img journal <p><strong>img journal – ISSN 2724-2463 </strong> is an open access and interdisciplinary scientific publication that explores the interconnections between the different fields of images, imagery, and imagination.</p> en-US <p>Unless otherwise stated, the copyrights of all the texts on this journal belong to the respective authors without restrictions.</p><div><a href="" rel="license"><img src="" alt="Creative Commons License" /></a></div><p>This journal is licensed under a <a href="" rel="license">Creative Commons Attribution 4.0 International License</a> (<a href="">full legal code</a>). <br /> See also our <a href="/about/editorialPolicies#openAccessPolicy">Open Access Policy</a>.</p> (img journal) (OJS Support) Mon, 17 Oct 2022 14:14:43 +0200 OJS 60 Editorial Daniele Villa, Franca Zuccoli Copyright (c) 2022 Daniele Villa, Franca Zuccoli Mon, 17 Oct 2022 00:00:00 +0200 Beyond Maps. A Workshop on Users’ Sense of Place and Visual Representation at Milano-Bicocca University <p>In a trans-scalar perspective, the Bicocca district extends from the local NIL (Nucleo di Identità Locale) to part of Municipality 9, Sesto San Giovanni and Cinisello Balsamo. Recently, the University of Milan-Bicocca, as regards to the so-called ‘terza missione’, has remarked its role as a key-pole for the surrounding area by proposing research, educational (and orientation) activities, as well as institutional initiatives based in this post-industrial area of Milan. Within this scenario, our group was in charge of design-ing a project leading to an artistic image representing the district users’ sense of place. By combining geography of perception, urban sociology, participatory design and the flânerie approaches, we planned a working process starting from the ‘subjective production of images’ by the district’s users and inhabitants. The project was structured in two phases: (1) December 2020 – January 2021: we organised two workshops by inviting groups of students, teachers and shop owners and working on their mental maps to construct a final image resulting from the two teams’ negotiation processes. The reading of the maps was initially inspired by the categories identified by Kevin Lynch (1962) and then moved on to a process of co-construction of a collective image; (2) March 2021: we shared the visual body with a professional illustrator (Carlo Stanga) entrusted with the mandate to translate the images into an artistic product. The essay discusses the visual representation of users’ sense of place and the potential legacy upon communication strategies, way-findings tools and education projects.</p> Alessandra Agrestini, Matteo Colleoni, Andrea Mangiatordi, Stefano Malatesta, Giampaolo Nuvolati, Enrico Squarcina, Franca Zuccoli Copyright (c) 2022 Alessandra Agrestini, Matteo Colleoni, Andrea Mangiatordi, Stefano Malatesta, Giampaolo Nuvolati, Enrico Squarcina, Franca Zuccoli Mon, 17 Oct 2022 00:00:00 +0200 The Representation of Space As a Narrative Language in Videogames <p>The research examines the videogame as a new form of visual narration, in which the story is constructed not only by the designer's authorial intentions, but also by the interpretation of the player, who moves and acts in the gamespace. The space, therefore, can assume a central narrative role, helping the player in the construction of meanings necessary for the understanding of the story. The aim of this research is to analyse the representation of space as a narrative language in videogames, examining how spatial suggestions become a formal and structural code of visual signs, able to emphasize tones and atmospheres and/or express emotional values. The survey methodology includes a comparative analysis of videogame spaces, starting from the main types of narratives: realistic, verisimilar and unrealistic; this distinction allows to identify three macro-groups of spatial representations, having specific and defined characteristics. This research underlines how the scientific area of representation can contribute significantly to the study of videogame, understood as a narrative form in which the drawing of the space is applied as an irreplaceable modality for the construction of a visual code of thought.</p> Greta Attademo Copyright (c) 2022 Greta Attademo Mon, 17 Oct 2022 00:00:00 +0200 Rainbows Between Art and Science. An Unconventional Analysis <p>What do have in common a friar lived in the 17th century, a contemporary American artist of the Land Art movement and an Italian structural engineer popular between the two World Wars? The answer can be certainly found in the common scientific approach of the three authors, but more precisely in their shared passion for the natural phenomenon of rainbow. This paper focuses on the contextualization of studies related to this atmospheric phenomenon starting from the classical period – considering its depictions in the history of science and art. Between the protagonists of this story, whose approaches go from aesthetic researches to natural philosophy, we can find the friar Emmanuel Maignan (1601-1676): a scholar of optics who was the author of one of the most important gnomonic treatises in the Baroque period. Since 1980 the artist Charles Ross has used big glass prisms –precisely oriented– to project the chromatic spectrum within architectural scale installations. Then, in the early decades of the 20th century the engineer Arturo Danusso (1880-1968) developed a method to evaluate the tension stress of the reinforced concrete structures based on photoelasticity. In addition to the examination of the heterogeneous uses of rainbow in art and science, this paper also intends to focus on the relationship between light and optics intended as a ‘universal method’ to study natural phenomena over the centuries.