our attention on language as our species-defining characteristic. After half a millennium where the power and prestige of language has held sway, we may be in the cusp of a return of the visual, or at least a multimodality in which image and text are deeply inveigled in each otherʼs meanings. This can in part be attributed to the affordances of the new communications environment. As early as the mid twentieth century, photolithography put image and text conveniently back onto the same page. Then, since the mid 1970s, digitized communications have brought image, text and sound together into the same manufacturing processes and transmission media. The Image of Transformation: Properties of Consequence The image has several key properties, of interest to the participants in this knowledge community. The first is its empirical connection with the world–telling something of the world, reflecting the world. It re-presents the world. How does it do this? What are its techniques? What are its mediations? What kinds of ʻtruthʼ can we have in images? A second property of consequence — the image has a normative loading. No image can ever solely be a reflection on the world. It is also a perspective on the world, an orientation to the world. This is because it is the incidental outcome of an act of design. It is the product of an act of human agency. An interested image-maker takes available resources for meaning (visual grammars, fabrication techniques and focal points of attention), undertakes an act of designing (the process of image-making), and in so doing re-images the world in a way that it has never quite been seen before. The human agent is central. To the extent that no two conjunctions of human life experience are ever precisely the same, interests and perspectives in imaging are infinitely varied. In fact, across the dimensions of material conditions (social class, locale, family); corporeal attributes (age, race, sex, sexual orientation, and physical and mental abilities); and symbolic differences (culture, language, gender, affinity and persona) variations in perspective are frequently paramount, the focal purpose or implicit agenda of the imaging agent.


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 ʻimageʼ and ʻimaginationʼ. 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. Whatʼs in the imagination for now, can become an agenda for practice and politics tomorrow. Imagination is the representation of possibility.


Engaging in the Community Present and Participate in the Conference You have already begun your engagement in the community by attending the conference, presenting your work, and interacting face-to-face with other members. We hope this experience provides a valuable source of feedback for your current work and the possible seeds for future individual and collaborative projects, as well as the start of a conversation with community colleagues that will continue well into the future. Publish Journal Articles or Books We encourage you to submit an article for review and possible publication in The International Journal of the Image. In this way, you may share the finished outcome of your presentation with other participants and members of The Image community. As a member of the community, you will also be invited to review othersʼ work and contribute to the development of the community knowledge base as an Associate Editor. As part of your active membership in the community, you also have online access to the complete works (current and previous volumes) of The International Journal of the Image. We also invite you to consider submitting a proposal for the book series, perhaps a manuscript or set of collected works. Engage Through Social Media There are several methods for ongoing communication and networking with community colleagues:

• Email Newsletters: Published monthly, these contain information on the conference and publishing, along with news of interest to the community. Contribute news or links with a subject line ʻEmail Newsletter Suggestionʼ to [email protected].

• Facebook: Comment on current news, view photos from the conference, and take advantage of special benefits for community members at: www.facebook.com/OnTheImage.CG

• Twitter: Follow the community: @ontheimage • YouTube Channel: View online presentations or create your own at

www.youtube.com/user/CGPublishing. See instructions at http://ontheimage.com/the-conference/types-of-conference-sessions/online-presentations.

• Scholar: Common Groundʼs path-breaking platform that connects academic peers from around the world in a space that is modulated for serious discourse and the presentation of knowledge works. To learn more and for steps on creating an account, please see page 58.

INTERNATIONAL ADVISORY BOARD FOR THE IMAGE COMMUNITY

• Tressa Berman, California College of the Arts, San Francisco, USA; UTS-Sydney, Australia • Howard Besser, Tisch School of the Arts, New York University, New York City, USA • Owen Evans, Edge Hill University, Ormskirk, UK • Tamsyn Gilbert, The New School for Social Research, New York City, USA • Dina Iordanova, Provost, St Leonards College, University of St Andrews, St Andrews, Scotland • Douglas Kellner, University of California, Los Angeles, USA • Phillip Kalantzis-Cope, The New School For Social Research, New York City, USA • Gunther Kress, Institute of Education, University of London, London, UK • Emanuel Levy, Professor/Author/Critic, University of California, Los Angeles, USA • Mario Minichiello, Birmingham Institute of Art and Design, Birmingham, UK • Colin Rhodes, Sydney College of the Arts, University of Sydney, Sydney, Australia • Becky Smith, School of Theater, Film and Television, University of California, Los Angeles, USA • Marianne Wagner-Simon, Director, Freies Museum Berlin, Germany


About Our Publishing Approach For three decades, Common Ground Publishing has been committed to creating meeting places for people and ideas. With 24 knowledge communities, Common Groundʼs vision is to provide platforms that bring together individuals of varied geographical, institutional, and cultural origins in spaces where renowned academic minds and public thought leaders can connect across fields of study. Each knowledge community organizes an annual academic conference and is associated with a peer-reviewed journal (or journal collection), a book imprint, and a social media space centered around Common Groundʼs pathbreaking ʻsocial knowledgeʼ space, Scholar. Through its publishing practices, Common Ground aims to foster the highest standards in intellectual excellence. We are highly critical of the serious deficiencies in todayʼs academic journal system, including the legacy structures and exclusive networks that restrict the visibility of emerging scholars and researchers in developing countries, as well as the unsustainable costs and inefficiencies associated with traditional commercial publishing. In order to combat these shortcomings, Common Ground has developed an innovative publishing model. Each of Common Groundʼs knowledge communities organizes an annual academic conference. The registration fee that conference participants pay in order to attend or present at these conferences enables them, as members of each knowledge community, to submit an article to the associated journal at no additional cost. Thus authors can present at a scholarly conference in their field, incorporate the constructive criticism they receive in response to their presentation, and then submit a finalized article for peer review without having to pay an additional author fee. Scholars who cannot attend the conference in-person may still participate virtually and submit to the journal by obtaining a community membership, which also allows them to upload a video presentation to the communityʼs YouTube channel. By using a portion of the conference registration and membership fees to underwrite the costs associated with producing and marketing the journals, Common Ground is able to keep subscription prices low, thus guaranteeing greater access to our content. All conference participants and community members are also granted a one-year complimentary electronic subscription to the journal associated with their knowledge community. This subscription provides access to both the current and past volumes of the journal. Moreover, each article that we publish is available for a $5 download fee to non-subscribers, and authors have the choice of publishing their paper open access to reach the widest possible audience and ensure the broadest access possible. Common Groundʼs rigorous peer review process also seeks to address some of the biases inherent in traditional academic publishing models. Our pool of reviewers draws on authors who have recently submitted to the journal, as well as volunteer reviewers whose CVs and academic experience have been evaluated by Common Groundʼs editorial team. Reviewers are assigned to articles based on their academic interests and expertise. By enlisting volunteers and other prospective authors as peer reviewers, Common Ground avoids the drawbacks of relying on a single editorʼs professional network, which can often create a small group of gatekeepers who get to decide who and what gets published. Instead, Common Ground harnesses the enthusiasm of its conference delegates and prospective journal authors to assess submissions using a criterion-referenced evaluation system that is at once more democratic and more intellectually rigorous than other models. Common Ground also recognizes the important work of peer reviewers by acknowledging them as Associate Editors of the volumes to which they contribute. Through the creation of innovative software, Common Ground has also begun to tackle what it sees as changing technological, economic, distributional, geographic, interdisciplinary and social relations to knowledge. For more information about this change and what it means for academic publishing, refer to The Future of the Academic Journal, edited by Bill Cope and Angus Phillips (Elsevier 2009). The second edition of this work is forthcoming. For over ten years, Common Ground has been building web-based publishing and social knowledge software where people can work closely to collaborate, create knowledge, and learn. The third and most recent iteration of this project is the innovative social knowledge environment, Scholar. One of the applications in this software suite is Community, which serves as a place where academics can network and showcase their research through a personally curated bookstore of published work. We hope that you will join us in creating dialogues between different perspectives, experiences, knowledge bases, and methodologies through interactions at the conference, conversations online, and as fully realized, peer-reviewed journal articles and books.


