Use Of Collage Research Articles

Involving local fishing communities in policy making: Addressing Illegal fishing in Indonesia

Illegal, Unreported and Unregulated (IUU) fishing has been identified by the UN as one of the seven major threats to global maritime security; it causes loss of economic revenue, severe environmental damage, and far-reaching livelihood implications for coastal communities. Indonesia, by far the biggest archipelagic state, faces enormous challenges in all aspects of IUU fishing and addressing those is one of the current Indonesian Government's top priorities. This article addresses the under-researched dimension of how IUU fishing affects fishing communities. With the use of collage making focus groups with fishermen from different Indonesian fishing communities, the research highlights the interrelated environmental (depletion of resources), socio-economic (unbridled illegal activities at sea), cultural (favouritism) and political (weak marine governance) dimensions of IUU fishing as experienced at the local level. However, the research also indicates a strong will by fishermen to be seen as knowledge agents who can help solve the problem by better dissemination of information and cooperation between the local government(s) and the fishing communities. The article concludes by arguing for the involvement of local fishing communities in national and international policy making that addresses IUU fishing.

Characteristics of hippie style reproduced in contemporary women’s collections

This study examines the characteristics of expressing hippie styles in contemporary women’s collections and analyzes them to benefit future fashion design and research. This study reviewed advanced research, fashion magazines, and information providers. The advanced research determined the study’s scope by pinpointing the designers who introduced the hippie style into their collections. The results are as follows: First, the reproduced hippie style appears as the combination of various colors and materials, a convergence or mixture of styles, or the use of collage or patchwork. It employs natural silhouettes or varied colors and materials, which makes the renewed hippie style more luxurious than in the past. Second, the reproduced hippie style emphasizes and distinguishes between two types of femininity: a girlish, romantic image using A-line silhouettes and, bright, gleaming colors, and a sexy version that boldly exposes the body or women’s curves and, uses soft and flexible materials. Third, the exotic tendencies found in the reproduced hippie style reflect the characteristics of the times, folk costume, or eastern or western features perceived as exotic. Recently, traditional costumes have changed slightly to recall characteristics found in the past. Fourth, the reproduced hippie style reflects hippies’ affection for and interest in nature by using environmentally-friendly materials like natural fibers. Flowers, the symbol of hippies, appear most frequently.

〈미쓰 박 프로젝트 #1〉의 표현 기법 분석 : 콜라주, 데콜라주, 로토스코핑과 지표성 활용을 중심으로

〈미쓰 박 프로젝트 #1〉의 표현 기법 분석 : 콜라주, 데콜라주, 로토스코핑과 지표성 활용을 중심으로

A semi-automated approach for analyzing collages to inform the design of a family health information management system for Hispanic dementia caregivers.

Culturally- and linguistically-tailored health communication is needed for vulnerable populations to manage their health and the health of their families. This presents a significant design challenge. The use of collages is an increasingly popular technique with the flexibility to capture the needs and experiences of individuals with various cultural and language preferences. Collage analysis has typically remained qualitative in nature. We introduce a novel, objective, semi-automated approach that enhances collage analysis to elucidate pattern differences that may not be detectable by natural perception. We present a case scenario of collage analysis based on the expressed experience and self-management needs of Hispanic dementia caregivers (n = 24). We demonstrate how our innovative approach may reveal cultural differences between language groups that could have otherwise been missed using traditional techniques.

