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A Driving Force
On the Rhetoric of Images and Power
abstract
The volume comprises a selection of papers presented at the 5th Postgraduate International Conference organized by the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice (Venice, 4-6 October 2023): A Driving Force. On the Rhetoric of Images and Power. In the introduction to his well-known The Power of Images (1989), David Freedberg claims not only that images hold power over us, but they are also, inevitably, related to ‘power’ itself. Art is therefore a powerful and non-neutral tool. Its forms and expressions influence and manipulate the realm of the real. Throughout human history, the artist’s creative power gave form, substance, and meaning to otherwise inert matter. This process turned the artist into a demiurge. Furthermore, once images are given their final form, they circulate and live a life of their own. The 5th Postgraduate International Conference was aimed at investigating the rhetorical nature of the intersection between image and power. In 1979 Yuri Lotman claimed that “rhetoric” is the displacement of the structural principles of a given semiotic sphere into another semiotic sphere. The Tartu semiologist’s approach implies that the “correlation with different semiotic systems gives rise to a rhetorical situation in which a powerful source of elaboration of new meanings is contained”. In exploring these meanings from a multidisciplinary perspective, this volume investigates two main themes: the power of the image, as an autonomous device, endowed with a pervasive and persuasive character; the image as a form for representing power which addresses questions concerning the sense of authority, and its negation, namely a sense of dissidence and counter-narrations.
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Political iconology • Lucerne • Sapieha family • Drone • New media installation art • Modern art history • Semiology • Image • French Revolution • <p>Kustar • Wood • Optic Nerve • Scuole Grandi • Image and power • Byzantine empire • Polish-Lithuanian Commonwealth • Neoliberal imaginary • Iconography • Religious submission • Poor power images • Salon dʼAutomne • Venice Biennale • Our Lady of Kodeń • Speculative design • Politics • Byzantine Empire • Painted facade • Jan Fryderyk Sapieha • Speculative Design • National image • Occupational realism • Lebanon • A/traverso • Autotheory • Russian Empire • New Formalism • Distorted portrait • Un’Ambigua Utopia • Sex • The Bureau of Melodramatic Research • Directory • Melodrama • Labour of love • Countersurveillance Fashion • Fascism • Vittorio Viale • Palazzo Madama, Torino • Beirut • Pietro Aretino • Gendered bodies • Kustar • Renaissance • Historiographical bias • Saint George • Wearable technologies • Poor power Images • Image theory • Political iconography • Materialism • Italy • General intellect • Post-Representation • Symbols • Macedonia • Palaiologan Renaissance • Allegory • Byzantine sculpture • Design • Latin faith • Post-representation • Feminist art • Warfare • Contemporary art • Visual Culture • Aby Warburg • Arts and crafts • Propaganda • Socially engaged art • Rhetoric • Folklore • Countersurveillance fashion • Alternative press • Exhibition • Power • Nicolas Ibrahim Sursock • Sixteenth-century Italian art • Power of the images • Cittadini originari • Sursock Museum • Revolutionary festival • Portrait de la jeune fille en feu • Portrait de la jeune fille en few • Coronation of Miraculous Images • Salon d'Automne • Power representation • Public sphere • Visual culture • Visual identity • Gaze • Geographical personifications • Surveillance • Authority • Kodeń • Modern Art History • New Media Installation Art • Venice • Arts • Dissidence • Decoloniality • Technology • Holbein • John V Palaiologos • Russian style • The Peggy Guggenheim Collection • Second Post War Period • Metaphor • Paraesthetics • Postcolonialism • Crossmapping
Sommario
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Self-Definition and Self-Questioning: Image-Making as a Political Tool
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Artistic Expression and Political Power in Late Medieval and Renaissance Venice
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Me, Myself and I: Reframing the Concepts of Identity and Otherness
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Art, Patronage, and Prestige: Visual Representations of Power in the Modern Era
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Your Gaze Hits the Side of My Face: On the Image as Social Response and Counterculture
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Unveiling Perception: Altered Reality Through Surveillance and AI Imagery
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Symbolism and Identity in Ancient Societies: Negotiating Power Through Material Culture
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Crossing Boundaries: Exploring Interdisciplinary Practices and Moving Images
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Cultural Institutions and Power: On the Relationship Between Museums and Politics
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Let Me Be Your Eyes: Investigations into the Phenomenology of Control
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