The International Journal of the Image ISSN: 2154-8560, eISSN: 2154-8579

Journal Editor David Cubby—University of Western Sydney, Australia Publication Frequency 4 issues per volume; articles are published continuously online. Acceptance Rate 32% Circulation 217,990 Foundation Year 2010


INTERNATIONAL AWARD FOR EXCELLENCE 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. This Yearʼs Award Winner is: Kimberly Musial, Pennsylvania State University, USA For the Article “ʻTravail de panneauʼ: The Effects of Early Film on Henri de Toulouse-Lautrecʼs ʻAu cirqueʼ Series” 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, cafés, and circuses. In this paper, I explore the connection between art and film through a discussion of how the depiction of movement developed in Lautrecʼs 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 generationʼs competition with photography, and his engagement with film opens onto a modernism focused on movement and technology.


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 Groundʼs 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 reviewersʼ 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 reviewersʼ 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 journalʼs 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:

19 November 2013 (One month after the close of the conference)

Note: While the above deadline is for Volume 4, if you submit your article after the deadline, it will be considered for publication in Volume 5 of the journal. However, the sooner you submit, the sooner your article will begin the peer review process. Also, as we publish ʻweb firstʼ, early submission will mean that your article will be published as soon as it is ready, even if that is before the full issue is published. For More Information, Please Visit: http://ontheimage.com/submitting-your-work/journal-articles/submission-timeline


JOURNAL SUBSCRIPTIONS, OPEN ACCESS, ADDITIONAL SERVICES Institutional Subscriptions Common Ground offers print and electronic subscriptions to all of its journals. Subscriptions are available to individual journals, journal collections, and to custom suites based on a given institutionʼs unique content needs. Subscription prices are based on a tiered scale that corresponds to the full-time enrollment (FTE) of the subscribing institution. You may use the Library Recommendation form (available here: http://ontheimage.com/publications/journal/about-the-journal#3-tab) to recommend that your institution subscribe to The International Journal of the Image. 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.

For more information, please visit: http://ontheimage.com/publications/journal/subscriptions-and-orders or contact us at [email protected]. Hybrid Open Access The International Journal of the Image is a Hybrid Open Access. Hybrid Open Access is an option increasingly offered by both university presses and well-known commercial publishers. Hybrid Open Access means that some articles are available only to subscribers, while others are made available at no charge to anyone searching the web. Authors pay an additional fee for the open access option. They may do this because open access is a requirement of their research funding agency. Or they may do it so that non-subscribers can access their article for free. Common Groundʼs open access charge is $250 per article, a very reasonable price compared to our hybrid open access competitors and purely open access journals that are resourced with an author publication fee. Electronic papers are normally only available through individual or institutional subscriptions or for purchase at $5 per article. However, if you choose to make your article Open Access, this means that anyone on the web may download it for free. There are still considerable benefits for paying subscribers, because they can access all articles in the journal, from both current and past volumes, without any restrictions. But making your paper available at no charge increases its visibility, accessibility, potential readership, and citation counts. Open access articles also generate higher citation counts. For more information or to make your article Open Access, please contact us at [email protected].

Institutional Open Access Common Ground is proud to announce an exciting new model of scholarly publishing called Institutional Open Access. Institutional Open Access allows faculty and graduate students to submit articles to Common Ground journals for unrestricted open access publication. These articles will be freely and publicly available to the whole world through our hybrid open access infrastructure. With Institutional Open Access, instead of the author paying a per-article open access fee, institutions pay a set annual fee that entitles their students and faculty to publish a given number of open access articles each year.


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 level—Green. For more information on Institutional Open access or to put us in touch with your department head or funding body, please contact us at [email protected].

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.

The Editing Process

• Email us at [email protected] to express your interest in having your article edited. • The charge for the editorial service charge is USD $0.05 per word. • Within 14-21 business days of your confirmed payment, you will receive an edited copy of your edited article

via email. We can also upload the edited copy for you, and any pending submission deadlines will be altered to accommodate your editing timeline.

Contact us at [email protected] 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 references—internal citations and end-of-article references—to 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. The Conversion Process

• Email us at [email protected] to express your interest in having your references converted.

• For articles under 5,499 words (excluding titles, subtitles, and the abstract), the charge for reference conversion is $50. If your article is more than 5,000 words, please contact us for a quote.

• Within 14-21 business days of your confirmed payment, you will receive a copy of your article with the revised references. We can also upload the revised copy for you, and any pending submission deadlines will be altered to accommodate the conversion timeline.

Contact us at [email protected] to request a quote or for further information about our services.


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 Groundʼs 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 [email protected] 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 paperʼs 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 Wordʼs “track changes” function. Based on that communication, the translator will supply you with a final copy of your translated article.


THE IMAGE BOOK IMPRINT Common Ground is setting new standards of rigorous academic knowledge creation and scholarly publication. Unlike other publishers, weʼre not interested in the size of potential markets or competition from other books. Weʼre only interested in the intellectual quality of the work. If your book is a brilliant contribution to a specialist area of knowledge that only serves a small intellectual community, we still want to publish it. If it is expansive and has a broad appeal, we want to publish it too, but only if it is of the highest intellectual quality. We welcome proposals or completed manuscript submissions of:

• Individually and jointly authored books • Edited collections addressing a clear, intellectually challenging theme • Collections of articles published in our journals • Out-of-copyright books, including important books that have gone out of print and classics with new

introductions

Book Proposal Guidelines Books should be between 30,000 and 150,000 words in length. They are published simultaneously in print and electronic formats and are available through Amazon and as Kindle editions. To publish a book, please send us a proposal including:

• Title • Author(s)/editor(s) • Draft back-cover blurb • Author bio note(s) • Table of contents • Intended audience and significance of contribution • Sample chapters or complete manuscript • Manuscript submission date

Proposals can be submitted by email to [email protected]. Please note the book imprint to which you are submitting in the subject line. Call for Book Reviewers Common Ground Publishing is seeking distinguished peer reviewers to evaluate book manuscripts submitted to The Image Book Imprint. As part of our commitment to intellectual excellence and a rigorous review process, Common Ground sends book manuscripts that have received initial editorial approval to peer reviewers to further evaluate and provide constructive feedback. The comments and guidance that these reviewers supply is invaluable to our authors and an essential part of the publication process. Common Ground recognizes the important role of reviewers by acknowledging book reviewers as members of The Image Imprint Editorial Review Board for a period of at least one year. The list of members of the Editorial Review Board will be posted on our website. If you would like to review book manuscripts, please send an email to [email protected] with:

• A brief description of your professional credentials • A list of your areas of interest and expertise • A copy of your CV with current contact details

If we feel that you are qualified and we require refereeing for manuscripts within your purview, we will contact you.


THE IMAGE BOOK SERIES Available at http://theimage.cgpublisher.com/

The Picture in Design: What Graphic Designers, Art Directors, and Illustrators Should Know about Communicating with Pictures Stuart Medley Pictures are as vital to graphic design as type, yet graphic design theories barely give them a look. The seemingly unconscious nature of the act of seeing has meant that vision and pictures have been taken for granted. Finally, here is a way for graphic designers to understand pictures. This book explains the paradox that we are able to communicate more accurately through less accurately rendered images.


RECENT BOOKS PUBLISHED BY COMMON GROUND These and other books are available at http://theuniversitypressbooks.cgpublisher.com/

Dancing Images Anna Mouat Dancing Images investigates the theoretical issues and practical concerns regarding the use of historic works of art as illustration in dance history. The first section draws content from the diverse fields of visual communication, visual culture, history and theory of illustration, dance iconography, emotional intelligence, visual intelligence, perception theory, visual learning, and visual instruction. The second section provides a collection of 171 images that illustrate the history of Western theatrical and social dance forms, 1581 to 1900, providing art-historical attribution and relevant dance historical information for each image in the collection. The Search for New Media: Late 20th 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 Japanʼs avant-garde of the 1970s.


Conference Principles and Features The structure of the conference is based on four core principles that pervade all aspects of the knowledge community: 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.


Session Descriptions Plenary Sessions Plenary speakers, chosen from among the worldʼs leading thinkers, offer formal presentations on topics of broad interest to the community and conference delegation. One or more speakers are scheduled into a plenary session, most often the first session of the day. As a general rule, there are no questions or discussion during these sessions. Instead, plenary speakers answer questions and participate in informal, extended discussions during their Garden Sessions. 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 delegatesʼ final discussions during the Closing Session. Paper Presentations in Thematic Sessions Paper presentations are grouped by general themes or topics into sessions comprised of three or four presentations followed by group discussion. Each presenter in the session makes a formal twenty-minute presentation of their work; Q&A and group discussion follow after all have presented. Session Chairs introduce the speakers, keep time on the presentations, and facilitate the discussion. Each presenter's formal, written paper will be available to participants if accepted to the journal. Workshop/Interactive Session Workshop sessions involve extensive interaction between presenters and participants around an idea or hands-on 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.



