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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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Propaganda • Folklore • Our Lady of Kodeń • French Revolution • Melodrama • Saint George • Power representation • Arts and crafts • Cittadini originari • Materialism • Sixteenth-century Italian art • Byzantine Empire • Contemporary art • Beirut • Poor power Images • Design • Power • Power of the images • Modern Art History • Painted facade • Second Post War Period • Russian Empire • Visual culture • Modern art history • National image • Countersurveillance Fashion • Feminist art • Byzantine empire • Technology • Poor power images • Venice Biennale • <p>Kustar • Decoloniality • Occupational realism • Wearable technologies • Authority • New Formalism • Alternative press • Optic Nerve • Speculative design • Lucerne • Geographical personifications • Visual identity • Allegory • Portrait de la jeune fille en feu • Politics • Public sphere • Image • Countersurveillance fashion • Metaphor • Pietro Aretino • Visual Culture • Semiology • Aby Warburg • Sex • Wood • Italy • Macedonia • Arts • Scuole Grandi • Venice • Russian style • Directory • Dissidence • Kustar • The Bureau of Melodramatic Research • Sursock Museum • General intellect • The Peggy Guggenheim Collection • Jan Fryderyk Sapieha • John V Palaiologos • Surveillance • Postcolonialism • Autotheory • Crossmapping • Sapieha family • Symbols • Political iconography • Latin faith • Coronation of Miraculous Images • Religious submission • Distorted portrait • New Media Installation Art • Gendered bodies • Exhibition • Salon d'Automne • Un’Ambigua Utopia • Drone • Vittorio Viale • Holbein • Palaiologan Renaissance • Warfare • Nicolas Ibrahim Sursock • Renaissance • Revolutionary festival • Byzantine sculpture • Post-Representation • Post-representation • Political iconology • Gaze • Kodeń • Fascism • Iconography • Rhetoric • Polish-Lithuanian Commonwealth • Image and power • Palazzo Madama, Torino • Neoliberal imaginary • A/traverso • Historiographical bias • Image theory • Lebanon • Salon dʼAutomne • Speculative Design • New media installation art • Paraesthetics • Portrait de la jeune fille en few • Socially engaged art • Labour of love
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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