scholarly journals The Last Mosque in Tel Aviv, and Other Stories of Disjuncture

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 63
Author(s):  
Ilana Webster-Kogen
Keyword(s):  
Visual Language ◽  
Tel Aviv ◽  
Displaced People ◽  
Urban Sites ◽  
The Way ◽  
Urban Border

Ruins serve as a poignant reminder of loss and destruction. Yet, ruins are not always physical, and they are not always best understood through visual language—the sense memory of loss extends for displaced people far beyond crumbling monuments. Exploring the sonic element of loss and displacement is key to understanding the way people relate to the spaces they have to leave. This article explores the particular disjuncture of staging and commemorating Arabness in Tel Aviv, the “Hebrew City.” The disjuncture of being Arab in Tel Aviv is apparent to any visitor who walks down the beach promenade, and this article examines the main sites of Arab contestation on the border with Jaffa. Most apparent to a visitor is the Hassan Bek Mosque, the most visible Islamic symbol in Tel Aviv; I describe the process of gaining admission as a non-Muslim, and of discussing the painful and indelible memory of 1948 with worshipers. Delving deeper into the affective staging of ruin, I trace Umm Kulthum’s famous concert in Jaffa (officially Palestine at the time), and examine the way her imprint has moved across the troubled urban border of Tel Aviv-Jaffa. A ruins-based analysis of the urban sites of disjuncture in Tel Aviv, therefore, offers a glimpse into underground sonic subcultures that hide in plain sight.

scholarly journals Emotion and secrecy in Australian asylum-seeker comics: The politics of visual style

2017 ◽  
Vol 21 (5) ◽  
pp. 457-485
Author(s):  
Aaron Humphrey
Keyword(s):  
Human Rights ◽  
Asylum Seeker ◽  
Asylum Seekers ◽  
Visual Language ◽  
Audience Engagement ◽  
Visual Style ◽  
Customs And Border Protection ◽  
Political Dimensions ◽  
The Way

This article examines two online comics about Australia’s policies of detaining asylum seekers, one created by the Australian government’s Customs and Border Protection Service (CBPS), and one published by the experimental journalism site The Global Mail. Through an analysis of the way online readers responded to these comics, this article shows how digital comics use visual style to imply particular kinds of relationships between their authors and their audience, while generating audience engagement through abstracted emotions and narrative gaps. These features have political dimensions, as in the CBPS’s comic, which elides crucial details about the government’s policies while suggesting (but never directly stating) its disregard for the human rights of asylum seekers, while The Global Mail’s comic uses a hand-drawn visual style to generate reader sympathy for the detainees and opposition to the government’s policies. Both comics use visual language to obfuscate key elements about the sources of their messages while also obscuring the voices of the refugees that their images represent.

From Emblems to Diagrams: Kepler's New Pictorial Language of Scientific Representation

2009 ◽  
Vol 62 (1) ◽  
pp. 134-170 ◽  
Author(s):  
Raz Chen-Morris
Keyword(s):  
Cultural Context ◽  
Visual Language ◽  
Scientific Representation ◽  
New Science ◽  
Technical Solutions ◽  
The Way

AbstractKepler's treatise on optics of 1604 furnished, along with technical solutions to problems in medieval perspective, a new mathematically-based visual language for the observation of nature. This language, based on Kepler's theory of retinal pictures, ascribed a new role to geometrical diagrams. This paper examines Kepler's pictorial language against the backdrop of alchemical emblems that flourished in and around the court of Rudolf II in Prague. It highlights the cultural context in which Kepler's optics was immersed, and the way in which Kepler attempted to demarcate his new science from other modes of the investigation of nature.