CONFERENCE PROGRAM AND SCHEDULE



DAILY SCHEDULE Friday, 18 October

08:00-09:00 Conference Registration Desk Open 09:00-09:20 Conference Opening and Host Remarks 09:20-09:55 Plenary Session – Erkki Huhtamo 09:55-10:30 Garden Session and Coffee Break 10:30-11:15 Talking Circles 11:20-13:00 Parallel Sessions 13:00-13:50 Lunch 13:50-15:30 Parallel Sessions 15:30-15:45 Coffee Break 15:45-17:25 Parallel Sessions 19:00-21:00 Welcome Reception – Cocktail and Exhibition at Chicago Art Department Gallery

Saturday, 19 October

08:30-all day Conference Registration Desk Open 08:45-09:00 Host Remarks 09:00-09:35 Plenary Session – Natasha Egan 09:35-10:00 Garden Session and Coffee Break 10:00-10:45 Workshops, Poster Sessions, and Focused Discussions/Roundtables 10:55-12:10 Parallel Sessions 12:10-13:10 Lunch and Talking Circles 13:10-14:50 Parallel Sessions 14:50-15:05 Coffee Break 15:05-16:45 Parallel Sessions 16:45-17:15 Closing Session

CONFERENCE HIGHLIGHTS Welcome Reception and Exhibition Date: Friday, 18 October – 19:00-21:00

Description: Common Ground Publishing and The Image Conference invite you to the conference Welcome Reception and Exhibition on Friday, 18 October, featuring international artists and work from conference delegates. The reception will be held at the Chicago Art Department – a gallery in the Pilsen arts district (address: 1932 S. Halsted St, #100, Chicago, IL 60608). All delegates are welcome to attend and enjoy complimentary drinks and refreshments. This is an excellent opportunity to network, participate in the work of your peers, and get to know your fellow delegates.

Shuttle transportation will be provided to and from the event. The shuttle will begin taking guests to the event at 6:40 pm and will return for additional groups at approximately 7:00 pm. The shuttle will depart from the Wyndham Blake Hotel – 500 S. Dearborn Street (a 5-minute walk from the conference venue). At the end of the event, guests can return via the shuttle, back to the Wyndham Blake Hotel.

Chicago Architecture Boat Tour Date: Saturday, 19 October – 18:30-19:45 Description: Starting at the Wendella Dock at Trump Tower, an expert architecture guide leads you through all three branches of the Chicago River during this 75-minute tour, highlighting Chicago's rich architectural heritage. From residential to office buildings, you'll discover a wide range of architectural styles designed by notable architects such as Mies van der Rohe, Bertrand Goldberg and Skidmore, Owings and Merrill. Visit the conference registration desk to book your place on the tour. Tickets are $US 20.00. CONFERENCE SECRETARIAT

• Samantha Imburgia • Raquel Jimenez • Emily Kasak • Kim Kendall


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 Gütschow 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 clichéd 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.


EXHIBITING ARTISTS – PERSONAL STATEMENTS AND BIOGRAPHIES Natasha Carrington Natasha Carringtonʼs work is a multidisciplinary ranging from drawing, photography and video installation. Her practice centres on relationships of power and how the self is both a reflection of, and a reaction against its environment. Alongside regular exhibitions in galleries; public spaces, film and video festivals such as the Melbourne Underground Film Festival and the international video festival Loop in Barcelona Natasha has presented and published papers in international conferences including the ʻActivating Peace and Human Rights Conferenceʼ in Australia and the ʻLondon Film & Media Conferenceʼ. In 2012 Natasha Completed her PhD titled ʻTraversing Correctional Space: The tensions between Justice, Ethics and Aestheticsʼ at Monash University in Australia. For this work she interviewed twelve men inside Victoriaʼs maximum security Barwon Prison in an effort to reveal their personal stories and insights into the correctional system in Australia. At ʻThe Imageʼ Conference she will present her paper ʻPicturing the Offender: The Image as a Construction of Power, Popular Culture and Differenceʼ that examines representations of perpetrators of crime and accompanies her film ʻRetributionʼ that is included in The Image Conference Exhibition. Patrick Ceyssens Patrick Ceyssens is a painter, film/video maker, and working across a range of media and their specific languages. There is one constant: his research in the deeper picture elements and their indirect effects. The search for the image construction and the intermediate region in the image layers. He has already made several multimedia-installations at home and abroad. His artistic work is presented by Galerie DS ( www.galerieds.eu ), Galerie Light Cube ( www.light-cube.be ), and Galerie Judy Straten ( www.galeriejudystraten.com). Patrick is also docent image analysis at several universities & university-colleges: Erasmus University College Brussels, PHL College in Hasselt, University Hasselt, Belgium. Currently, he is working on a PhD on this subject at UHasselt, Belgium. He is the creator of the website: http://www.analyzing-images.com which is a virtual taxonomy of image typologies. Mariam Eqbal, MFA 2013, Virginia Commonwealth University I was born in Lahore Pakistan, I live in Richmond, Virginia, and I like watching the waters of the James River. I wonder about approximation. How can a circle ever be measured if pi, the tool for measuring it, is itself infinite? I think about things breaking into smaller things like matter decaying into molecules and particles. I think about numbers and count and wonder about time as a collection of loops, as small repetitive oscillation within one big development, like waves in an ocean. I think about totality, about the beginning and ends of things. My work explores singularity recurring in the presence of time, as an entity in a constant state of flux, shifting and changing. It investigates the complexities of individual forms and systems that occur in nature, and the functions and processes that are fundamental to the design of the form or system in question. Over the course of my research I have come to realize and appreciate my connection with nature at the fundamental level, as a product of natural forces. Along with all things in nature, I am a construct of time, repeating, collecting, and growing in small acts. I seem to be a verb, an evolutionary process, an integral function of the universe. --- R. Buckminster Fuller Alison Goodyear I am a visual artist and my practice involves working predominantly with drawing and painting, informed by a history and theory of painting and landscape. Through various processes and levels of abstraction my work articulates concerns drawn from these sources, exploring organic spaces and their liminal boundaries by creating, playing and distorting what seems as familiar space. I am currently in my second year as a practice-based PhD candidate at Chelsea College of Art. In my research practice I am examining the experience of aesthetic 'absorption' taken from Diderot and Fried and its relationship to a painting practice.


Marina Kassianidou Marina Kassianidou is an artist and academic whose practice combines painting, drawing, collage, installation, site-specific 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.


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, Joshuaʼs 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, Amberʼs 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.

Amberʼs 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, Brisseyʼs 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. Jamieʼs 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.

Jamieʼs current research project towards PhD is an autoethnography which investigates what is a stake when oneʼs 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 Jamieʼs 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 Womenʼs 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.


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-Lautrecʼs œuvre. 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 Masterʼs 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.”


Friday, 18 October 08:00-09:00

CONFERENCE REGISTRATION DESK OPEN 09:00-09:20

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

GARDEN SESSION AND COFFEE BREAK Featuring Erkki Huhtamo

10:30-11:15

TALKING CIRCLES (THEMES LISTED BELOW) ROOM 1: Theme 1 – The Form of the Image ROOM 2: Theme 2 – Image Work ROOM 3: Theme 3 – The Image in Society

11:20-13:00

ARCHIVES, EXHIBITION, DISPLAY 1 Room 1

Exhibiting Inauthenticity: The Exhibition of Art Forgery within the Art Institution Felicity Strong, The University of Melbourne, Australia

This paper examines how the exhibition of art forgery within an art institutional context affects its status as a work of art.

The Image Out of History: Ben Russell’s 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.

The Image Conference, 2013 32 11:20-13:00 (Friday, Cont'd)

Studio, Image, Album, Ruin: Nineteenth Century Mexican Photographs and the Idealized Nation Prof. Raúl Rodríguez-Hernández, 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.

The Visual Narrative in House Museums Aslihan Gunhan, Middle East Technical University, Turkey

House Museums as a new field in museology has the potential to visually and architecturally narrate fragments of history. Transformation of house space into museum space offers a unique representation.