The Avant-Garde Aesthetic of Vojtěch Mašek

Vojtěch Mašek, a graduate of the Czech film school FAMU, is not a traditional cartoonist. Given that his wide-ranging interests have led him to collaborations in film, theater, anthropology, and literature, he has been relatively free to invent his own unique aesthetic and approach to comics. Whether working in fiction or in a more documentary vein, however, what makes Mašek's work unusual is the way that he revives and recuperates an avant-garde sensibility in his graphic narrative. Mašek is drawn to stories about monstrosity—some figurative, like Fred Brunold's "melancholic freakshow" in Monstrkabaret Freda Brunolda uvádí [Fred Brunold's Monster Cabaret presents] (2004–2008), which he co-wrote with Džian Baban, and others literal, in the case of mistreated minorities and dark episodes in Czech history (see O přibjehi [Stories] (2010) about Roma in the Czech Republic and the series Nejisté domovy [Precarious Homes] (2015) about children from orphanages and other institutions). This fascination with cruelty and the absurd is expressed through his use of collage, repetition, intertextual references, and unconventional page layouts, all of which renders his work highly unusual and experimental. From an ideological standpoint, Mašek's work is quite subversive, as these stories undermine standard assumptions about who is marked as "deviant" and what is considered "normal." This essay analyzes how Mašek develops his avant-garde aesthetic in the Monstrkabaret trilogy, which is primarily fictional but reflects historical realities, and compares this to his later work 1952: Jak Gottwald zavraždil Slánského [How Gottwald Murdered Slansky], (2014), which is historical in focus but elaborated with fictional details.

Brecht, Turkish Theater, and Turkish-German Literature: Reception, Adaptation, and Innovation after 1960 by Ela Gezen

Reviewed by: Brecht, Turkish Theater, and Turkish-German Literature: Reception, Adaptation, and Innovation after 1960 by Ela Gezen Britta Kallin Ela Gezen. Brecht, Turkish Theater, and Turkish-German Literature: Reception, Adaptation, and Innovation after 1960. Camden House, 2018. 159 pp. Cloth, $85.00. This cohesive, well-written, and overdue analysis examines the interconnections and intersections of Brecht's political aesthetics, Turkish theater, and Turkish-German literature. Ela Gezen's methodological approach builds on intersectional scholarship in German studies such as Leslie Adelson's "Turkish turn" in German literature, B. Venkat Mani's "cos-mopolitical claims," and Fatima El-Tayeb's investigation into Germany's racist history that created "non-Germans/ Undeutsche" The first chapter covers the period after the military coup in Turkey in 1960 and explores how Turkish intellectuals were drawn to Brecht's approach to use theater as a political tool that supports working-class efforts to limit capitalist exploitation. The first translation of Brecht's works into Turkish was published in 1956. In 1964 the first theater department was established at a Turkish university. In the same year, the staging of Brecht's play The Good Person of Szechwan in a theater in Istanbul, Dram Tiyatro, was interrupted by protests. This was called the "Brecht Incident" and led to an investigation into the play's communist message. During that time Turkish theater practitioners started referring to plays as "ex-periments" and troupes as "ensembles" to underline the experimental aspects of theater. Brecht's epic theater and Verfremdung became part of many Turkish plays, such as Haldun Taner's The Ballad of Ali of Keshan. Taner uses culture as a weapon to counteract suppressive governmental strategies. In the 1960s, international theater festivals such as the one in Erlangen, Germany, allowed Turkish student groups to perform, interact, and exchange ideas about Brecht's aesthetics. This exchange was mediated through new Brecht translations and synopses of plays in Turkish, English, and German that were available at the festivals. In the second chapter, Gezen explores the writings and adaptations [End Page 141] of Brecht's works by Aras Ören, who has made use of Brecht's dialectical approach to support Turkish guest workers in Germany by providing them agency and opening up spaces for a political education for Turks and Germans who provide manual labor. Ören made a critical intervention into the reception of Brecht's oeuvre by changing some aspects to fit the needs of the new situation of Turkish workers in Germany. Similarly, other artists such as Wolf Biermann changed the official Brecht reception accepted by the East German government to an approach that was critical of the dictatorial aspects of that government. In the third and last chapter, Gezen examines Brecht's influence on some of Emine Sevgi Özdamar's novels. Özdamar came to Germany to work at the Volksbühne as a theater practitioner. She lived in West Berlin, worked in East Berlin, and crossed the German-German border on a daily basis. (Because of her Turkish passport, she had no problem crossing the border.) Özdamar compares Brecht's literary reaction to fascism with her own writings against suppressive political developments in Turkey in the 1960s and 1970s. Gezen's book also includes a number of rare photos of Ören and Özdamar as actors in Brecht's plays. Gezen makes a particularly interesting connection between Brecht's montage strategies of including music and visuals and Özdamar's novels. Özdamar makes use of montage when the narrator changes the temporality of the plot and superimposes images from her past in Istanbul onto her life in East and West Berlin. The often-used Brechtian theatrical technique of the revolving stage is mirrored in Özdamar's text when thought processes go in circles rather than following a linear path. Even though Gezen does not emphasize her feminist perspective, she draws on feminist scholarship such as Claudia Breger's work on montage, Monika Shafi's view of the female narrator, Yasemin Yildiz's argument about "translational exchange," and Sonja Klocke's research on the revolving stage. Gezen correctly points to connections between her research and that of Turkish-German scholarship on post-Wall literature, in particular the post-migrant theater of...

