1-1 | Table of Contents<\/a>\u00a0|\u00a0http:\/\/dx.doi.org\/10.17742\/IMAGE.inaugural.1-1.1 |\u00a0After Imagining PDF<\/a><\/p>\n We welcome you to Imaginations: Journal of Cross-Cultural Image Studies\/Revue d\u2019\u00e9tudes interculturelles de l\u2019image<\/em>, an open-access online peer-reviewed journal born out of research and developments in cross-cultural and intersecting epistemological fields that have at their root a determined focus on the role and power of the image in contemporary culture and in cultural communications.\u00a0As Semiotics reinvested the notion of \u201csign\u201d with new meaning, or as Cultural Studies expanded \u201ctext\u201d beyond literary boundaries, Image Studies repositions \u201cimage\u201d within ongoing critical discourses. Image Studies proposes a critical dialogue within an increasingly de-politicized public sphere, where the culture of the image in its capitalistic, impressionistic variance, filters and eliminates political and critical practices from the social realm. For Image Studies, \u201cimage\u201d is more than just a visual imprint or\u2014its other common notion\u2014a reputation. With Image Studies, image, of course, can refer to visual art and persona (of an individual or group), but critically investigating the image is also a dialectical process of reclaiming subjectivity.<\/p>\n The range of possibilities offered here form mere starting points. While the fields of film studies, media studies, new media, and digital studies, to name a few, have challenged the academic filtering of the non-literary, the popular, and the technological, these fields can do a better job of speaking to not only one another, but also to older, more established disciplines.<\/p>\n With this in mind, Imaginations<\/em> positions itself beyond nationalistic, cultural, and linguistic boundaries that pertain to the ongoing crisis of the nation-state in the West. Within this framework, culture can be understood as a nationally, politically, or economically determined space, but also more fluidly as a set of exclusionary social and linguistic practices. Cross-cultural exchanges allow for the recontextualization of images, which, in turn, can be read in terms of their displacement from their original context or their detachment from their new context. To this end, the journal auspicates the critically engaged participation of writers, readers, and forgers of the image, who find in Imaginations<\/em> a venue for engaging in a continuous exchange of ideas and discourse practices. This dynamic will resituate the image beyond agent and object of spectacularization, consumption, and commodifying agency. This poly-framing of the image encourages the interrogation of image-bound and image-relevant narratives of social, political, aesthetic, and ethical discourses. Imaginations<\/em> aims to foster interdisciplinary work that exceeds the boundaries of film studies, media studies, new technologies, communicative environments, and communities of practice, while also placing these in conversation with one another, and all the while focusing on how images act as cultural production and currency in and up to the present moment, across cultures and languages, in the age of instant access and diffusion in a globalized world.<\/p>\n We have chosen to utilize the open source format for the journal\u2019s dissemination to allow for a democratic diffusion of critical knowledge that will promote dialogue among a local and global readership. It is one of our goals to begin a multifaceted conversation amongst the academic discourses of analysis and the artistic communities of practice, and whatever configurations of those communities that might overlap, intersect with, or run parallel to one another.<\/p>\n The contributions in this inaugural issue have been specifically invited to begin such a conversation; in the articles, images, clips, dialogue, and book review essay, the authors and invited artist probe the image and its communicative power within a variety of cultural contexts determined by nation, language, and history, but also medium, spectatorship, discourse, and practice. This issue features a dialogue between artist and academic, five articles, and a comparative book review essay, all subject to a double-blind peer-review process. Parallel to Imaginations<\/em> is the dynamic \u201cOn the Edge\u201d review section, where it will be possible to read about developments in the field of image studies: reviews of publications in any language that address the image, and reviews of installations, performances, exhibits, architecture, etc. transpiring internationally (www.csj.ualberta.ca\/imaginations<\/a>).