DIGITAL ART AND NEW MEDIA 1 Room 2

Control and Surrender: Negotiating the Risks and Rewards of Online Performances and Images Jamie Lee Coull, Curtin University of Technology, Australia

This paper considers how online performers might negotiate the risks and rewards of control and surrender at work within online performances and images.

Personal Geographies: Closeness However Distant as It May Be Dr. Andreas Kratky, University of Southern California, United States

With a site specific interactive installation and its theoretical consideration we are reflecting on the experience of presence and social embeddedness in the era of augmented reality representations of space.

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.

Recombinant Media Chaos: Media Art after New Media Paul Hertz, School of the Art Institute of Chicago, United States

In "post new media" network culture, images inhabit encoded streams that compete for emergence. Artists learn to use various strategies to work within the resulting recombinant media chaos.

THE IMAGE IN ARCHITECTURE Room 3

Concrete Façades and Images: A Contradictory Relationship Dr. Marisol Vidal, Technical University Graz, Austria

Concrete façades escape the way architecture usually deals with images: they are images themselves but cannot be fully depicted or apprehended in a figurative way.

Images Create Identities: The Case of the City of Ahmedabad, India Heta Trivedi, Freelance Architect and Arts Journalist, United States

Images have power, a power to change our thoughts and perspectives. Similarly, the images in architecture create impact, and influence the way we identify with a building,space or a city.


11:20-13:00 (Friday, Cont'd)

Re-reading Architectural Representations through the Human Figure İrem 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.

Urban Images: Silhouettes of Istanbul Ozgun Yuceturk, Istanbul Technical University, Turkey

The research focuses on discovering the dialogue and the perception of the city image during the encounters with the accumulation of the knowledge of city over the years.

THEORIZING THE IMAGE 1 Room 4

The Dialectics of the Image: Image as Interference, Interference as Image Sajda Alexandra José van der Leeuw, New York University, United States

This paper is concerned with the thesis that dysfunction, or at least interruption, is an intrinsic imagistic mode, without which an image cannot be perceived as image.

The Politics of the Visual 2 Prof. Rod Stoneman, National University of Ireland, Galway, Ireland

The social and visual are connected, mutually interactive and reinforcing. The combination of the power of an undependable image system and the retraction of progressive political prospects are not unrelated.

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.

What Might an "Edifying" Art Practice Look Like? Diane Zeeuw, Kendall College of Art and Design of Ferris State University, United States

I would like to apply Richard Rorty's propositions for an "edifying" philosophical practice to the question of how such a framework might enrich or challenge the practice of art.

THE EVERY DAY IMAGE 1 Room 5

Billboard Babies: Embodied Images of Identity and Aspiration in Infant Clothing Alain Blunt, University of Massachusetts Dartmouth, United States — Dr. Robert A. Brooks, Worcester State University, United States

This research is a unique look into how text and images on infants’ clothing serve to express parental identity and ideologies in both manifest and latent ways.


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.

Visual Arts Practices in Nigeria Hyacinth Chidozie Ngumah, Alvan Ikoku Federal College of Education, Owerri, Nigeria

The paper examines the visual arts practices in Nigeria from precolonial period to post-colonial period. The paper also looks into the various art forms in terms of media and structures.

Visualizing Monaro: An Investigation of Fragment Arrangement of Soft Drink Crates Dr. Richard Morris, Avondale College, Australia

The intertexture of component parts in Rosalie Gascoigne’s assemblage Monaro, 1989, triggers for the viewer a visualisation of the wind swept grasslands of Monaro in Southern New South Wales.

WORKSHOPS (45-MINUTES EACH) Room 6

From Mimesis to Mental Matrix: An Ontology for Images Patrick Ceyssens, University Hasselt Belgium, Belgium

An artistic research into existing and unknown parameters in images and in particular their interaction and experimental interaction, which could lead to possible new meanings.

Spectatorial Propositions: Exploring the Activity of Spectatorship as a Point of Creative Possibility Joanne Haywood Richardson, Curtin University, Australia

Contemplating viewer participation as a point of creative possibility by inviting attendees to take part in, direct and play with the conventional structure of an artist’s talk.

13:00-13:50

LUNCH

13:50-15:30

GENDER, IDENTITY, PERSONHOOD 1 Room 1

The Femme Nouvelle and Masculinity: What Advertising in the Fin-de-siècle Tells Us about Being a Man Kimberly Musial, The Pennsylvania State University, United States

What can attractive women on advertising posters tell us about masculinity? By examining lithographs produced in fin de siècle France, we will begin to answer this question.


13:50-15:30 (Friday, Cont'd) Images of Women’s 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.

Recognition, Belonging, and the Image Charli Brissey, Virginia Commonwealth University, United States

The foundation of my research lies in queer theory and feminist studies that examine the sociocultural underpinnings that navigate both how we see images and also how we create them.

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.

IMAGE IN RELATION TO SPACE 1 Room 2

Everyday Goings-on: Intersecting Points Where Context Meets Conversation Monique Redmond, AUT University, New Zealand — Sue Gallagher, AUT University, New Zealand

This paper presents two stages of the month-long Assembly project that took place at ST Paul St gallery, NZ; including the exhibition design and Speakeasy, a collaborative 2-day event-based project.

The Matrix Method: Looking as a Generator for Creativity Prof. Thierry Lagrange, Catholic University of Leuven, Belgium

This is an overview of essential aspects of the use of the "Matrix Method." Through the explicit use of the image, the method leads to forms of reflection and creativity.

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 cinema’s representation of architecture and urban space.

Ruins of Architecture: Communicating the Encounter Clem Monro, University of Lincoln, Lincolnshire, UK

This practice-led reserach seeks to explore the physical manifestations of the ruin and in particular, what those physical manifextations represent in the context they are seen in and experienced.


THE TEXT AS IMAGE Room 3

“In the Beginning Was the Word”: A Re-reading of Blake’s Image-text in the Book of Urizen Meredith Massar, Graduate Theological Union, United States

Can language “rouze” us? Blake’s shifting conceptualization of Urizen’s book unlocks a new perspective of language in the attempt to redeem it, and us, from systematic death.

The Roles of Imagistic Language in Therapeutic Writing Dr. Roy F. Fox, University of Missouri, United States

This paper is a report on case studies of two language experts who voluntarily chose to engage in writing to "heal" themselves from traumatic events.

Text as Image and Image as Text: The Literary Journal Anna Leahy, Chapman University, United States — Prof. Claudine Jaenichen, Chapman University, United States

A poet and a graphic designer explore together the relationship between text and image and the possibilities and limitations for print and digital in producing a national literary journal.

The Gendered Image: Deconstructing Life Drawing Prof. Howard Riley, Swansea Metropolitan, University of Wales Trinity Saint David, United Kingdom — Amanda Roberts, Swansea Metropolitan University, United Kingdom

This paper introduces an original systemic-functional semiotic model intended to facilitate the analysis and synthesis of drawings in an art school context.

VISUAL PRACTICE IN SOCIETY Room 4

The Dictator Stays in the Picture: The Forgotten History of a Controversial Mural Kenneth DiMaggio, Capital Community College, United States — Dr. Carl Antonucci, Central Connecticut State University, United States

Should art depicting controversial figures remain in the picture? Mussolini does in Guido Nincheri's church mural featuring Mussolini, but not Lenin in a Diego Rivera mural destroyed for featuring him.

Sacred and Profane: Word as Image Will Hill, Anglia Ruskin University, Cambridge, United Kingdom

The paper considers the word as image from the contrasting perspectives of devotional and subversive contexts: as the expression of religious faith and as an instrument of avant-garde visual practice.

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.


13:50-15:30 (Friday, Cont'd) PHOTOGRAPHY AS IMAGE METHOD 1 Room 5

My Adventures in Time and Space: "Waiting for Carol" and "A Night at the Opera" Prof. David Richmond, Simpson College, United States

I am recording thoughts of events through visual image instead of written imagery. My method of capturing images is, “My Adventures in Time and Space."

Quotidian Photographs: Looking Back at Ernest Cole’s Photographs of Apartheid South Africa Sally Gaule, University of the Witwatersrand, South Africa

This paper examines how Ernest Cole’s images of everyday life reveal the sense of suffocating embrace, unceasing surveillance and the pervasive control to which Africans were subjected during Apartheid.

Stereoscopy in Portuguese Social History of Photography: First Data Prof. Victor Flores, Universidade Lusófona de Humanidades e Tecnologias, Portugal

This is a presentation of a research project on stereo photography in Portugal which aims to increase the visibility of stereoscopy in the Portuguese social history of photography.

