Approaching image as an audience’s perception of a rhetor, this essay considers the feasibility and efficacy of combining strategies and tactics of an image repair typology with the strategic approach outlined by inoculation theory. The work considers whether inoculation could expand the scope of conventional image repair efforts as a way to not only repair a damaged image, post-hoc, but also to confer resistance to future challenges, preemptively. Directions for future research are proposed, including preemptive image repair and reactive inoculation, and the use of image repair strategies in inoculation messages as a type of image prepare. Risks, challenges, and incidental strengths of an image prepare approach are also raised.
Landscapes and buildings are tangible witnesses to societal evolutions through the ages. The way a community experiences these can be gleaned, for instance, from its collective memory, in which landscapes and buildings feature. The present paper introduces the use of networks to trace and visualise these special relations and connections between tangible spatial entities on the one hand and societal evolutions and historical facts on the other. This research project started from two hypotheses. One hypothesis views the network as an instrument that allows us to enter physically into a community’s collective memory. The second hypothesis states that these networks can be developed as spaces. Two cases were formulated: Forges de Clabecq, an obsolete industrial site east of Brussels, and the Meirebeek Valley, a landscape west of Ghent. Research of source material and interviews yielded data suitable for network mapping. Using the appropriate software, these networks could be subjected to various interventions and presented in a number of different forms of representation. Open Ord networks, Radial networks, Concentric networks en Isometric networks were some of the formats we used. These visualisations resulted in reflection on the subject of collective memory, two hypotheses, spatial imaginings and finally some points of criticism.
This article explores how Deleuzian and Guattarian concepts, in particular the notion of “becoming” and the scope of multiplicity through a “rhizomatic” development of ideas has offered a way of moving between diverse fine art media (and text) to explore “place in the making”—that is the nomadic place of “non-territorialized” being, involving both new and traditional media. The discussion will focus on a close reading of the author’s video piece “Blau” (2015, 2:43 minutes, looped), considering editing notes and peripheral material whilst referring to Freudian notions of “fort/da” and also Derrida’s idea of “différance” where meaning is always deferred through new contexts. The leitmotif of the film owes to ideas of a longing embrace of Eros and Thanatos. Repetition is used to insist, disrupt, and distort the perception of time-space relations and to aim for a visual/sonic fold juxtaposing seemingly disparate visual scenes, snippets of speech (French, English, and Arabic) encountered within ambient sound, abstract colour, and voice to reflect on the shifting grounds of actuality and virtuality.