Reply by the authors to E. Szaraniec

Geophysics ◽  
1983 ◽  
Vol 48 (3) ◽  
pp. 401-401
Author(s):  
Peter Hubral ◽  
Sven Treitel ◽  
Paul R. Gutowski
Keyword(s):  
Continued Fractions ◽  
Normal Incidence ◽  
Synthetic Seismogram ◽  
Tel Aviv ◽  
Layered Model ◽  
The Way

We thank Dr. Szaraniec for his interesting comments, which shed new light on the properties of the normal incidence synthetic seismogram. By the way, his equations (D‐4.1) and (D‐4.2) were also given by Nestler and Rösler [1977, equation (4)], although with an error; they write [Formula: see text] rather than [Formula: see text]. We are reminded of a saying by our colleague Prof. Dan Loewenthal of Tel Aviv University: the normal incidence discretely layered model is a rich lode from which a seemingly endless series of interesting formulas can be mined. Dr. Szaraniec has unearthed more nuggets, and we hope that his success will inspire others to continue searching. The relation between our results and the theory of continued fractions should, as Dr. Szaraniec points out, provide further insights.

scholarly journals Expression Analysis of Big Mom Characters in One Piece Comic 89 (Badend Musical)

ARTic ◽  
2020 ◽  
Vol 3 (1) ◽  
pp. 231-238
Author(s):  
Yeni Nurlatifah ◽  
Kankan Kasmana
Keyword(s):  
Expression Analysis ◽  
Research Method ◽  
Visual Language ◽  
Black And White ◽  
The World ◽  
The One ◽  
Character Portrayals ◽  
Image Details ◽  
The Way

One Piece comics are about the world of pirates, and are the best-selling comics in history. Like most comics, One Piece comics consist of protagonist and antagonist. The depiction of One Piece comics is the same as the usual depiction of Japanese comics, namely using Mango style with narrative content and the use of black and white. Depictions of moments, image details and character expressions become important in black and white comics to bring the narrative to life. For character portrayals, comics look for alternatives to emphasize expression in their comic images.  This research focuses on the analysis of one of the most antagonists in the one piece comic is Big Mom. This study aims to find out the characteristics of visualizing the expression of Big Mom characters in One Piece comics using visual language by means of wimba 4 (depiction).  The research method used is Bahasa Rupa by classifying images of Big Mom's expression through a form language method. The results of the analysis showed a depiction of expression, using a detailed draw of lines on the eyes, eyebrows, nose and mouth. The way it is portrayed in Big Mom's expressions uses expressive depictions, distortions and lines. Expressive depictions use thick lines that give a wrinkle effect on the forehead, eyes, nose and around the mouth. Depiction of enlarged distortion, used on parts of the eyes, nose, mouth and teeth. The depiction of the line is used as a shadow and effect so that the antagonistic expression of Big Mom feels sharp.

The Eye-deology of Trauma: Killing Anna Karenina Softly

2016 ◽  
Author(s):  
Yuri Leving
Keyword(s):  
Focal Point ◽  
Silent Film ◽  
Visual Language ◽  
The Novel ◽  
Human Eye ◽  
Anna Karenina ◽  
Movie Camera ◽  
The Way

This chapter focuses on depictions of the death of the heroine of Tolstoy’s Anna Karenina in adaptations ranging from the silent film era to the present day. It argues that the various cinematic hypertexts have altered the way we view Anna’s suicide, the focal point of the novel for many readers, creating a new visual language to represent her death. Also discussed is a new cinematic hypertext, not present in the novel, but included by many of the filmmakers: Anna’s eye, which the author traces back to Dziga Vertov’s mechanized depiction of the human eye in Man with a Movie Camera. Such cinematic influences, along with the novel’s transportation to different times and countries in its adaptations, demonstrate that the novel has acquired a new vocabulary, in addition to that of Tolstoy’s novel.

Fragile feeling

2019 ◽  
Vol 11 (3) ◽  
pp. 315-332
Author(s):  
Danai S. Mupotsa
Keyword(s):  
Fairy Tale ◽  
Tall Buildings ◽  
Visual Language ◽  
Temporal Relation ◽  
History Of ◽  
Chick Lit ◽  
The City ◽  
The Way