Photography as Social Encounter: From Image to Event Dr. Daniel Palmer, Monash University, Australia

This paper analyses the camera as a vehicle for social interaction and exchange in three works of conceptual art, with reference to participatory art and Ariella Azoulay’s theorization of photography.

WORKSHOP (13:50-14:35) Room 6

Augusto Boal’s 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.

FEATURED SESSION (14:50-15:20) Room 6

Publishing Your Book or Paper with Common Ground Samantha Imburgia, Common Ground Publishing, USA

In this session Samantha will present an overview of Common Ground's publishing philosophy and practices. She will also offer tips for turning conference papers into journal articles, present an overview of journal publishing procedures, introduce The Image Book Series, and provide information on Common Ground's book proposal submission process. Please fee free to bring questions – the second half of the session will be devoted to Q&A.

15:30-15:45

COFFEE BREAK


INTERPRETING THE MOVING IMAGE 1 Room 1

An Aesthetic of Place in Film Vis-à-vis Film as a Medium Universal Civilization Dr. Thomas Schurch, Clemson University, United States

Four films - Milagro Beanfield War, Tender Mercies, Chinatown, and The Soloist – are discussed to demonstrate “place” theory in film in contradistinction to films influencing and influenced by globalization.

From Image to Gesture: Giorgio Agamben's New Approach to Film Theory Jakub Morawski, Jagiellonian University, Krakow, Poland, Poland

I wish to present theoretical shift in contemporary cinema/visual studies that happened after Deleuze published his books on cinema. Agamben among others reviews that work and suggest new, "gestural" theory.

"¡No Soy Invisible!" or I’m Not Invisible: Social Drama in Rosario Garcia- Montero’s "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 Turner’s 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 Debord’s 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.

POLITICAL IMAGES, IMAGINING POLITICS 1 Room 2

Image as Illusion in the Uncanny Pablo Petrucci, York University, Canada

A theoretical analysis of multiple perspectives on "the uncanny" - where each speaks to an eerie illusory image that ultimately works to remove the real presence of a marginalized population.

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 Kristeva’s 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.

The Protest Goes Inside!: The Body Visual Practice Maria Portugal, Goldsmiths – University of London, United Kingdom

During the last three decades the enlightenment of political action in western civilization has been intimately bounded with the perception of protest as a (re)shaped image of body experience.


15:45-17:20 (Friday, Cont'd)

IMAGES IN THE SERVICE OF LEARNING 1 Room 3

The Accidental Image Prof. Sharon Oiga, University of Illinois at Chicago, United States — Guy Villa, Columbia College Chicago, United States

Image-making, composition, and meaning are investigated in processes of random convergence leading to results characteristic of unexpected design and dynamic energy. Meaning is augmented through form, with intentionality and unpredictability.

The Affective Intensity of Images: Transformative Learning through Image- making Tara Michelle Winters, The University of Auckland, New Zealand

In this paper I argue for image making as a special case of Transformative Learning utilizing Heron and Reasons’ (1997) theorization of the foundational role of affect in experiential knowing.

Prove It!: The Concept/Image Map in The Age of the Test Brian DeLevie, University of Colorado Denver, United States

The use of creative image-based concept maps in K-12 education provides a more equitable way to assess, encourage and foster student learning and providing a means of meeting government benchmarks.

Travelling Concepts in Photography Dr. Susan Close, University of Manitoba, Canada

This paper provides a critical overview of Travelling Concepts in Photography, a graduate level photography elective that combines the practice, theory and history of photography.

THE SCIENCES OF PERCEPTION 1 Room 4

Beyond the Sensation of Colors: Resonance and Color in the Paintings of Barnett Newman Troy Rhoades, Université de Montréal, Canada

Looking at to work of Barnett Newman, this presentation explores how the resonance generated between the singularity and multiplicity of colors is paradoxical, yet enables images to emerge into sight.

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: Re-framing 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.


15:45-17:20 (Friday, Cont'd)

Visual Perception in Dynamic World Jiawei Xu, University of Lincoln, United Kingdom

Bio-inspired visual perception is critical to many application areas such as health care, human machine interaction and robotics. My research focus on developing algorithms and methodologies from visual brains.

SOCIETY AND THE IMAGE 1 Room 5

Albert Eckhout and Frans Post’s Paradise: Establishing Tropical Nature as the Image of Brazil Dr. Eduardo Luis Araújo de Oliveira Batista, Universidade de São Paulo - USP, Brazil

A study of the first artistic images of Brazilian territory that set up the vocabulary to the development of Brazilian iconography based in its representation as tropical nature.

The Changing Profile of Individual Migrating to Urban Areas in Turkish Cinema Nergiz Karadas, Anadolu University, Turkey

This study aims to examine transformation in the representation of the individual migrating in Turkish cinema.

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 person’s 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.

IMAGE WORK AND IMAGE FORM Room 6

The Abuses of Theory Guilherme Foscolo de Moura Gomes, Fulbright, United States

This paper intends to investigate the relationship established between art and art criticism in modernity; in fact, to investigate how this relationship results from the conquest of Theory’s autonomy.

Anonymous: Hacktivist Visual Culture Prof. David Prochaska, University of Illinois, Urbana-Champaign, United States

Anonymous makes use of and exemplifies specific qualities and characteristics of the Internet combined with a distinctive set of political and cultural attitudes, all presented in striking images and imagery.

Observations and Models Eugene Park, University of Minnesota, Twin Cities, United States

Applying the practice of graphic design into the iterative process of creating models and influencing scientific observation is the topic of this paper.


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

CONFERENCE WELCOME RECEPTION AND EXHIBITION Join us for the exhibition and welcome cocktail reception with light food and drinks!

The exhibition features international artists and work from conference participants, hosted at the Chicago Art Department Gallery in Chicago's Pilsen arts disctrict. All delegates are welcome, and shuttle transportion to and from the event is provided by the conference.


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

GARDEN SESSION AND BREAK Featuring Natasha Egan

10:00-10:45

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 today’s student engaged.

American Visual Culture in the Brazilian Media Marcos Arraes, University of California, Irvine - CA / UFSC - Brazil, United States

This is a study of how the Brazilian media interpreted and reproduced the american visual culture during the cold war period.

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.

Make It Right Project: The Agency of Image in Architecture and Media Sanja Rodes, Griffith University, Australia

The paper explores the confluence of global attention and image consciousness, where the image is used as a powerful tool of media and an overlapping point between architecture and globalization.


10:00-10:45 (Saturday, Cont'd) 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 Barry’s "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 Young’s music were formed through images via cartoonist Lynda Barry’s method, Writing The Unthinkable. They subsequently take form as comic strips-in-progress.The

Lost Archive: Interactive Personal Archives on the Web Christopher Ronald Terry, Centennial College and McMaster University, Canada

The Lost Archive examines how personal visual archives can be interpreted and given meaning by using the web to create interactive digital archival memory sites.

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.

Re-writing the Washington Mall: Three Projects Edward Wendt, Pratt Institute, United States

The proposed Cotton Cross, Steel Sequoia and Buffalo Roam at the Washington, D.C. Mall visualize long- standing conflicts in American society involving religion, environment, democracy, capitalism and ideals of freedom.

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.

The Spectacle of the Ordinary: Painting the Everyday Terry Matassoni, Deakin University, Australia

This presentation shows paintings that further explore my interest in depicting the complexities of contemporary urban life - images, concepts, and motifs from our everyday experience.

The Image Conference, 2013 44 10:00-10:45 (Saturday, Cont'd)

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

GENDER, IDENTITY, PERSONHOOD 2 Room 1

Interested in Other Women: A Content Analysis of Video Game Romance Sequences Indira Neill Hoch, University of Illinois at Chicago, United States

In this paper the film studies concepts of the voyeuristic gaze and shot scale are applied to single-player video game romance scenes as a means to measure implicit sexualization.

The Longer I Sit, the Less Inclined I Am to Stand Up Lars Jerlach, The School of Art and Design, New Zealand — Helen Stringfellow, New Zealand

We will focus attention upon the cooking program, the celebrity chef, cultural obsession with food, and our seemingly endless search for self improvement.

Personal and Collective Stories: A Film Analysis of "The Milk of Sorrow" Nancy Regina Gomez, Universidad del Norte (Colombia) and Ohio University, United States

In this paper I will explore how collective stories constrain the creation of one’s own in the film "The Milk of Sorrow."

