ISSUES
Is the visual political? vol 1.1, autumn 2008
Presidents of the USA, D. Kish | Ugliness: Visibility and the Invisible Prejudice, A. Synnott | Musings on a Master Race: The Drawings of Hannah Barrett, C. Arcabascio | Grandpa Lenin and the Crimson Love, N. Giroux | Politics, Vision and Democracy: Access Equality for the Visually Impaired, M. Murray | Third-Term Panic, 1874, T. Nast, courtesy of T.J. Michalak | Political Symbols, A. Hughes | Mirroring People: Neuropolitics, M. Iacoboni | Hugo Juarez 2008, N. Munyan | Dilemmas of Claiming Ownership in an Epidemic, L. Moana Kolff | Society of the And, R. Van Toorn, introduction by H. White | Media, Race, and the Marketplace, R.M. Entman | Politico-Religious Dimensions of Chaco Canyon Pottery, S. Plog | (Re)views, A. Hughes | Flags, Color, Symbol, and National Identity, C. Arcabascio interviews K. Cerulo | Is the Visual Political? An Essay | T. Kaplan-Maxfield | Political Agenda, R. Sullivan | Web-Only Features: Electing the President: How American Elections Work, S. Hickey | Framing Documenta: Local Politics of High Art in Kassel, Germany, J. Andreoni + D. Stein | Hugo Juarez Campaign Kit, N. Munyan
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China Vision, Part I vol 2.1, spring 2009
Between Text and Image: The Ambiguity of Chinese Written Characters, Yuehping Yen | Are Chinese Characters Modern Enough? An Essay on Their Role Online [plus web-only supplemental illustrations], Han-Teng Liao | Chinese Magic Mirrors in "Chinese Art, Volume I" (1914), S.W. Bushell | Harvesting Cosmic Spectra: China's Large Area Multi-Object Spectroscopic Telescope (LAMOST), M. Hurst with C. Arcabascio and N. Giroux | East Meets West, Yang Liu | Show Me the Yuan, A. Baumler | Design for Commerce: Chinese Label Art for Common Goods [plus web-only supplemental illustrations], A. Cahan | Desire of the Other: Perceptions of Beauty in Modern China, W. Jankowiak and P. Gray | (Re)View: Chinese Ghost Story, A. Hughes | (Re)View: Frozen, A. Hughes | Chinatown, Boston, MA, 1993, A. Owens |
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China Vision, Part II vol 2.2, summer 2009
The Dandelion School Transformation Project: A Conversation with Lily Yeh | Politically and Geographically Colorful: Revolution, Regime and Color in China [web-only links], Han-Teng Liao |What Will Happen Next? Envisioning a Personal Future in China, C. Stafford [supplemental interview with the author] | Myth and Modernity, M. Ting [web-only links] | Retro(spect): On Chinese Divination by Dissecting Written Characters, J.J.M de Groot | Situ Panchen, 1700-1774: Tibetan Encampment Revivalist Painter, Glimpse interviews D. Jackson [supplemental links] | Seeing History: Rediscovering the Art of Tibet Through Modern Imaging Technology [supplemental illustrations], C. Reedy | (Re)View: Mahjong at the Peabody Essex Museum [online exhibit], L. Cross | (Re)Views: Not One Less and Green Snakes, I. Moylan |
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| Color vol 2.3, autumn 2009
Fluorescence in the Garden, C.M. Bielmeier [online supplementary images] | Ordering Colors: A multifaceted problem, R.G. Kuehni |RetroSpect: Processes for making the best and finest sort of prussian blue with quick-lime (1762); and Concerning the secret of a red gum... (1775), various authors | Color Matters, O.D. Odita | An Interview with Evolutionary Biologist Hopi Hoekstra, C. Arcabascio | Seeing Red on Mars: Adaptation and the influence of environment on color appearance, M.A. Webster | WAVEs of Color: An ecological valence theory of human color preference, K.B. Schloss and S.E. Palmer | Playing (With) Color, F. Collopy | Relatively Speaking: The relationship between language and thought in the color domain D. Roberson and J.R. Hanley | Color-Struck: Quilting and Colorism in the African-American Community, L. Cross | Human Potential for Tetrachromacy, K.A. Jameson [online supplementary article] | Singed Bedroom, Weekend Afternoon, A. Vaun | Watercolor Science: Transparent watercolor through the eyes of an aerospace engineer, C.M. Bielmeier | (Re)Views: Blue + The Wizard of Oz, I. Moylan | Interview: Hewlett-Packard Color Scientist, Nathan Maroney, L. Cross |
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COMING SOON! |
Cosmos vol 2.4, winter 2009 Submissions closed
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OPEN CALL DEADLINE: 01.01.2010 (extended) Glimpse's fifth issue, "Visions," will investigate the explanations for, accounts of, and effects of seeing or imagining physically inexplicable forms, beings or events in personal, creative, social or religious contexts. We welcome work that focuses on historical and contemporary accounts of encounters with the transcendent or otherwordly, and how such revelations have provided the foundations of personal and religious belief and doctrines across cultures. Contributions might explore how accounts of visions are collectively affirmed or challenged, or how popular acceptance of visions may or may not have changed with the evolution of science and technology. Further, what kinds of roles do religious and spiritual visionaries play in different societies and what has been their connection to the political visionary across time and geographical location? Another suggested topic for "Visions" is a discussion of hallucinations through understanding the cognitive and visual processes involved in schizophrenia and other mental and perceptual disorders. Taking this one step further, we wish to explore the space between the visions of individuals determined to be "mentally ill" and those determined to be mentally "sound." Why aren't schizophrenics deceived by certain optical illusions and where is the line that divides inspiration from delusion? We also encourage the submission of work that deals with visions as an impetus for art. We welcome personal accounts of how manifested works of art, including those of the non-visual variety, have their origins in internal, visual sources. Likewise, how do the fundamental elements of sound, color, and shape translate into simple or complex imagery in the audience's mind's eye? We invite works that cover any of these suggested topics, and also encourage submissions that approach relevant issues that are unlisted here. Submissions may be up to 3000 words (or 6 pages for non-textual visual submissions). Research articles, essays, interviews, book and film reviews, and visual spreads are all welcomed. |