</p> Alessio Bortot Copyright (c) 2022 Alessio Bortot Mon, 17 Oct 2022 00:00:00 +0200 Cultural Expression: ‘Artistic’ or ‘Social’ Competence? Image Creativity in Young Adults Aspiring to Become Primary Level Teachers in Italian-Speaking Switzerland <p>Two different cohorts of young adults, as a function of their access to Teacher training program for pre-primary and primary teachers in the Canton of Ticino (CH), attended in 2021 and 2022 a weeklong art workshop at the Department of Education and Learning of SUPSI (DFA). Framed within an annual training course, these intensive ateliers involved graphic, pictorial and plastic artistic research focusing on the theme ‘Art and War’, mobilizing the potential of the artwork to arouse not only emotional reactions, but also generative on a cognitive level, in order to develop reflective-critical thinking and creative thinking. Technical-expressive and representational competences have been placed in the foreground, activating strategies of figurative-abstract expression on the two-dimensional surface or in three dimensions. The article approach can be traced to the perspective of the case study and it is based on the resources (knowledge, skills and attitudes) referred to in Key competence 8 for lifelong learning, Cultural awareness and expression competence (European Council Recommendation of 22 May 2018). The project is intended to verify the status of both the image and visual culture in the transition between upper secondary and university of teacher education for the school system of the Italian-speaking Canton of Switzerland.</p> Mario Bottinelli Montandon Copyright (c) 2022 Mario Bottinelli Montandon Mon, 17 Oct 2022 00:00:00 +0200 Performing Objects and Interpretive Techniques: Textual Rewriting and Other Methods to Raise a Set of Landscape Designs for a Rural Community <p>Based on the concept of ‘interpretive community’, it is possible to trace how humans can become interpreters (or decoders) of their own reality through, say, written excerpts and architectural works. This chapter is intended, therefore, to report on an interpretive-community workshop where students of three different disciplines (namely, Architecture, Sociology and English Studies) were assigned specific chapters of literary works with the goal of making a collective interpretation through a process of rewriting and restoring architecture. These projects allow students (or any participant, in fact) in their recognition of salient concepts that are not necessarily ascribed to a specific domain; for instance, the understanding of architecture not solely as a construction process, but as a mechanism intended to protect traces of life that are naturally perceived through narration and the use of metaphors.</p> José Carrasco Hortal, Sara Prieto García-Cañedo, José Antonio Sánchez Fajardo Copyright (c) 2022 José Carrasco Hortal, Sara Prieto García-Cañedo, José Antonio Sánchez Fajardo Mon, 17 Oct 2022 00:00:00 +0200 Silent Poetry. Images of Gesturing Across the Arts. Pretexts and Thoughts on a Language of Great Educational Potential <p class="abstractCxSpFirst">The claim –attributed to Leonardo da Vinci– that “painting is mute poetry and poetry is blind painting”, authoritatively sums up the topic of this paper. Unlike literary languages, figurative visual arts draw on body language as a medium comprising expressions, postures, gestures, and signs representing gestures. <br />Based on a conceptualization of gesticulation as a universally intelligible form of communication, we examine dictionaries of gesticulatory movements such as that developed by Bruno Munari or the choreographic projects of Virgilio Sieni, which are both rooted in the transposition of movement into images. In choreography, the act of transposing into images, conventionally signs or drawings, is termed notation and is the instrument via which artistic projects are communicated to dancers and handed down to posterity. It involves marking out an idea, knowledge, or simply a state of mind, fixing it on paper by means of a gesture. The nature of gesturing as a medium and a tool for immediate transposition underpins its valuable role in the field of education.</p> Alessandra De Nicola Copyright (c) 2022 Alessandra De Nicola Mon, 17 Oct 2022 00:00:00 +0200 Creating the (School’s) Future. Imagination, Prediction and Argumentative Competence <p>This paper proposes notes and reflections on methodological strategies and qualitative outcomes of a teaching experiment that involved a class (5th year) of the primary school of the IC Galilei in Reggio Emilia. The work was carried out within a digitally augmented learning ecosystem capable of a) enabling synchronous and asynchronous interaction practices and b) facilitating cooperation and sharing at different levels of proximity (between teachers and students). In this context, efforts were made to enrich and develop pupils’ argumentative competence by working with images and especially by prodding their predictive imagination. Therefore, taking the evolution of technologies as a projectual (and cultural) horizon within which to try to imagine a plausible and desirable future, and conceiving –like Vygotskij –the imagination in terms of a creative and combinatory behaviour, we asked the children