\u00a0 \u00a0Read collectively, the journal and the review forum present heterogeneous cross-national perspectives on the role of the image in specific fields, cultural and linguistic contexts, and historical junctures. Moreover, the articles focus on a variety of image-making practices, theories, and media.<\/p>\n Central to each issue of Imaginations<\/em> will be the presentation of new creative pieces by a guest artist, as well as a dialogue on the image proper and the featured work. This issue showcases three short videos, \u201cVidoodles,\u201d created by our invited feature artist Midi Onodera. These shorts are entitled Animal Crossing Underground, Blame Warhol<\/em>, and If Wishes Came True<\/em>, and they provide a point of entry for the critical exchange between communities of interrogations and practice. Herein, Sheena Wilson and moving image artist Midi Onodera converse in \u201cDialoguing on Miniature Cinema as New Art.\u201d Together, they discuss the dynamics of changing formats with regards to the image, given the various technological developments that have contributed to the dissemination of the image, and the context(s) that sustain these processes.<\/p>\n William Straw\u2019s article, \u201cCross-border Visualities and the Canadian Image,\u201d problematizes the use of determined images linked to Canadian spaces and identities, and analyzes how these specific images are translated and appropriated within American and international iconic codes. Marc Silberman\u2019s article, \u201cSoundless Speech \/ Wordless Writing: Language and German Silent Cinema,\u201d discusses German expressionist film as a response to the crisis of modernism played out in the relationship between language and image. Bertrand Gervais\u2019 article, \u201cThe Vanished Child. An inquiry into Figures and their Modes of Apparition,\u201d drawing inspiration from Charles Sanders Peirce\u2019s semiotics, offers a fresh perspective on the concept of figure with a reading of French artist Sophie Calle\u2019s Disparitions<\/em>. Fabrizio Scrivano\u2019s article, \u201cOn the Undecidability of Images,\u201d discusses the ambivalent role played by images in systems of communication, whereby they illustrate things and articulate meaning. Davide Sparti\u2019s article, \u201cImages of a Sound: Portraits and Pictures of Jazz,\u201d analyzes the role of album covers in jazz music, from a socio-political perspective. Russell Cobb\u2019s comparative book review essay entitled \u201cPublish and Anguish: Reconsidering the Never-Ending Crisis of the Humanities,\u201d examines three recent texts discussing the problematic state of the Humanities in the twenty-first century: Michael B\u00e9rub\u00e9\u2019s The Left at War <\/em>(2009), Stanley Fish\u2019s Save the World on Your Own Time <\/em>(2008), and Louis Menand\u2019s The Marketplace of Ideas: Reform and Reaction in the American <\/em>(2010). Cobb\u2019s essay extends Image Studies into the larger framework of debates on disciplinarity, professionalism, and academia. All these articles present a spectrum of positions and readings that\u2014together with the feature artists\u2019 contributions and the interview\u2014demonstrate the scope that this journal proposes.<\/p>\n While the two primary languages of communication for the journal are English and French, the journal will foster cross-linguistic\/cultural insemination and dissemination, problematizing specific ideological premises so as to encourage a critical and political debate beyond globalized and spent dominant discourses. Given Canada\u2019s intellectual polycultural background, the immediacy of such a project is sustained by its transcultural disposition.<\/p>\n Thank you for participating in the inaugural issue of Imaginations: Journal of Cross-Cultural Image Studies \/ Revue d\u2019\u00e9tudes interculturelles de l\u2019image.<\/em> We look forward to the oncoming discursive and practicing communities that will find contemplative pause in this dynamic space, before imagining furthermore.<\/p>\n Managing editors<\/em><\/p>\n <\/div> Nous remercions les contributeurs et les lecteurs du num\u00e9ro inaugural d\u2019Imaginations: Journal of Cross-Cultural Image Studies\/ Revue d\u2019\u00e9tudes interculturelles de l\u2019image<\/em>. Nous saluons \u00e0 l\u2019avance les communaut\u00e9s discursives et les pratiques cr\u00e9atives qui trouveront ici un espace de r\u00e9flexion que nous esp\u00e9rons salutaire.<\/p>\n Nous vous souhaitons la bienvenue \u00e0 Imaginations: Journal of Cross-Cultural Image Studies \/ Revue d\u2019\u00e9tudes interculturelles de l\u2019image<\/em>, un journal en ligne \u00e0 acc\u00e8s libre dont les contributions sont pr\u00e9alablement soumises \u00e0 un comit\u00e9 de r\u00e9vision par les pairs. Cette publication est le fruit d\u2019un vif int\u00e9r\u00eat pour la recherche et la pratique au croisement de multiples champs \u00e9pist\u00e9mologiques et interculturels autour du r\u00f4le et de la puissance de l\u2019image dans la soci\u00e9t\u00e9 et les m\u00e9dia contemporains.