viz.

Screenshot from student project Evolution, Not Revolution by Lacey Teer

Last semester, I wrote my final blog post about using iMovie in the classroom. This semester, I attempted to correct some of the issues that arose when I asked all my students to use multimodal argumentation for their final papers. What follows is an outline of the final project I assigned and information about the changes I made to address various problems. This information will also appear on our "Teaching" page, along with sample student projects.

Lee Price, Sunday.  H/t to Jezebel, Sociological Images

Lee Price paints photorealistic portraits of her subject (usually herself) consuming food that we might label "bad:" for example, McDonalds, cupcakes, pie, and so on. While Dr. Lisa Wade's piece for Sociological Images focused on the way these paintings make public what is often a shameful, private act and elevate it through the use of "high" medium (painting), I was most interested in the way these images seem to acknowledge these commonly held beliefs about indulgent consumption even as they complicate them. I'd like to take a stab at raising more questions about Price's work and how it formulates an argument about bodies, pleasure, shame, and excess. Pictures after the jump are NSFW.

Daniel Everett, detail ofGoals

Noel's post on tweeting with the body reminded me of Daniel Everett's work, which also deals with the intersections of man and machine. His pieces suggest, sometimes playfully, the myriad ways in which interaction with technology shapes selfhood.

Alfred Eisenstaedt, Life Magazine, via Of Another Fashion

This week, I want to focus on a site I discovered when I was trying not to work. While browsing fashion blogs, I encountered Of Another Fashion, a digital archive of "the not quite hidden but too often ignored fashion histories of US women of color." In recuperating these women as alternative icons, the site emphasizes the complex historical intersections of public and private as they play out through clothing choices. It also provides needed role models to counter the often problematic and still white-dominated fashion industry.

Red Teardrop, via Anota bien.

My class, Rhetoric of Tragedy, is based on the idea that the events we normally label “tragic” are always points of contestation. The right way to remember, what we should do to ensure that it never happens again, who to blame—all of these are controversial questions that provide an opportunity to study how we argue. But it can be hard to talk about these conversations in class, especially when you are looking at visual rhetoric. How do we address these contemporary events without making the classroom an upsetting place?

Steve Davis, via Lens

As a sort of continuation of my post two weeks ago about The Goggles' Welcome to Pine Point, I want to focus this week on Steve Davis' As American Falls. This series of photos documents American Falls, the now-declining Idaho town where Davis grew up. Davis describes the town's death as "as slow as it is unspectacular," and these images produce a feeling of stillness that differs in interesting ways from the retroactive intimacy that the Goggles' project produces.

Libraries of Health and Complete Antique, Brian Dettmer.

H/T to Brian Gatten, Lauren Gantz and NPR

In honor of World Book Day (March 3--but it's not too late to celebrate!) NPR's visual culture blog, The Picture Show, featured work by Atlanta artist Brian Dettmer. Dettmer takes vintage books and carves them into sculptures that, as Mito Habe-Evans explains, "[deconstruct] the linear narrative determined by the structure of the book" and open the door for new interpretations. In giving new life to a supposedly dying medium, Dettmer's sculptures make an argument about the cultural space of physical books, now and in the future.

Front page of Welcome to Pine Point, by the Goggles

Welcome to Pine Point is an interactive experience that documents a mining town that, rather than declining slowly or attempting a resurrection, erased itself, leaving behind only empty land and a website entitled "Pine Point Revisited." Mike Simons and collaborator Paul Shoebridge built Welcome to Pine Point to document and reflect on the experience of discovering that a place Mike remembered from his childhood was not simply empty or decayed; it was actually gone.

Nico in 1990 and 2010, France; Irina Werning

This week, I want to draw attention to Irene Werning's Back to the Future project (website probably not safe for work; there is a small amount of nudity), in which the artist meticulously reconstructs images from her subjects' pasts. The results are always impressive, often funny, and sometimes touching in their illustration of how much and how little changes with the passage of time.

The Anime Within, Elena Dorfman

The image above is from a photo essay on the Mother Jones website. The essay, entitled "The Anime Within," was disappointing to me, and while I don't want to malign Dorfman's project, especially since I am glad to see cosplay getting attention in a publication that might not normally address it, I do want to critique some of the messages that these images send.