to ‘create’ a probable future. In other words, we asked them to give shape to the school of the future, starting with an analysis of the mistakes and intuitions that a group of artists at the end of the 19th century were able to make in an attempt to predict the year 2000 that the protagonists of this action-research project did not experience. Final objective: to develop in the children an argumentative and linguistic structure capable of supporting a lesson aimed at citizenship in which the pupils themselves would then share their idea of integrating digital technologies at school. The results collected made it possible to positively assess a second edition of the training course, which will see the adoption of a device –McLuhan’s Lost Tetrads– with which we will try to further encourage an exercise of imagination (and also of ar-gumentation) capable of designing sustainable contexts and ecosystems (of learning and beyond).</p> Stefano Moriggi, Maria Giuseppina Grasselli Copyright (c) 2022 Stefano Moriggi, Maria Giuseppina Grasselli Mon, 17 Oct 2022 00:00:00 +0200 Real Estate and Marketing Rhetorics. The Rise of Heritage in the Face of Global Financialization <p>The contribution proposes to observe the inclusion of symbolic elements linked to the notion of heritage within the images used to promote domestic interiors in regeneration projects. This operation is conducted in two of the most important cities at the forefront of the housing crisis: London and Shanghai, and reveals remarkable parallels between Eastern and Western modes of communication and representation. The financialization of space, which had profoundly transformed the way we value, perceive and desire domestic intimacy opens up issues of space falsification, and distortion of the social models of reference. What these projects present us with are fictitious narratives that select<br />not only materials, but also inhabitants, ambitions and social projections. What is new is the aggressiveness of the process linking the construction of spaces and the shaping of the subject, and the enhanced use of references to cultural elements able to secure economic returns. Their reassuring character stabilizes the perception of investment, forcing us to reflect on how we shape a specific idea of the city through images, and for whom we do so.</p> Michela Pace Copyright (c) 2022 Michela Pace Mon, 17 Oct 2022 00:00:00 +0200 When a Picture Is Worth a Thousand Words: Using Image-Based Research Methods in Vulnerable Populations As a Culturally Sensitive Approach <p>Image-based approaches –visual story-telling, photo-elicitation method, photo-walking, visual auto-ethnography– have been utilized as a novel exploratory tool in psychology and social science for examining visual identities, life histories, and other collective elements of local cultures. Visual and image-based methodologies held significant promise for building bottom-up participatory research designs for inquiries, particularly on vulnerable or disadvantaged individuals and groups. However, due to methodological difficulties, image-based research has maintained a restricted standing within the ‘traditional’ word-based oriented landscape of qualitative paradigms. The terrain addressed by the current paper includes various applications of image-based techniques as applied in vulnerable groups, as determined by some examples of recent literature. The key findings indicated an original galaxy of empirically based methodologies that may be utilized to incorporate more ‘traditional’ quantitative, qualitative, and mixed-method designs. Finally, implications from the practical application of this methodological design were discussed, notably in terms of decolonization of research techniques and ethical issues to guide practitioners’ research in challenging circumstances and vulnerable people.</p> Alessandro Pepe Copyright (c) 2022 Alessandro Pepe Mon, 17 Oct 2022 00:00:00 +0200 Digital Video Effect. The Foundation of the Visual Imaginary in Italian Television in the 1980s <p>The article presents some reflections on the status of Italian television in the 1980s, a key period related to the transition from analog to digital images. A period marked by events, broadcasts, personalities and technologies that were at the beginning of the diffusion of computers that took place in Italy also thanks to the contribution of public and private television. The way and the timing of this transition have been analyzed considering some fundamental steps that the progress of information technology made in the 1980s also in television studios. While it is true that the introduction of graphic workstations radically expanded the graphic possibilities of the directors of TV, it is also true that ‘traditional’ visual art has made an important contribution to the esthetics and content of Italian television since the first television broadcasts. In this context, there are not many studies that have investigated the function of television in highlighting the role of information technologies in the construction of a new visual imaginary. To begin this analysis, we have analyzed, on the one hand, the programs, including radio programs, in which the electronic/digital language has interacted with that of television, and, on the other hand, some incursions on television programming by personalities already known for having explored experimental forms of hybridization between TV, art and computer.</p> Daniele Rossi Copyright (c) 2022 Daniele Rossi Mon, 17 Oct 2022 00:00:00 +0200