<\/p>\n \u00c0 l\u2019instar de la s\u00e9miotique ayant r\u00e9investi d\u2019une nouvelle signification la notion du \u00ab\u00a0signe\u00a0\u00bb, comme des \u00e9tudes culturelles ayant \u00e9largi le sens du \u00ab\u00a0texte\u00a0\u00bb au-del\u00e0 des fronti\u00e8res litt\u00e9raires, les \u00e9tudes de l\u2019image proposent un dialogue critique \u00e0 l\u2019int\u00e9rieur d\u2019une sph\u00e8re publique de plus en plus d\u00e9politis\u00e9e, dans laquelle la culture de l\u2019image, dans sa variante capitaliste et impressionniste, filtre et \u00e9limine les pratiques politiques et critiques du milieu social. Dans ce contexte, \u00ab\u00a0image\u00a0\u00bb ne renvoie pas qu\u2019\u00e0 l\u2019empreinte visuelle. Elle peut \u00e9videmment se r\u00e9f\u00e9rer \u00e0 l\u2019art visuel et aux personnages (individus et groupes), mais l\u2019investigation de l\u2019image est \u00e9galement un processus dialectique dans lequel peut se red\u00e9ployer la subjectivit\u00e9.<\/p>\n L\u2019\u00e9ventail des possibilit\u00e9s \u00e9voqu\u00e9es dans le pr\u00e9sent num\u00e9ro n\u2019est qu\u2019un point de d\u00e9part. Les domaines du cin\u00e9ma, des nouveaux m\u00e9dias et des technologies digitales ont permis la remise en question du filtrage savant du non-litt\u00e9raire, du populaire, et du technologique\u00a0; ils ont du coup \u00e9tabli des niveaux diff\u00e9rents de communication avec les disciplines plus traditionnelles.<\/p>\n En tenant compte de cela, Imaginations <\/em>souhaite se positionner au-del\u00e0 des fronti\u00e8res nationales, culturelles et linguistiques li\u00e9es \u00e0 la crise de l\u2019\u00e9tat-nation qui a cours en Occident. Ces limites maintiennent la culture dans un espace d\u00e9termin\u00e9 selon des crit\u00e8res nationaux, politiques ou \u00e9conomiques, mais aussi par l\u2019id\u00e9e plus vaste d\u2019un regroupement de pratiques sociales et linguistiques ferm\u00e9es, au sein desquelles sont les images circulent et sont interpr\u00e9t\u00e9es. Nous croyons que les \u00e9changes et les ponts interculturels permettent pour leur part une recontextualisation salutaire des images. C\u2019est pourquoi le journal invite la participation critique et engag\u00e9e des auteurs, lecteurs et praticiens de l\u2019image qui trouveront dans Imaginations <\/em>un lieu pour l\u2019engagement dans un \u00e9change continu d\u2019id\u00e9es et de pratiques discursives. Nous esp\u00e9rons que cette dynamique permettra de d\u00e9placer les images au-del\u00e0 de la spectacularisation, de la consommation ou la chosification, cela afin d\u2019inciter au questionnement des discours li\u00e9s \u00e0 l\u2019image dans les sph\u00e8res sociales, politiques, esth\u00e9tiques et \u00e9thiques. Imaginations <\/em>vise la promotion d\u2019un travail interdisciplinaire qui ne se cantonne pas aux limites du cin\u00e9ma, des \u00e9tudes m\u00e9diatiques, des nouvelles technologies et des milieux de la communication\u00a0; il souhaite plut\u00f4t engager ces disciplines dans un dialogue ininterrompu.<\/p>\n Nous avons choisi le format en acc\u00e8s libre pour la circulation du journal afin de permettre la d\u00e9mocratisation de la diffusion des savoirs critiques, ce qui encouragera le dialogue parmi un lectorat aussi bien r\u00e9gional que national ou mondial. Un de nos objectifs principaux est de maintenir le dialogue entre les discours savants et les communaut\u00e9s de la pratique artistique, en mettant l\u2019accent sur les moments o\u00f9 ces deux approches se recouvrent partiellement, s\u2019entrecroisent ou cr\u00e9ent des parall\u00e8les insoup\u00e7onn\u00e9s.<\/p>\n Les contributions qui forment ce num\u00e9ro inaugural ont \u00e9t\u00e9 s\u00e9lectionn\u00e9es sp\u00e9cifiquement afin d\u2019initier un tel dialogue. Chacun des auteurs, en plus de l\u2019artiste invit\u00e9e, interroge les images en relation avec des contextes culturels, nationaux et historiques vari\u00e9s, ainsi que selon des champs disciplinaires r\u00e9solument h\u00e9t\u00e9rog\u00e8nes. On trouvera ici un dialogue entre une artiste et une chercheure universitaire, de m\u00eame que cinq articles et un essai critique. De son c\u00f4t\u00e9 la section \u201cOn the Edge\u201d examinera des d\u00e9veloppements dans le domaine des \u00e9tudes de l\u2019image au niveau international\u00a0: comptes-rendus de publications\u00a0; d\u2019installations artistiques, de spectacles, d\u2019exhibitions, d\u2019\u0153uvres architecturales, etc. (www.csj.ualberta.ca\/imaginations<\/a>).