The Transfiguration of the Ordinary: From Bus Ticket to Cathedral

The Transfiguration of the Ordinary: From Bus Ticket to Cathedral Stephen Bann (bio) In memory of Jannis Kounellis. In preparing to write this short piece, the thought of a bus ticket kept coming into my mind. I believe that I have now tracked this elusive image down, and it launches a sequence that comes to rest eventually with the work of Jannis Kounellis, who died early in 2018. I believe that my starting point was a lecture delivered to the Society of Arts at Cambridge in the winter term of 1962/3. We had invited the publisher of the Gaberbocchus Press, Stefan Themerson, to come and lecture on the subject of Kurt Schwitters. I already possessed a precious copy of his book, Kurt Schwitters in England, which had been published by Gaberbocchus in 1958 and ranks as one of the most adventurous examples of book design in the period. The book includes an illustration of the Christmas card that Schwitters sent to Themerson in 1944, with a green scrap of greetings in Schwitters’ hand appropriately pasted in. It also includes a photograph of the “Air and Wire Sculpture,” derived from a scrap picked up on a bomb site, which Schwitters worked up during a lecture at the French Institute and presented to Themerson. Themerson brought the sculpture and some examples of collage by Schwitters, to enliven his lecture. He spoke of how this artistic practice arose in the aftermath of the First World War, when the German artist George Grosz inserted scraps of everyday refuse into his pictures: A bus ticket, a bank-note, a bit of newspaper, were stuck to the collage not only because of the formal, aesthetic values they possessed, but, and primarily, in their own right, as perforated bus-tickets, devaluated bank notes, and outdated tatters of small ads…. Kurt Schwitters was called the master of collage. He was the master of collage. The heresy of giving a new value to odd and overlooked, downtrodden bits of reality—be they bits of wire or bits of words—by putting them together in some specific kind of relationship and creating a new entity was … the essence of Schwitters’ art. A decade after I had tentatively handled the collages of Schwitters, I was confronted with a new form of collage in the work of a young American artist, Stephen Edlich. To understand how collage still presented both a challenge and an opportunity, I distinguished between some contemporary practices of the European avant-garde and an American interpretation signalled specifically by Robert Motherwell: Certainly the use of collage in what might be seen as an authentically Dadaist tradition has not disappeared completely in the recent decades. It has indeed been renewed to some extent by theatrical gestures like the table-top assemblages of Daniel Spoerri, which fix the various heterogeneous elements of a domestic milieu in a notional imperishability—though unfortunately nothing can preserve the freshness of an aesthetic experience, and these works are perhaps more than usually subject to the contamination of banality. In this connection, the recent collages and collage prints of the artist and chronicler of the Dada movement, Robert Motherwell, serve as an object lesson. When Motherwell uses a cigarette packet, or the label from a wine bottle (almost inevitably of a Premier Grand Cru) he clearly jettisons the delicate subversion of Schwitters without resorting to the melodrama of Spoerri and the Fluxus group. The connotations of the collage element employed in the composition offer the same hints of graciousness, the same intimations of casual evidence, that they are designed to carry out on the plastic level. It is not as an index of waste or consumption that the fragment must be interpreted, but as a hint of the exotic that seems to have arrived as casually and as gracefully as a stray leaf. The reader may conclude at this stage of my short essay that it is itself an exercise in collage, though such long quotations do not possess the patina of age and would require the bonus of illustration to carry a full forcefulness. But my quotations almost cease here, with the exception of a single quotation that is crucial since it suggests...