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Cartography vol 3.2, summer 2010 OPEN CALL DEADLINE: 02.01.2010 For Issue no. 6, the makers of Glimpse will explore the reasons for and results of mapping systems and the craft of cartography. Works that focus on mapping systems, physical or imagined, on a micro- or macro-scale, that plot out our visible world or unperceived worlds in a linear or non-linear fashion, are welcome. We are interested in writings that deal with the complexity of mapping systems. For example, how do abstract, imagined borders become actual physical dividers of space, as with the Western Wall, the Berlin Wall, the Great Wall, or even more basically, an immigration patrol officer on the US-Mexico border. In turn, how do existing geographic land masses dictate the way that people interact with one another in urban and rural environments; how do maps restrict or expand human understanding of location, destination, space and time? Articles that give insight to the allure of the mapped out system, its functional productivity, its technological successes and its failures, are other examples of topics that might be of interest. How do directional and linear mapping systems, directional routes, boundaries etc. create and affect methods of human experience, reasoning and decision making processes? Where are the possible power structures contained within the act of mapping, where a person leads in creating a map, and others are presumed to follow? What about imagined maps? What purposes do maps serve in plotting make-believe spaces and in imagined narratives? How are such endeavors similar or different from plotting physically real locations? Where might the lines blur between them? We invite works that cover any of these suggested topics, and also encourage submissions that approach relevant issues that are unlisted here. Submissions may not exceed 3000 words (or 6 pages for non-textual visual submissions). Research articles presented for the layperson, essays, interviews, book and film reviews, and visual spreads are all welcomed. -Angie Mah
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OPEN CALL DEADLINE: 02.01.2010 In Glimpse’s issue on "Text," we aim to present a discussion of the evolution of text, from its appearance in the earliest written languages to its contemporary forms and theoretical frameworks (i.e. text messages and semiotics). In addition, this issue will focus on the visual implications of text: from text in handwriting, typography and printmaking (examining the physical contours and formation of the letters themselves), to how we read and cognitively interpret written symbols. We welcome work from a range of disciplines that deal with text in a physical, cognitive and/or historical context. Contributors might explore how/why dyslexic brains "flip" letters, and conversely, how “normal” brains interpret text. We invite work that explores the many functions of text: as evidence, as identity, as ritual, as social interaction. We also encourage writers to investigate the revolutions in technology that changed the face of text, as in the cases of the printing press and hypertext. We invite works that cover any of these suggested topics, and also encourage submissions that approach relevant issues that are unlisted here. Submissions may not exceed 3000 words (or 6 pages for non-textual visual submissions). Research articles presented for the layperson, essays, interviews, book and film reviews, and visual spreads are all welcomed. -Rachel Sapin
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Cinema vol 3.4, winter 2010/2011 OPEN CALL DEADLINE: 02.01.2010 Glimpse's issue on “Cinema” will investigate our personal, collective and technological relationships to moving image art. We are interested in analyses of cinema as our modern storytelling fire-circle—as the confluence of technology, science and art that satisfies the human need to see and experience images bigger than ourselves. Are we simply voyeurs gazing at a screen or are we collectively involved in a story and its characters? Submissions might address whether cinema provides a visual and physical space for mass empathy; do moving images convey human truths to diverse groups of individuals? What areas of the brain do we tap into when watching a drama, comedy or thriller together? What makes watching film with others in a dark, enclosed space meaningful at all? Is the “reality” we perceive in film different from the reality we imagine in dreams? In addition, how have improvements in technology changed the way we experience film? As technology moves toward making the movie-going experience more “real” (i.e, avatar, IMAX™), how will the collective experience of going to the cinema change or not change? We are interested in submissions from writers across disciplines that investigate cinema from cultural, cognitive, technological, and scientific perspectives. We invite works that cover any of these suggested topics, and also encourage submissions that approach other relevant issues. Submissions may not exceed 3000 words (or 6 pages for non-textual visual submissions). Research articles presented for the layperson, essays, interviews, book and film reviews, and visual works are all welcomed. - Rachel Sapin |