DIGITAL ART AND NEW MEDIA 2 Room 2

Digitivitism and the Intent versus the Failure between the Human and Computer: Narcosis of the Masses Teresa Tam, Alberta College of Art and Design, Canada

"Creativity" is the narcotic of The Amateur, the digital primitive. Narcosis is born out of failure of understanding the relationship between the amateur, digital, and the role of both.


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.

Photoshop: Genesis of the Anti-image Asta Rowe, University of Melbourne, Canada

How does Photoshop brings into focus the non-imagistic quality of the image? Contemporary artist, Rudd van Empel and the Mannerist painter Giuseppe Archimboldo will provide case studies for this analysis.

IMAGES IN THE SERVICE OF LEARNING 2 Room 3

Exploring Children's Identity through Photographic Practices Dr. Ian Brown, University of Wollongong, Australia

This paper reports explores the emerging identities of children through photographic practices. The Voices of Children project, provides a platform for examining ways and the context that identities are developed.

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.

THE EVERY DAY IMAGE 2 Room 4

The Color Red in the Turkish Culture Assoc. Prof. Türkan Erdem, Konya University, Turkey

In this paper, expression of the color “Red” will be investigated in the Turkish culture ranging from the concepts to rituals.

Cultural Icons in Multimodal Writing: How Image and Text Combine to Create Cultural Identity Dr. Monique Lebrun, University of Quebec (Montréal), Canada — Dr. Nathalie Lacelle, University of Quebec (Trois- Rivières), Canada — Dr. Jean-François Boutin, University of Quebec (Lévis /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.


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.

TECHNOLOGIES AND TECHNIQUES OF REPRESENTATION Room 5

Digital Image Autonomy: How GIFs "Language" and What They Might Mean Daniel Rourke, Goldsmiths, University of London, United Kingdom

My paper constructs an autonomy for the digital image: a posthuman ontology that does away with subject/object dichotomies rooted in the material products of a market economy.

Drawing in the Media Stream Tony Allard, California State University, San Marcos, United States — Kristine Diekman, California State University, San Marcos, United States

Our presentation challenges the wisdom of the shift in techno culture away from object-based images produced on paper towards real time images produced and viewed on a computer screen.

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.

THE SCIENCES OF PERCEPTION 2 Room 6

3-D Cinema and the Positing of "Things" in Cave of Forgotten Dreams Dr. Kevin Fisher, University of Otago, New Zealand

I will explore how the use of 3-D imagery in Cave of Forgotten Dreams relates to an abiding concern within Herzog’s oeuvre: the imagining of a pre human consciousness.

The Poetic Image and the Hiatus of Memory Lílian de Carvalho Soares, Federal University of Rio de Janeiro, Brazil

This proposal is a research about a hiatus of memory and its relation to the image, aiming to discuss the hiatus as a space of poetic image horizon.

THE IMAGE AS ART: MUSIC, PAINTING AND FILM (PRESENTATIONS IN PORTUGUESE) Room 7

Dimensão mêmica da apropriação audiovisual Sonia Montano, Unisinos, Brazil — Suzana Kilpp, Unisinos, Brazil

O artigo faz uma ecologia audiovisual na plataforma YouTube, abordando conjuntamente usos, interfaces, ambientes e vídeos. Constata-se uma forte incidência da dimensão mêmica sobre os modos de apropriação de audiovisuais.



Hibridização de imagens: cinema/pintura Dra. Nelyse Apparecida Melro Salzedas, Faculdade de Arquitetura, Artes e Comunicão da Universidade Estadual Paulista, Brazil — Dr. Rivaldo Alfredo Paccola, Faculdade de Agudos - FAAG, Brazil

Trata-se de um estudo de hibridização de imagens de pinturas e partículas cinematográficas em filmes italianos e norte-americano.

A Imagem Musiva de Di Cavalcanti: Painel Alegoria das Artes Patricia Grandini Serrano, UNESP - Universidade Estatual Paulista, Brazil — Marco Antonio Rossi, Universidade Estadual Paulista - UNESP, Brazil

A proposta visa à leitura de imagem de “Alegoria das Artes” de Di Cavalcanti. Um painel em mosaico, executado na fachada do Teatro Cultura Artística, de São Paulo

12:10-13:10

LUNCH & TALKING CIRCLES (THEMES LISTED BELOW) ROOM 1: Theme 1 – The Form of the Image ROOM 2: Theme 2 – Image Work ROOM 3: Theme 3 – The Image in Society

13:10-14:50

INTERPRETING THE MOVING IMAGE 2 Room 1

The Advantages and Limitations of Archiving and Disseminating Arts-based Research Performances through Video Dr. Joe Norris, Brock University, Canada

The problematics of translating live theatre to archival videos, videos for public distribution and the restaging of live theatre for video recordings will be discussed with video exemplars.

Bridging the Gap: Comics and Early Narrative Film Christopher Rowe, The University of Melbourne, Canada

An exploration of the influence of newspaper comics on early narrative film, with a focus on Louis Lumière’s L’Arroseur arrosé (“The Waterer Watered”; 1895) and its print antecedents.

Shifting Landscapes: Framing Found Choreography D. Chase Angier, Alfred University, United States

This PowerPoint presentation discusses framing compelling found choreography, bringing attention to place/people from a performing arts perspective.

Sympathetic Threads, Cause and Effect of the Cinematic Frame Dr. Gregory Ferris, University of Technology, Sydney, Australia

This presentation looks at cinematic linkage of onscreen and offscreen space through the use of threads, and their their causes and effects.



IMAGE IN RELATION TO SPACE 2 Room 2

Constructing the Image of Architecture: The Orthographic Set Seray Türkay, Middle East Technical University, Turkey

This study re-visits the convention of “the orthographic set” as a collection of images which constructs and visualizes a critical space of translation from imagination to building through drawing.

Images in Distortions: From Anamorphosis to Conformal Mappings Félix Lambert, University of Montreal, Canada

We can always distort images but for specific kind of distortions, we are still able to recognize the primitive image. Conformal mappings provide some examples.

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.

Remotely Framed: An Exploration into the Aesthetics of the Pixelated Experience Alannah Gunter, Griffith University, Australia

This paper will explore the aesthetics one experiences when viewing the pixelated scene relayed to us by streaming webcams.

THE IMAGE AS COMMERCIAL ARTIFACT Room 3

The Copy, Not the Original: Altered and Alternate Realities in the Age of Digital Media Prof. Aaron Sultanik, COllege of Westchester, United States

"The Copy, not the Original" posits the advent of digital media:the hegemony of prequels, sequels, and spinoffs in contemporary media culture.

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 indifference’s in comparison to the corporate branding machine.

"Here’s 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.


13:10-14:50 (Saturday, Cont'd) POLITICAL IMAGES, IMAGINING POLITICS 2 Room 4

The Image and Its Epistemological Assumptions in the Age of the War on Terror Claudia Salamanca, Pontificia Universidad Javeriana / University California Berkeley, Colombia

This paper inquires about the epistemological assumptions of image-making and image-distributing in the age of the war on terror, specifically developed within the field of counterinsurgency studies.

The Image of the Hero in Soviet/Post Soviet Cinema Randy Davis, Virginia Commonwealth University, United States

Seven films from seven political eras are analyzed to determine if cinematic representations of the "hero" change with the progression from a Stalinist totalitarian State to a Yeltsin/Putin constitutional republic.

The "Light/Box" Project: Towards Student-led Interdisciplinarity Adam Paul Verity, University of Lincoln, United Kingdom — Doina Carter, University of Lincoln, United Kingdom

"Light/box" - a one day extra curricular collaborative project between first year BA (Hons) Architecture and BA (Hons) Contemporary Lens Media at the University of Lincoln, UK.

“Neo-Ottomanism” Rebuilt in Building Envelopes Benek Cincik, Istanbul Technical University, Turkey

This paper aims to examine the dynamics of “neo-ottomanism” trend reconstructed through building envelope designs that have a touch of “seljukian and ottoman style”.

SOCIETY AND THE IMAGE 2 Room 5

Art as Communication: Employing Gricean Maxims of Communication as a Model for Art Viewing Melissa J. Dolese, City University of New York's Graduate Center and Brooklyn College, United States — Aaron Kozbelt, City University of New York Brooklyn College, United States

I argue for art as communication and attempt to understand aesthetic preferences by employing an existing model of verbal communication, one that focuses on meaning construction, to art viewing.