Abstract Where analyses of the city as a landscape often visualize 'urban-ness' through images of tall buildings and concrete, this article thinks about how the genre of romance might turn our attention to other genres of city-as-landscape. I offer Johannesburg from this orientation through a reading of its history as a 'Secret Garden'. Most romance genres rely on a temporal closure of 'happily-ever-after', but here I am interested in other possible endings. This reading of romance I draw from David Scott's (2004) account of romance as a temporal relation to anticolonial struggle. The article examines Kagiso Lediga's 2018 film, Catching Feelings. The film is framed around the narrative of the 'cuckold', which I argue articulates the libidinal economy between the protagonist Max and his friend, Heiner. This libidinal economy is also presented through the landscape of the city. While more accurately defined as a film within the genre of 'bro' or 'lad lit', what Lediga's film does share with chick lit is the way that it borrows from the form of the fairy tale. Through this fairy tale, I locate emergent and continuous forms of masculinity in a history of Johannesburg's landscape through the visual language of the domesticated forest. Through the cuckold as a fairy tale, Lediga offers the city not simply as the place of the action, but as an object of desire, or of fantasy that makes his fragile protagonist 'strange'.

The Novel after Film

2017 ◽  
Author(s):  
Jonathan Foltz
Keyword(s):  
Twentieth Century ◽  
Virginia Woolf ◽  
Public Culture ◽  
Visual Language ◽  
Literary Fiction ◽  
The Novel ◽  
Aldous Huxley ◽  
Moral Purpose ◽  
Modern Novel ◽  
The Way

The Novel After Film examines how literary fiction has been redefined in response to the emergence of narrative film. It charts the institutional, stylistic, and conceptual relays that linked literary and cinematic cultures, and that fundamentally changed the nature and status of storytelling in the early twentieth century. In the cinema, a generation of modernist writers found a medium whose bad form was also laced with the glamour of the popular, and whose unfamiliar visual language seemed to harbor a future for innovative writing after modernism. As The Novel After Film demonstrates, this fascination with film was played out against the backdrop of a growing discourse about the novel’s respectability. As the modern novel was increasingly venerated as a genre of aesthetic refinement and high moral purpose, a range of authors, from Virginia Woolf and H. D. to Henry Green and Aldous Huxley, turned their attention to the cinema in search of alternative aesthetic histories. For authors working in modernism’s atmosphere of heightened formal sophistication, film’s violations of style took on a perverse attraction. In this way, film played a key role in changing the way that novelists addressed a transforming public culture which could seem at moments to be leaving the novel behind.

Norman Lewis

2020 ◽  
Vol 2020 (47) ◽  
pp. 6-21
Author(s):  
Lucy H. Partman
Keyword(s):  
African American ◽  
Visual Communication ◽  
Visual Language ◽  
Human Interaction ◽  
Individual Experience ◽  
American Artist ◽  
Depth Analysis ◽  
The Many ◽  
The Individual ◽  
The Way

African American artist Norman Lewis (1909–79) was known to be a complex conversant in command of many verbal and visual idioms. His art reveals an interest in inter- and intrapersonal interactions. Lewis studied how people conversed, the way individuals operated in Groups, and the movement of crowds. His work compels viewers to look carefully at other people and themselves. How do we interact with others and what happens durinG those exchanGes? His interest in human interaction on the micro and macro scales has not yet received in-depth analysis. When for many abstract expressionists the individual and individual experience was paramount, Lewis was concerned with the community and the communal. He desired to communicate with the viewer and persistently souGht to confiGure the most fittinG visual lanGuaGe for the Job. His lanGuaGe and approach to visual communication took from the many vernaculars he used.

Changing the Borders of Our Minds

2000 ◽  
Vol 17 (1) ◽  
pp. 187-194
Author(s):  
Judy Mayotte
Keyword(s):  
First Century ◽  
Keynote Address ◽  
Societal Change ◽  
Effect Change ◽  
The Earth ◽  
Displaced People ◽  
Twenty First Century ◽  
World Mission ◽  
Brothers And Sisters ◽  
The Way

AbstractThis article, originally delivered as a keynote address at the 1999 Chicago World Mission Institute, points to personal and communal transformation as the key to societal change, particularly in regard to the world's refugees and displaced people. We must, in other words, "change the borders of our minds." As the article's last paragraph expresses it: As we approach the twenty-first century, we can change the way we think and act. We can change the borders of our minds and move toward creating a peace that can take root and flourish in our homes, in our communities, and throughout our world. We can effect change if we envision and believe that we do belong to one another, if we are willing to act with justice; and if we see that, in the words of the poet Archibald MacLeish, "we are brothers (and sisters), riders on the earth together."

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