<\/p>\n Chaque num\u00e9ro de Imaginations <\/em>comprendra des oeuvres in\u00e9dites d\u2019un artiste invit\u00e9, ainsi qu\u2019un dialogue avec ce dernier \u00e0 propos de sa d\u00e9marche et de sa conception de l\u2019image. Le pr\u00e9sent num\u00e9ro offre trois vid\u00e9os, des \u00ab\u00a0vidoodles\u00a0\u00bb, r\u00e9alis\u00e9s par notre artiste invit\u00e9e Midi Onodera, intitul\u00e9s Animal Crossing Underground, Blame Warhol<\/em> et If Wishes Came True<\/em>, et \u00e0 propos desquels Sheena Wilson et l\u2019auteure dialoguent dans \u201cDialoguing on Miniature Cinema as New Art\u201d. Ensemble, elles discutent des de la format de format face aux divers d\u00e9veloppements technologiques qui ont contribu\u00e9 \u00e0 la diss\u00e9mination de l\u2019image.<\/p>\n L\u2019article de William Straw, intitul\u00e9 \u201cCross-border Visualities and the Canadian Image\u201d, probl\u00e9matise l\u2019emploi d\u2019une s\u00e9rie d\u2019images li\u00e9es aux espaces et identit\u00e9s canadiennes et analyse la traduction et l\u2019appropriation de ces images sp\u00e9cifiques \u00e0 l\u2019int\u00e9rieur des codes iconiques am\u00e9ricains et internationaux. L\u2019article de Marc Silberman, \u201cSoundless Speech\/ Wordless Writing: Language and German Silent Cinema\u201d, aborde le cin\u00e9ma expressionniste allemand comme une r\u00e9ponse \u00e0 la crise du modernisme. L\u2019article de Bertrand Gervais, \u201cThe Vanished Child. An Inquiry into Figures and their Modes of Apparition\u201d, puise une part de son inspiration dans la s\u00e9miotique de Charles Sanders Pierce ainsi que chez l\u2019artiste fran\u00e7aise Sophie Calle afin d\u2019offrir une perspective originale quant au concept de figure. Dans \u201cOn the Undecidability of Images\u201d, Fabrizio Scrivano interroge le r\u00f4le ambivalent jou\u00e9 par les images dans les syst\u00e8mes de communication, \u00e0 l\u2019int\u00e9rieur desquels elles illustrent des choses et des concepts en plus d\u2019articuler des significations. Dans \u201cImages of a Sound: Portraits and Pictures of Jazz\u201d, David Sparti analyse pour sa part le r\u00f4le des pochettes d\u2019albums dans la musique jazz d\u2019un point de vue interculturel. Enfin l\u2019essai critique de Russell Cobb, intitul\u00e9 \u201cPublish and Anguish: Reconsidering the Never-Ending Crisis of the Humanities\u201d, examine trois textes r\u00e9cents qui portent sur la crise des sciences humaines \u00e0 l\u2019aube du XIXe si\u00e8cle\u00a0: The Left at War <\/em>(2009) de Michael B\u00e9rub\u00e9, Save the World on Your own Time <\/em>(2008) de Stanley Fish et The Marketplace of Ideas: Reform and Reaction in the American <\/em>(2010) de Louis Menand.<\/p>\n Bien que les deux langues de communication principales de la revue soient l\u2019anglais et le fran\u00e7ais, nous encouragerons l\u2019ins\u00e9mination et la diss\u00e9mination \u00e0 travers langues et cultures afin d\u2019inciter un d\u00e9bat critique et politique qui d\u00e9passe les discours dominants de la mondialisation.<\/p>\n Le comit\u00e9 ex\u00e9cutif de r\u00e9daction<\/em><\/p>\n Traduction: Samantha Cook<\/p>\n <\/div> \n","protected":false},"excerpt":{"rendered":" 1-1 | Table of Contents\u00a0|\u00a0http:\/\/dx.doi.org\/10.17742\/IMAGE.inaugural.1-1.1 |\u00a0After Imagining PDF<\/p>\n","protected":false},"author":4062,"featured_media":334,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[90,4,15],"tags":[],"class_list":["post-190","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inaugural-issue","category-article","category-introduction","wpautop"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/imaginations.space\/wp-content\/uploads\/2010\/12\/Slammer-2001-edited-for-Carrie.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p707hj-34","_links":{"self":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/190","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/users\/4062"}],"replies":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=190"}],"version-history":[{"count":35,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/190\/revisions"}],"predecessor-version":[{"id":8195,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/posts\/190\/revisions\/8195"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=\/wp\/v2\/media\/334"}],"wp:attachment":[{"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=190"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=190"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imaginations.space\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nAfter Imagining<\/h4>\n
Apr\u00e8s l\u2019imaginer<\/h4>\n