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11Aesthetic Temporalities Today Gabriele Genge | Ludger Schwarte | Angela Stercken Aesthetic Temporalities Today: Present, Presentness, Re-Presentation1 The present seems familiar to us, hardly worth mentioning. But, has it always been like this? And what does the present really signify, if we consider that its idea and meaning have shifted considerably since its emergence in the 17th and 18th centu- ries? In recent years, the historicization of the concept of a present has gained momentum2 and its “birth” at the dawn of modernity increasingly been examined

1.1 Videogame Representation When I ask how games represent loss, grief and mourning, I assume that videogames are a form of representation, a kind of cultural text which is available for critical media analysis. This chapter discusses how this view is different from dominant perspectives in game studies, and how I will go about applying it to the study of bereavement in vid- eogames. First, my approach to videogame-specific representation is inspired by three concepts; James Newman’s (2002) ergodic continuum, Tobine Smethurts’s (2015) notion of

(work notes) democratic Process referenda Parliamentary Presidential elections segments movements ideologies visual communication in/visibility il/literacy Posters banners flyers form language graPhic styles Pictorial techniques artistic aPProPriations Portrait gallery election symbols statistics design / Political education female rePresentation rose outline logo un/sub/conscious image sPeech (zoom-in) 2 the Politics of rePresentation In the fall of 2011 every remotely accessible surface of Cairo’s public space was hijacked

1. Interpreting Forms of Representation Visual order as concretized worldview – Erwin Panofsky’s Perspective as Symbolic Form Described by W.J.T. Mitchell as an “epic of visuality”, Panofsky’s essay on per- spective, originally published in 1927,1 is a concentrated synthesis of the his- tory of perspective, as well as a history of visuality as cultural practice. The text has received renewed critical attention during the founding phase of vi- sual culture studies.2 Perspective – “seeing through” as Dürer, quoted by Panofsky, called it (27)3 – refers not to the

Social Representation Theory and Museum Visitors Aida Rechena, Francisco Tavares Proença Júnior Museum – Portugal ... each individual hosts inside him his own museum; each person is formed, filled and constantly influenced by crosscurrents of impulses throughout their life and consequently represents a place, an age, a generation. Per Uno Agren, 2001.1 Per Uno Agren’s words draw our attention to two separate but complementary facts: each individual is characteristically different from all others; each indi- vidual is also integrated in a group, a place and

Museums and the Representation of War Jay Winter 1. WAR MUSEUMS: SEMI-SACRED SITES The following will begin by considering how war museums are constructed, will then turn to a survey of the constellation of war museums in various parts of the world, which have been up and running for considerable time, and finally will pose some questions about the dangers and pitfalls that lie in the path of anyone working in the museum world. Let us begin by considering the example of the Auckland, New Zealand War Memorial Museum. Shortly after the Armistice, the City

Representation of Old Age in Media Fear of Aging or Cult of Youth? Julian Wangler ‘Cultural plasticity’ has become a key word in research of old age. Social realities of age and aging are not primarily based on biological facts, but on social constructions of what it means to be and grow old. By ‘doing age’ we are defining social practices which change the treatment of age and create a framework of standards and conventions, as well as a course of action for old people themselves. In the center of social formability of old age, we find images of the

bodies in public. Numerous scholars, activists, feminists, and gender rePresentation in graffiti Post-25 January Middle East specialists have commented on the ‘Arab Spring’ with much concern, specifically regarding the critical and precarious position of women after the rev- olutions that spread from Tunisia to Egypt and Libya. Many have expressed concern that the forthcoming post-Arab Spring years will be dominated by controver- sial gender issues in the Middle East.[1] The concern of some has risen now that Egypt’s revolution has argu- ably been hijacked by

CHAPTER 1: WAR CORRESPONDENTS IN ACTION AND REPRESENTATION »To me it has always seemed that the day a newspaperman receives his commission as a war correspondent, he has won the Victoria Cross of joumalism; and if he has it in him his footsteps henceforth may move amidst the footprints of the mighty, for his work will take him amongst great men and greater deeds« (A.G. Haies 190 I, 205). »lt always used to irritate me to hear joumalists referring to real incidents in the Jives of real people as >stories<, with all the connotations which the word

3. Popular Re/Presentation of History and Its Media When historical consciousness and the modes and forms of the popular merge, new horizons of relevance can emerge and add facets to a society’s historical culture. ›Popular‹ historical culture is built and maintained not only through products that are created and distributed with the intention of disseminating historical knowledge (such as popular-history books or tele- vision documentaries). It can also be built, as a side-effect, through popular products primarily designed for other purposes