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 Özgür Çalışkan, 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.

Vntypl8 (Vanity Plate): An Urban Taxonomy in 1000 images Kevin Henry, Columbia College Chicago, United States

This presentation concerns a documentary project involving the photographing and cataloging of urban vanity plates and the complex taxonomies these terse and often obtuse tags suggest of a city’s populace.


13:10-14:50 (Saturday, Cont'd) SPECIAL TOPICS: IMAGE AND SOCIETY Room 6

Sharing Fear: How the Obama and Romney Campaigns Used Photographs to Spread Fear via Facebook Jan Boehmer, United States — Michael Friedman, University of Tennessee at Chattanooga, United States

A content analysis of 395 images used by both presidential candidates during the 2012 election shows that photographs containing written fear messages were more frequently shared on Facebook.

Tattoos and the American Fictional Character Tiffany Akin, The University of Memphis, United States

How is the tattooed fictional character rendered in American fiction? Does this view change over time, by genre or by gender? An examination of language and the tattooed in fiction.

Rush Hour: Pinhole Photography as Time Machine Neill Cockwill, Edge Hill University, Lancashire, UK

"Rush Hour" is a practice-based study using pinhole photographs to disclose the inherent temporal narrative often disregarded in modern mainstream photography.

14:50-15:05

COFFEE BREAK 15:05-16:45

ARCHIVES, EXHIBITION, DISPLAY 2 Room 1

Ambiguous Gaze in Found Footage Cinema: An Intertextual Discussion on Abjection and Reality Tania Romero, IDSVA - Institute of Doctoral Studies in the Visual Arts, United States

How does a false image represent reality? This paper will discuss the visual experience of audiences of the found footage genre and how false images become believable.

Architectural Image as a Reproductive Aesthetic Experience: SANAA’s 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 SANAA’s 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


15:05-16:45 (Saturday, Cont'd) Iconography of Spectacle: Reproduction of Photographic Archives Vesna Pavlovic, Vanderbilt University, United States

Paper will address the use of historical photographic archives and their treatment in contemporary art. Ongoing "Iconography of Spectacle" project is used to discuss implications of photographic reproduction and appropriation.

PHOTOGRAPHY AS IMAGE METHOD 2 Room 2 Paper Dolls and Digital Fabrics: The Use of the Photographic Image in Textile Design Dr. Sarah Glover, Bradley University, United States

This paper discusses the aesthetic boundaries and iconographical complexities that occur when photographic images are appropriated and imbedded in textile design and clothing.

Performing Transitions: Photographic Sequences and the Body in Transition Joshua Barnett, Indiana University Bloomington, United States

Bringing theories of visual rhetoric, performativity, and performance to bear upon one another, this essay demonstrates how "photographic sequences" perform the transsexual body in transition.

Take(s) One to Know One: Photography as Analogy for the Polemic of Practice- based Research Colleen Boyle, RMIT University, Australia

The photograph’s 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.

Uncanny Resemblance: 3D Sonography and the Rebirth of the Undead Victoria Niva Millious, Queen's University, Canada

This paper considers the aesthetic and philosophic parallels between the advent of cosmetic 3D fetal imaging and the renewal of post-mortem neonatal portraiture in the age of digital photography.

UNDERSTANDING THE ARTIST Room 3

Absorption and the Arts: Assessing Michael Fried’s Legacy Alison Goodyear, University of the Arts London, United Kingdom

Michael Fried’s thesis on “absorption” focused on eighteenth-century French art and beholder-painting relationships. This paper shifts that focus by looking at consequences of “absorption” upon the artist, the painter- beholder.

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.

Re-vision, Re-right: Challenging Social Perception of Disability with Visual Storytelling Carmen Norris, University of Alberta, Canada

Exploring what creating, starring in and sharing short autobiographical videos means for filmmakers, people with disabilities who are the subjects of the stories, and audience members.



"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.

THEORIZING THE IMAGE 2 Room 4

Anatomy of a Dead-heat: Photo-finish at the 2012 US Olympic Trials Dr. Jonathan Finn, Wilfrid Laurier University, Canada

The paper uses Lorraine Daston and Peter Galison’s analysis of objectivity to analyze the 2012 photo-finish dead-heat between Allyson Felix and Jeneba Tarmoh at the U.S. Olympic Trials.

Dialectics of the Image in Societies of Risk and Danger Dr. Richard Peterson, Michigan State University, United States

This is an historical and theoretical reconstruction of a dialectical critique of the ideological function of images in recent political violence: engaging Butler, Habermas, Agamben, Foucault and Castells.

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.

The Role of Critical Image in the Theory of Architecture Funda Tan, Kocaeli University, Turkey

This paper aims to explore the absence of critical images in present architectural discourse which we frequently encounter in 60's and 70's theory of architecture.

THE IMAGE IN MEDIA AND COMMUNICATIONS Room 5

The Deviant Image: Censoring the Horror Image in Comics and Film Dr. Andrew Lee Owen, Cabrini College, United States

The paper examines societal reaction to the depiction and presentation of the horrific image within popular culture, especially in relation to comics and film.

From a False Messiah to Just Another Latin American Dictator: Analysis of Hugo Chávez’s 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.

A Portrait of Music Stars in the Media: A Study about Portuguese Newspapers Carla Maria Batista, CIMJ Number: 504142976, Portugal — Teresa Mendes Flores, Universidade Lusófona de Humanidades e Tecnologias, Portugal

The visual representation of music stars in the main Portuguese newspapers will be used to debate how cultural journalism's critical role articulates with the music industry's marketing demands.



Reading Identity in Everyday Images Asst. Prof. Daniel Labbato, State University of New York at New Paltz, United States

Using a method analyzing photographic form, which relates language to visual structures, I explore how viewers arbitrarily read a photo-subject’s personality, thereby problematizing the verb “to be” when construing identity.

COLLOQUIUM Room 6

Negotiating an Image: A Textual Analysis of Female Athlete Photographic Self- Representations 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.

SPECIAL TOPICS: IMAGE FORM Room 7

Abstract Digital Animation and Subjective Experience: Connecting the "Ultra Real" to the Objective Machine Assoc. Prof. Holly Hey, The University of Toledo, United States

Teaching skills to control digital editing systems typically generate exchanges antithetical to creativity. I deepen this conversation and foster aesthetic sensibility by using the computer to create the "ultra real."

Cultural Photojournalism: The Case of the Artists’ Portraits and the Visual Construction of Authorship Teresa Mendes Flores, Universidade Lusófona 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.

The Everyday Image as One of Many: What Happens in the Interstice? Andrea Thoma, University of Leeds, United Kingdom

This discussion will explore how contemporary art works have capitalized on the gap as the territory where we can shape our access to images.

You See Baby?: 3D Prenatal Ultrasound Images as Text Jennifer Chisholm, University of Western Ontario, Canada

In this paper I argue that 3D prenatal ultrasound images function as a particular kind of text that mediates social relations, both in and outside the screening room.

16:45-17:15

CONFERENCE CLOSING Phillip Kalantzis-Cope, Common Ground Publishing, USA


LIST OF PARTICIPANTS Tiffany Akin The University of Memphis USA Tony Allard California State University, San Marcos USA D. Chase Angier Alfred University USA Carl Antonucci Central Connecticut State University USA

Eduardo Luis Araújo de Oliveira Batista Universidade de São Paulo - USP Brazil

Marcos Arraes University of California, Irvine/UFSC-Brazil USA Ayse Zeynep Aydemir Istanbul Technical University Turkey Katie Sullivan Barak Bowling Green State University USA Joshua Barnett Indiana University Bloomington USA Carla Maria Batista Centre for Research on Media and Journalism Portugal Janet Blatter Concordia University Canada Alain Blunt University of Massachusetts Dartmouth USA Doro Boehme The School of the Art Institute of Chicago USA Amber Rae Bowyer University of Southern California USA Colleen Boyle RMIT University Australia Charli Brissey Virginia Commonwealth University USA Ian Brown University of Wollongong Australia Özgür Çalışkan Anadolu University Turkey Nicole Cardassilaris Ball State University USA Natasha Carrington Monash University Australia Doina Carter University of Lincoln UK Pablo Celis University of Kansas USA Patrick Ceyssens University Hasselt Belgium Belgium Jennifer Chisholm University of Western Ontario Canada Eun Jung Choi DaDa Dance Project USA Benek Cincik Istanbul Technical University Turkey Anna Clareborn Uppsala University Sweden Susan Close University of Manitoba Canada Maria Helena Braga e Vaz da Costa Federal University of Rio Grande do Norte Brazil Jamie Lee Coull Curtin University of Technology Australia Karenanna Creps Michigan State University USA Randy Davis Virginia Commonwealth University USA Brian DeLevie University of Colorado Denver USA Kristine Diekman California State University, San Marcos USA Kenneth DiMaggio Capital Community College USA Cheryl Dimson El Camino College/Coastline ROP USA