Do I Belong in the Profession? The Cost of Fitting In as a Preservice Teacher With a Passion for Social Justice

Preservice teachers enter university with a range of personally held beliefs related to inclusive education and themselves as educators. This article reports on one case study from a larger qualitative research project. The study examined a preservice teacher’s perceptions of herself as an inclusive educator as she approached the final year of her undergraduate degree. Data included a metaphorical representation of being an inclusive educator, and two semi-structured interviews held 6 months apart. The use of collage and a structured written response completed the data set. Evelein and Korthagen’s model of core reflection and Voice-Centred Relational Method were used to analyze the data. Analysis exposed the dissonance between the layers that separate the preservice teacher’s core qualities and the environment. Data are presented using I-poems and discussed using the emerging themes. The consequences for her emerging identity as an inclusive educator and sense of belonging in the profession are discussed.

Material language for protest: collage in Allen Ginsberg’s ‘Wichita Vortex Sutra’

ABSTRACTThis essay offers a critical re-reading of Allen Ginsberg’s ‘Wichita Vortex Sutra’ (1966), re-situating it within the wider context of twentieth-century collage. It argues that Ginsberg’s use of collage enabled him to articulate and embody the anti-Vietnam protest movement during the counterculture of the 1960s. His recognition of the potency of ‘images juxtaposed’, discovered when writing ‘Howl’ (1956), enabled him to deploy a material language for protest, in which he adhesively combined the physical with psychic, the personal with the political, and the prophetic with the cathartic, but in which he also created a space where readers and poem might encounter each another affectively. Although much has been written about this poem, it has yet to be comprehensively read in the context of the collage tradition – a growing field of study within which it demonstrably sits. Reading it in this way – as an inheritor of and participant in a global political art-form predicated on resistance and fracture – positions the poem within a more extensive lineage than it has hitherto been assessed, and, most importantly, reveals the ways in which Ginsberg used collage both to demonstrate and to attempt to overcome what he saw as the complicity between language and the perpetuation of the war in Vietnam.

The “Collage Effect” – Against Filter Bubbles: Interdisciplinary Approaches to Combating the Pitfalls of Information Technology

The rapid development of information technology has partially been reversed, and may become a tool for manipulation, which is incompatible with librarians' social mission. Making information available, connecting databases, and making them accessible result in people becoming more and more exposed. Customisation and effectively filtered information sources create filter bubbles. Although new systems of collaboration would be suitable for sharing reliable knowledge, they often lead to the spread of fake news. Despite worrying trends, we seek an encouraging future. Therefore, in this paper we analyse the relationship between information technology, market economy, and the librarian profession from the perspective of Hungarian LIS education, and emphasise the importance of active and creative information provision based on interdisciplinarity. Based on our experiences we believe that current and future readers can be reached through intriguing collages of credible information. The use of collages can compensate for the effects of filter bubbles, and librarians may become the masters of creating digital information collages.

