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