This article provides a description of the emergence of the Spanish ‘Occupy’ movement, Democracia real ya. The aim is to analyse the innovative discursive features of this movement and to connect this analysis to what we consider the innovative potential of the critical sciences. The movement is the result of a spontaneous uprising that appeared on the main squares of Madrid and Barcelona on 15 May 2011 and then spread to other Spanish cities. This date gave it its name: 15M. While the struggle for democracy in Spain is certainly not new, the 15M group shows a series of innovative features. These include the emphasis on peaceful struggle and the imaginary of a new democracy or worldview, transmitted through innovative placards and slogans designed by Spanish citizens. We consider these innovative not only due to their creativity, but also because of their use as a form of civil action. Our argument is that these placards both functioned as a sign of protest and, in combination with the demonstrations and the general dynamics of 15M, helped to reframe the population’s understanding of the crisis and rearticulate the identity of the citizens from victims to agents. In order to analyse the multimodal character of this struggle, we developed an interdisciplinary methodology, which combines socio-cognitive approaches that consider ideological proposals as socio-cognitive constructs (i.e. the notion of narrative or cognitive frame), and Critical Discourse Analysis (CDA) in the analysis of discourses related to processes of social imagination and transformation. The socio-constructivist perspective is used to consider these discourses in relation to their actors, particular contexts and actions. The use of CDA, which included a careful rhetoric analysis, helped to analyse the process of deconstruction, transformation and reconstruction that 15M uses to maintain its struggle. The narrative analysis and the discursive theoretical concept of articulation helped to methodologically show aspects of the process of change alluded to above. This change was both in terms of cognition and in the modification of identity that turned a large part of the Spanish population from victims to indignados and to the neologism indignadanos, which is a composition of indignado and ciudadano (citizen).
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In 1960 Kevin Lynch analysed the ‘city-image’ in The Image of the City; seven years later American artist Robert Smithson surveyed the suburb of Passaic in ‘A Tour of the Monuments of Passaic, New Jersey’. Both approaches use narrativity as an instrument to connect urban space with the lived experience of its users. Where Kevin Lynch analyzes the visual perception and mental representation (‘imageability’) of the postwar American metropolis, Robert Smithson explores the temporality of its peripheral terrain vague. Where Kevin Lynch frames his inquiry within then-current conventions of perception and cognition, Robert Smithson rejects these conventions precisely because they do no justice to his experience of the suburb and offer him no method to analyze or describe it. In his analysis, there is no coherent map of the territory, no mental representation to consult. How does Smithson’s practice relate to the paradigm of ‘imageability’? What is being narrated, and how does narrativity operate? By juxtaposing the two approaches this text reflects on some ideas and issues that surround a narrative analysis of urban landscape.
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Most film viewers know the experience of being deeply absorbed in the story of a popular film. It seems that at such moments they lose awareness of watching a movie. And yet it is highly unlikely that they completely ignore the fact that they watch a narrative and technological construction. Perhaps film viewers experience being in a story world while simultaneously being aware of its construction. Such a dual awareness would seem paradoxical, because the experience of the one would go at the cost of the other. We argue that the solution of this paradox requires dropping the notion of an undivided consciousness, and replacing it with one of consciousness as coming in degrees. In this chapter we present both cognitive and film-analytic arguments for differential awareness of story and narration/technology, and argue that a characteristic of absorption is to be found in story world super-consciousness.
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Studying images on social media introduces several challenges that relate to the size of datasets and the different meaning-making grammars of social visuality; or as aptly pointed out by others in the field, it means ‘studying the qualitative on a quantitative scale’. Although cultural analytics provides an automated process through which patterns can be detected in large numbers of images, this methodology doesn’t account for other modalities of the image than the image itself. However, images circulating social media can (and should) be analyzed on the level of their audience as the latter is co-creating the meaning of images. Bridging the study of platform affordances and affect theory, this paper presents a novel methodology that repurposes Facebook Reactions to infer collective attitudes and performative emotional expressions vis á vis images shared on the large Syrian Revolution Network public page (+2M). We found visual patterns that co-occur with certain collective combinations of buttons, displaying how socio-technical features shape the discursive frameworks of online publics.
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Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.
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In an image-saturated society, methods for visual analysis gain urgency. This special issue explores visual ways to study online images, focusing on their collection and circulation. The proposition we make is to stay as close to the material as possible. How to approach the visual with the visual? What type of images may one design to make sense of, reshape, and reanimate online image collections? How may arrangements of online images promote various analytical procedures, participatory actions, and design interventions? Furthermore, we focus on the role that algorithmic tools, including machine vision, can play in such research efforts while being sensitive to their flaws and shortcomings. Which kinds of collaborations between humans and machines can we envision to better grasp and critically interrogate the dynamics of today’s digital visual culture? The different practices and formats discussed in this special issue (including data feminism, visual scores, machine vision, image networks, field guides) offer a range of approaches that seek to understand, reanimate, and change perspectives on our digital visual culture.
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In this paper we present visual methodologies attuned to the networked nature of digital images. First, we describe approaches to image research in which images are not separated from their network, but rather studied 'en groupe'. Here, we contrast approaches that treat images as data, and those that regard images as content. Second, we focus on the production of images for digital research, presenting three of their functions: a) the creation of diagrams that facilitate collaboration in interdisciplinary research teams; b) the use of visualizations for cross-platform image analysis; and c) designing images for public participation. Most importantly, such visualizations are not used to form the esthetic culmination of analytical work, but are rather functional tools for digital research that serve parts of the entire research process, from its formulation and operationalization to the engagement of a broader public.
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A level designer typically creates the levels of a game to cater for a certain set of objectives, or mission. But in procedural content generation, it is common to treat the creation of missions and the generation of levels as two separate concerns. This often leads to generic levels that allow for various missions. However, this also creates a generic impression for the player, because the potential for synergy between the objectives and the level is not utilised. Following up on the mission-space generation concept, as described by Dormans, we explore the possibilities of procedurally generating a level from a designer-made mission. We use a generative grammar to transform a mission into a level in a mixed-initiative design setting. We provide two case studies, dungeon levels for a rogue-like game, and platformer levels for a metroidvania game. The generators differ in the way they use the mission to generate the space, but are created with the same tool for content generation based on model transformations. We discuss the differences between the two generation processes and compare it with a parameterized approach.
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Dit artikel beschrijft de bevindingen uit een explorerend literatuuronderzoek naar de grammaticale ontwikkeling van Nederlandstalige kinderen tussen 7 en 10 jaar met en zonder een taalontwikkelingsstoornis (TOS). De resultaten worden ook in een klinische context geplaatst, met als doel logopedisten te ondersteunen in de behandeling van grammaticale problemen bij kinderen met TOS in deze leeftijdsgroep. Grammaticale problemen zijn een kernprobleem van kinderen metTOSen behandeling van deze grammaticale problemen is daarmee een kerntaak van de logopedist. De verwervingsvolgorde van grammaticale structuren bij Nederlandstalige kinderen met een normale taalontwikkeling is redelijk duidelijk tot een leeftijd van 5 á 6 jaar. Voor oudere kinderen is dit veel minder het geval. Deze informatie is echter wel van belang om passende grammaticale behandeldoelen te kunnen selecteren en prioriteren.
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This manual focuses on the initial phase of a (digital) publishing process. It offers methods to critically examine the narrative structures of content and explore alternative conceptions of a publication. By raising the question of how modular publishing can be used as a way to create, edit and structure content it tries to resist a monolithic story line, and embraces multiple perspectives.
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