Review: Spaces without drama or surface is an illusion, but so is depth

Spaces without drama or surface is an illusion, but so is depth Graham Foundation for Advanced Studies in the Fine Arts, Chicago 16 February–1 July 2017 The Graham Foundation's exhibition Spaces without drama or surface is an illusion, but so is depth showed that the recent rise of digital collage among avant-garde practitioners has its roots in postmodernism's earlier scenographic obsession. The exhibition featured nineteen commissioned works from architects, artists, and a scenographer alongside five historical references, all orchestrated by curators Ruth Estevez and Wonne Ickx and displayed in the Graham Foundation's Madlener House. Spaces without drama joined a provocative series of contemporary publications and exhibitions in propagating alternatives to the frequent commercial sleekness of architectural representations, whose commoditized realism often reads as fundamentally false. Estevez and Ickx sought to demonstrate that the widespread use of collage by architectural firms such as fala atelier, OFFICE Kersten Geers David Van Severen, and Sam Jacob Studio represents a strategic opposition to the ubiquity of photorealist digital renderings. Thus, the exhibition explored flatness: the making of images and buildings that function as images first and foremost. Through digital collage, architecture becomes a series of disciplined compositions to which surfaces are applied; mass and volume give way to layered planes. Conceptually, the exhibition's analogy between theater and architecture was made explicit by a singular and puzzling object: Aldo Rossi's Little Scientific Theater (1978), which was presented through photographs. The architect used this viewing box, measuring 50 by 60 by 70 centimeters, to arrange model fragments and painted images, as well as toys and kitchenware. The Little Scientific Theater was regularly transformed (compositions that pleased Rossi were documented in photographs), but only through “scenographic” rearrangements and not through action on its stage. The first part of the exhibition's title refers obliquely to this curious absence. For Danielle Sa, these arrangements, as well as the design for the …

Twilight of All the Russias: The Red Wheel as Literary Historiography

Krasnoe koleso (The Red Wheel), Aleksandr Solzhenitsyn’s mega-saga of World War I and the Russian revolution, is a work of literary historiography, rather than historical fiction, a generic distinction that explains the discontinuities in its reception. This paper examines Solzhenitsyn’s philosophy of history and predilection for historical counterfactuality as expressed in his “epopee”, as well as its anthologizing treatment of nineteenth- and twentieth-century Russian literature. The experimental aspects of the saga, for example the quasi-cinematic Screens, use of montage, variable modes of narration, and diegetic blanks and ellipses, are discussed with reference to the practices of Russian and Western modernism.

A multifrequency radio continuum study of the Magellanic Clouds – I. Overall structure and star formation rates

This scientific work makes use of the Murchison Radio-astronomy Observatory, operated by CSIRO. We acknowledge the Wajarri Yamatji people as the traditional owners of the Observatory site. Support for the operation of the Murchison Widefield Array is provided by the Australian Government (NCRIS), under a contract to Curtin University administered by Astronomy Australia Limited. We acknowledge the Pawsey Supercomputing Centre which is supported by the Western Australian and Australian Governments and the Centre of Excellence for All-sky Astrophysics (CAASTRO), which is an Australian Research Council Centre of Excellence, funded by grant CE110001020. Parts of this research were conducted with the support of Australian Research Council Centre of Excellence for All Sky Astrophysics in 3 Dimensions (ASTRO 3D), through project number CE170100013. This research also made use of Montage. Montage is funded by the National Science Foundation under Grant Number ACI-1440620, and was previously funded by the National Aeronautics and Space Administration’s Earth Science Technology Office, Computation Technologies Project, under Cooperative Agreement Number NCC5-626 between NASA and the California Institute of Technology.

Art therapy, arts-based research and transitional stories of domestic violence and abuse

ABSTRACTVisual imagery within qualitative research is an established method of gathering data that has parallels to the way in which images are used within art therapy. This article explores how visual imagery was used to investigate women’s responses to domestic violence and abuse and examines how art therapy principles shaped the development and conducting of that research. Through the use of collage, participants created visual representations of their responses to experiences of domestic violence and abuse. The visual representations, when combined with spoken words, created stories that reference the past, present and future. The stories created have been termed transitional stories of domestic violence. These stories show that the home has special significance for women as they transition away from domestic violence and plan for their future. The home becomes both a metaphorical and physical manifestation and container of hopes for a harmonious future that often incorporates the desire for the return to the idea of a complete family. This article will present the findings of the arts-based research conducted, and consider the implications upon art therapy practice of those findings.