Melissa J. Dolese City University of New York's Graduate Center/Brooklyn College USA

Natasha Egan Columbia College Chicago USA Jessica El-Khoury Texas Tech University USA Türkan Erdem Konya University Turkey Gregory Ferris University of Technology, Sydney Australia Giles Simon Fielke University of Melbourne Australia Jonathan Finn Wilfrid Laurier University Canada Kevin Fisher University of Otago New Zealand Pamela Flores Universidad del Norte Colombia Victor Flores Universidade Lusófona de Humanidades e Tecnologias Portugal

Guilherme Foscolo de Moura Gomes Fulbright USA

Roy F. Fox University of Missouri USA Michael Friedman University of Tennessee at Chattanooga USA Jeannette Gabriel University of Iowa USA Sue Gallagher AUT University New Zealand


Sally Gaule University of the Witwatersrand South Africa Sarah Glover Bradley University USA Nancy Regina Gomez Universidad del Norte (Colombia)/Ohio University USA Alison Goodyear University of the Arts London UK Don Govang Lincoln University USA Daniel Grinberg Indiana University USA Aslihan Gunhan Middle East Technical University Turkey Alannah Gunter Griffith University Australia Fiona Hackett University College Dublin Clinton Ireland Izabela Marianna Handzlik University of Social Sciences and Humanities Poland Kevin Henry Columbia College Chicago USA Paul Hertz School of the Art Institute of Chicago USA Holly Hey University of Toledo USA Molly J. Hildebrand Tufts University USA Will Hill Anglia Ruskin University, Cambridge UK John Hillman University of Falmouth UK Elisabeth Hostetter Rowan University USA Erkki Huhtamo University of California, Los Angeles USA Lars Jerlach Auckland University of Technology New Zealand Bilge Beril Kapusuz Gazi University Turkey Elvin Karaaslan Klose Çanakkale Onsekiz Mart University Turkey Nergiz Karadas Anadolu University Turkey

Marina Kassianidou Chelsea College of Art and Design, University of the Arts London UK

Chelsea Kaunert Bowling Green State University USA Abraham Kawa Independent Researcher, Author, Cultural Studies Theorist Greece Vikki Krane Bowling Green State University USA Andreas Kratky University of Southern California USA Daniel Labbato State University of New York at New Paltz USA Thierry Lagrange Catholic University of Leuven Belgium Félix Lambert University of Montreal Canada Anna Leahy Chapman University USA Monique Lebrun University of Quebec Canada Meredith Massar Graduate Theological Union USA Terry Matassoni Deakin University Australia Teresa Mendes Flores Universidade Lusófona de Humanidades e Tecnologias Portugal Victoria Niva Millious Queen's University Canada Clem Monro University of Lincoln UK Sonia Montano Unisinos Brazil Jakub Morawski Jagiellonian University Poland Richard Morris Avondale College Australia Dorothy E. Munson Eastern Washington University USA Kimberly Musial The Pennsylvania State University USA Orayb A. Najjar Northern Illinois Universit USA Indira Neill Hoch University of Illinois at Chicago USA Hyacinth Chidozie Ngumah Alvan Ikoku Federal College of Education, Owerri Nigeria Meaghan Niewland McMaster University Canada Bjorn Nordfjord University of Iceland Iceland Carmen Norris University of Alberta Canada Joe Norris Brock University Canada Salwa Nugali King Saud University Saudi Arabia Sharon Oiga University of Illinois at Chicago USA David Olusola Onipede Dominica State University Dominica Andrew Lee Owen Cabrini College USA Rivaldo Alfredo Paccola Faculdade de Agudos - FAAG Brazil Daniel Palmer Monash University Australia Eugene Park University of Minnesota, Twin Cities USA Vesna Pavlovic Vanderbilt University USA

The Image Conference, 2013 56 Richard Peterson Michigan State University USA Pablo Petrucci York University Canada Maria Portugal Goldsmiths – University of London UK Russell Prather North Michigan University USA David Prochaska University of Illinois, Urbana-Champaign USA Campbell Query Bowling Green State University USA Monique Redmond AUT University New Zealand Eduardo José Reinato Pontificia Universidade Catolica de Goias Brazil Troy Rhoades Université de Montréal Canada Joanne Haywood Richardson Curtin University Australia David Richmond Simpson College USA Karen Ritzenhoff Central Connecticut State University USA Amanda Roberts Swansea Metropolitan University UK Sanja Rodes Griffith University Australia

Raúl Rodríguez-Hernández University of Rochester USA

Emilie E M Roman Aix-Marseille Université France Anna Romanovska OISE, University of Toronto Canada Tania Romero IDSVA - Institute of Doctoral Studies in the Visual Arts USA Sally Ross Grand Valley State University USA Daniel Rourke Goldsmiths – University of London UK Asta Rowe University of Melbourne Canada Christopher Rowe University of Melbourne Canada

Claudia Salamanca Pontificia Universidad Javeriana/University California Berkeley Colombia

Nelyse Apparecida Melro Salzedas Artes e Comunicão da Universidade Estadual Paulista Brazil Claudia Schaefer University of Rochester USA Thomas Schurch Clemson University USA Patricia Grandini Serrano Universidade Estatual Paulista Brazil Azyz Sharafy Washburn University USA Alexandra Sherlock University of Sheffield UK David Sinfield Auckland University of Technology New Zealand Lílian de Carvalho Soares Federal University of Rio de Janeiro Brazil Joni Starr Michigan State University USA Melanie Stewart Rowan University USA Rod Stoneman National University of Ireland, Galway Ireland Felicity Strong University of Melbourne Australia Aaron Sultanik College of Westchester USA Teresa Tam Alberta College of Art and Design Canada Funda Tan Kocaeli University Turkey Christopher Ronald Terry Centennial College and McMaster University Canada Andrea Thoma University of Leeds UK Heta Trivedi Freelance Architect and Arts Journalist USA Nazli Tumerdem Istanbul Technical University Turkey Duygu Tuntas Karaman Middle East Technical University Turkey Seray Türkay Middle East Technical University Turkey Georganna Ulary Marist College USA İrem Uslu Kocaeli University Turkey Sajda Alexandra José van der Leeuw New York University USA Adam Paul Verity University of Lincoln UK Marisol Vidal Technical University Graz Austria Guy Villa Columbia College Chicago USA Elaine Claire Villacorta University of the Philippines, Diliman Philippines Justin Waddell The Alberta College of Art and Design Canada Nicole Weatherly Nexen Energy ULC Canada Edward Wendt Pratt Institute USA Douglas Wilbur University of Texas at San Antonio USA


Tara Michelle Winters University of Auckland New Zealand Martin Wnuk San Jacinto College USA Nelu Wolfensohn University of Quebec in Montreal Canada Jiawei Xu University of Lincoln UK Senem Yildirim Gazi University Turkey Ozgun Yuceturk Istanbul Technical University Turkey Diane Zeeuw Ferros State University USA


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1. Navigate to www.cgscholar.com. Select [Sign Up] below ʻCreate an Accountʼ. 2. Enter a “blip” (a very brief one-sentence description of yourself). 3. Click on the “Find and join communities” link located under the YOUR COMMUNITIES heading (On the left

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be these full text copies of works in cases where you have permission, or a link to a bookstore, library or publisher listing. If you choose Common Groundʼs hybrid open access option, you may post the final version of your work here, available to anyone on the web if you select the ʻmake my site publicʼ option.

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FIFTH INTERNATIONAL CONFERENCE AND EXHIBITION ON THE IMAGE

CALL FOR PAPERS

29-30 October 2014 Freie Universität Berlin Berlin, Germany

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.

Documents

Paper delivered: ‘How GIFs "Language" and What They Might Mean’, University Center Chicago, October 18th-19th