Photographic Sound Art and the Silent Modernity of Walter Ruttmann'sWeekend(1930)

This article examines Walter Ruttmann's Weekend, a twelve-minute programme made for German radio in 1930. Recorded and edited using Tri-Ergon optical film sound technology, it was described by Ruttmann in the following terms: ‘Weekend is a study in sound montage. I used the film strip to record the sound exclusively, yielding what amounts to a blind film’. The programme is often referenced in histories of sonic art, since Ruttmann's ‘cinematic’ use of montage seems to have prefigured the developments that took place in musique concrète over a decade later. However, despite being a well-known piece of work, Weekend remains critically neglected: a footnote to Ruttmann's better-known work in cinema. The article aims to revisit and reappraise Weekend as a radical modernist work by considering not only its status as a pioneering piece of sonic art, but also its intermediality. Ruttmann's deployment of filmic techniques within a radiophonic context can be seen to radically challenge the differentiation of art forms and media that has been seen to define modernism, and by situating Weekend within the context of Ruttmann's broader project as an artist, the article examines how the relationship the programme forges between cinema and radio might be understood within in a history of radical modernism.

The forms of history: This Side, That Side, graphic narrative and the partitions of the Indian subcontinent

This article examines This Side, That Side: Restorying Partition: Graphic Narratives from Pakistan, India, Bangladesh, a 2013 anthology of graphic texts on the 1947 partition of the Indian subcontinent into Indian and Pakistan and the 1971 creation of Bangladesh (formerly East Pakistan). Hillary Chute has argued that politically oriented graphic narratives confront the problem of representing history through an urgent visualizing of historical circumstance that disrupts and realigns the narrative elements. The narration of history is thus disrupted by the use of collage, montage, non-linear image and verbal organization of the page. The current article isolates four specific representational and narrative techniques through which This Side, That Side disrupts the narration of history of the subcontinent’s traumatic partitions.

Production, Consumption, Power, and Humor in the Films of Marek Piwowski

IT IS DIFFICULT TO LOCATE MAREK PIWOWSKI in any distinctive school of Polish cinema. His artistic output is quantitatively modest; he has made only three full-length fiction films and over ten documentaries, mainly in the late 1960s and early 1970s. Being born in 1935, he was too young to belong to the Polish School, created by filmmakers born in the 1920s, and too old to be part of the Cinema of Moral Concern, which was created mostly by those born in the 1940s and '50s. Moreover, unlike the works of Andrzej Wajda, Krzysztof Kieslowski, and Krzysztof Zanussi, his films come across as unserious. However, despite the sense of his not belonging to any cinematic movement, he is among the best-loved filmmakers by domestic audiences. His Rejs [Cruise, a.k.a. A Trip Down the River] (1970) is described in various surveys as the ultimate Polish cult film and has its own fan club. Piwowski's other productions, such as Uwertura [The Overture] (1965) and Przepraszam, czy tu bija? [Excuse Me, Is It Here They Beat Up People?] (1976), also have a significant following, adding to Piwowski's status as the ultimate Polish cult director. This status is confirmed by frequent rereleases of his films by Polish state and private television and on DVD. It is also worth mentioning that photos from Cruise adorn covers of books devoted to wider phenomena than his films, such as a book on Polish comedy (Talarczyk-Gubala) and an edited volume devoted to the leading Polish film auteurs (Stachowna and Zmudzinski).There are many reasons that Piwowski's films gained such a position, but the most important is his talent for capturing on camera ordinary life in Poland and heightening its most absurd features. His films combine minute, subtle observation pertaining to realistic filmmaking with an affinity for creating (often unintentionally, as the director claims) metaphors-a feature conveyed by the short, general, and sometimes ambiguous titles of his films, such as The Overture, Hair, Success, and Cruise.1 However, despite the important place of Piwowski in the history of Polish cinema, there is little academic research devoted to his work, perhaps reflecting a perception that his films, being unserious, do not merit serious investigation,2 and the bulk of this is devoted to his Cruise. Moreover, although authors admit that there is continuity between Piwowski's short documentary films and his Cruise, which is a hybrid between documentary and fiction film, as well as his subsequent fiction films, they rarely investigate his documentary films in detail, typically limiting themselves to mentioning that the director remained faithful to his unique, quasi-documentary style.This article discusses the way Piwowski represents understood as production and consumption of various nondurable and even immaterial goods, such as popular music, leisure, and alcohol. My argument is that the director shuns what is regarded as the typical Eastern European setting of films about work- namely, a factory-and instead privileges places of immaterial production.3 In this way he draws attention to the fact that work has a much wider meaning than socialist economists assumed, traditionally being preoccupied with heavy industry and hence production divorced from consumption. Instead, Piwowski is interested in such issues as production of leisure and pleasure, which appeared in Polish political and social debates only in the 1960s and gained in speed in the 1970s. He thus chronicles the attempts to modernize Poland. To account for the specificity of Piwowski's style, I will focus on his use of montage as a means to produce laughter. First, however, I shall briefly sketch the period when he made his most successful films.Poland in the 1960s and the 1970s4Piwowski started his career in the late 1960s, and he made the majority of his films, including his most successful productions, in the 1970s. By the 1960s, World War II still loomed large in Polish cinema and culture at large, as demonstrated by films such as Andrzej Wajda's Samson (1961) and Wojciech Has's Jak byc kochana (How To Be Loved, 1962). …

Does Changing Media Reality Likely Affect the Election of 2016?

The change and increase of importance of ICT in the 2016 election has been analyzed in several ways in this paper. Qualitative methods were utilized to substantiate the hypothesis that social media and ICT are becoming more personal and ubiquitous in 2016. The issues that occur in how to accomplish meaningful social science about this problem recommend qualitative methods. The ability of this research technique to make some incremental improvements in knowledge about a phenomenon and potential for sensitizing concepts reason qualitative techniques could produce useful results.A purposive sample of campaign images about social media and ICT was created from images of the 2012 and 2016 election. Comparing the images in this sample from 2012 and 2016 results in persuasive support for the hypothesis this paper has been analyzing. In 2016, the presence of social media and ICT has taken on a substantially different campaign role. In 2016, the images evidence that social media and ICT are ever present and personal.Secondary data from the coverage of the 2016 election was analyzed and found to support the perspective on the 2016 election being developed in this paper. Social media and websites/news apps were presented in Pew Research Center data as a substantial influence among citizen news sources in 2016. When this data was analyzed by age groups, the youngest group is using substantially more social media and websites/news apps for campaign information. Each of the older three groups shows a decrease in the influence of social media.Recent political science literature attempts to explain the increasing importance of social media and ICT phenomenon in several ways. The need for social media to secure campaign endorsements has been discussed in the literature. How party activists first fine tune social media before recruiting ordinary supporters has been presented. The use of identity based targeting through social media has been considered. Campaign finance aspects of using social media has been mentioned. The influence of campaign activism, increasing ideological involvement, and the increasing need for informationalism to stay with the ideological game has been analyzed from literature. The decoupled cognition phenomenon where vivid images activate psychological motivating mechanisms has been reviewed. The evolution of social cognition from small groups to cyber-groups on line has been used to explain the increasing importance of social media and ICT. Use of montage in campaign advertising to provide for voter's informational needs has been analogized to how social media assists voters in 2016. The motivating quality of the public sphere as a voter choice factor has been presented. Data about the propensity of harmonious social networks to participate in politics has been reported. Theories that social media are an extension of citizens attitudes that allow amplification of beliefs has been analyzed from the literature. Taken together these numerous explanations for the increasing importance of social media and ICT amplify the paper's hypothesis that social media is becoming more ubiquitous and personal.

Witnessing Fukushima Secondhand: Collage, Archive and Travelling Memory in Jacques Ristorcelli’s Les Écrans

Cultural memory in comics studies mostly seems to revolve around nonfictional graphic novels tackling major historical events. Drawing on recent trends in cultural memory studies, this paper focuses on Jacques Ristorcelli‘s Les Ecrans (2014) as an experimental counterpoint where memory is animated by the author’s use of collage. Delving into an ‘archive’ of heterogeneous elements, Les Ecrans borrows from old war comics in a way that reflexively constructs a discourse on the past of the medium and its memory. Through the analysis of Ristorcelli’s book, this paper highlights how collage can function in comics as a work of memory that reaches back to appropriative practices common to both readers and fine artists.

Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism by Marsha Morton

Reviewed by: Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism by Marsha Morton Andrew I. Cavin Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism. By Marsha Morton. Surrey, UK: Ashgate, 2014. Pp. 414 + xviii. Cloth $139.95. ISBN 978-1409467588. Marsha Morton’s excellent monograph is the first full-length study in English on the German artist Max Klinger (1857–1920), best known for his enigmatic series A Glove (1878; etched 1881). Major exhibitions and monographs have appeared in Germany in recent years, cementing Klinger’s legacy in terms of his contributions to German symbolism and surrealism. Klinger’s profile in English-language scholarship has languished, however, partly due to a twentieth-century tendency equating modernism with abstraction, which cast Klinger’s work as too “mimetic and literary” (5)—in effect, too nineteenth century. Morton’s book remedies this, underscoring the continuing relevance of the man whom Giorgio di Chirico deemed a “forerunner of Freud” and the preeminent “modern artist.” Morton’s contribution goes further than advocacy, however; she deftly explores the question of Klinger’s modernism, and her cultural studies approach sheds new light on Klinger in the context of Wilhelmine society. Morton focuses primarily on Klinger’s prints, from his early works in the 1870s through the 1880s (after which Klinger turned toward sculpture), with a brief epilogue treating subsequent developments (interest in Friedrich Nietzsche and the theater). She delivers not only aesthetic analysis but rich cultural history; the text is organized around major themes, including German romanticism, Darwinism, anthropology, mythology, psychology, media, and urban life. The interdisciplinary discussion skillfully recaptures “associations and meanings which viewers would have experienced” (289). Morton swiftly repositions Klinger as not simply a precursor to modernism, but “a modernist pioneer” in his own right. Previous scholars have pressed for Klinger’s modernism in terms of influence upon later artists; a few have noted his use of montage and bricolage to critique and transform historical styles, and his interest in dreams and the occult. Morton advances this scholarship by highlighting Klinger’s understudied use of irony and demonstrating his penchant for destabilizations; he pioneered an art in which narrative structures are undone, and where both content and stylistic technique are used to generate estrangement, even physical unease. Klinger’s work is defined by ambiguity, not closure. Morton’s second major achievement is to portray Klinger as a modernist in a sociocultural sense. His artwork reflected and explored the anxieties of Wilhelmine bourgeois society in regards to gender norms, sexual mores, and social movements. Moreover, Klinger rejected popular sentiments about the moral and material progress of civilization; his work presents a grim picture in which human pretentions to rationality, self-control, and clarity are ever undermined by animalistic drives and the specter of death. In this sense, Morton argues that Klinger was in the forefront of artists attuned to “psychological man” (4), Carl Schorske’s term to describe the fin-desiècle view of man as “dangerous and mercurial,” “a creature of feeling and instinct.” [End Page 391] Chapters are generally chronological, “pegged to moments when Klinger became aware of various texts or artists” (9). The first two treat Klinger’s youthful, irreverent parodies of classicism, his relationship to German romanticism, the grotesque, and the arabesque. The final two chapters focus on dreams, hypnosis, the unconscious, crime, and prostitution. At the book’s center, forming the interpretive fulcrum, are three important chapters exploring facets of primitivism in Klinger’s art. For Morton, following the work of David Pan, Klinger’s modernism is inseparable from a primitivist worldview that “emphasizes that technological progress does not change the existential situation of the modern compared to the primitive” (3). In a chapter on German anthropology, Morton shows Klinger’s receptivity (well before expressionism) to non-Western cultures and art forms. For Klinger, she argues, the traditional “differences between the primitive and civilized were now conceived to be, not erased, but coexistent and ongoing in all cultures” (166). A subsequent chapter on mythology demonstrates that primitivist ethnography transformed German artists’ approach to classical Greek and Roman mythology. In her fascinating chapter on Darwinismus, Morton helps us experience, through Klinger, the radical unease triggered...