Trots att musik främst är ämnat för örat verkar dagens liveframträdanden mer visuellt stimulerande än någonsin. Livekonserten har utvecklats till en show för publiken att se på likväl som lyssna till, vilket ställer höga krav på visuell framställning. För att undersöka vilken roll seendet spelar för uppfattning av livemusik fick en publik uppleva det omvända, en konsert bakom ögonbindel. Om det visuella tas bort; hur uppfattas liveframträdandet då?Den här studien använder kvalitativa intervjustudier med både artist och publik. Resultaten visar på hur ögonen tenderar att fungera som medium inte bara för att uppfatta musiken, utan också för att förstå sig själv och sin roll i den sociala institution som bildas under en konsert. När visuell uppfattning inte är möjlig tvingas deltagarna omförhandla hur de ser på sig själva som individer och som en del av ett kollektiv. / Although music is primarily intended for the ear, today's live performances seem more visually stimulating than ever. Live performance has evolved into a show for the audience to watch as well as listen to, increasing the demands on visual representation. To further todays understaning of the role vision plays in perception of live music, an audience got to experience the opposite; a live concert behind the blindfold. If visual perception is removed; what does the audience make of the performance? By conducting qualitative interviews with both performer and audience it is possible to distinguish tendencies that show how the eyes act as medium not only to perceive the live performance, but also to aid audience perception of self during the social activity that consitutes a live concert. When visual perception is not possible, the participants are forced to renegotiate how they see themselves as individuals and as part of a collective.

This study discusses the relevance of intercultural pedagogy in an increasingly digital and multicultural world. By exploring the intersection between intercultural pedagogy and youths’ visual culture the study aims to lay the groundwork for a pedagogical development in the field of culturally relevant pedagogy. The study brings light to the cognitive and motivational potential a pupil-oriented pedagogy has. The study also discusses limitations of intercultural and culturally relevant pedagogy, including the risks of ignoring ethnically diverse classrooms’ transcultural identities. Through the use of qualitative interviews with visual art teachers, in addition to an analysis of existing research dating back to the coining of culturally relevant pedagogy, this study examines how visual art teachers implement students’ visual cultures in the classroom and how this can be further developed into an inclusive and relevant pedagogical practice. / Denna studie diskuterar interkulturell pedagogiks relevans i en alltmer digital och mångkulturell värld. Genom att utforska intersektionen mellan interkulturell pedagogik och ungdomars visuella kultur syftar studien till att lägga grunden för en pedagogisk utveckling inom området kulturellt relevant pedagogik. Studien belyser den kognitiva och motiverande potential en elevorienterad pedagogik har. Studien diskuterar också begränsningar av interkulturell och kulturellt relevant pedagogik, inklusive riskerna med att ignorera mångkulturella klassrums transkulturella identiteter. Genom kvalitativa intervjuer med bildlärare, i samband med analys av befintlig forskning som går tillbaka till myntandet av kulturellt relevant pedagogik, undersöker denna studie hur bildlärare implementerar elevers visuella kulturer i klassrummet och hur detta kan vidareutvecklas till en inkluderande och relevant pedagogisk praktik.

[ES] La presente tesis doctoral, titulada Decir casa, cielo, bosque. Ensayo sobre la habitabilidad del mundo y los límites de la visualidad aglutina la investigación llevada a cabo durante el período comprendido entre febrero de 2018 y julio de 2021. Esta investigación se inscribe en la práctica artística, por lo que recoge diferentes procesos, gestos y proyectos desarrollados durante estos años. Partiendo de nuestra condición de "habitantes del afuera" y "hablantes del decir" hemos transitado diversas realidades cuya aprehensión resulta imposible de llevar a cabo por medio del ver. A lo largo del trabajo hemos constatado la imposibilidad de acceder a un acontecer puro, abordando este hecho a partir de la distancia insalvable entre mundo y lenguaje. Una brecha que ha sido trabajada, especialmente, en base a la configuración visual de la realidad y al privilegio del sentido de la vista en nuestro contexto cultural. A través del estudio de las visualidades hegemónicas occidentales hemos atendido a la crisis de la epistemología visual y al asentamiento de una falla en el conocimiento visual del mundo. De alguna manera, ello nos ha permitido preguntarnos por otras formas de habitabilidad que comprendan estos factores. Para llevar a cabo este planteamiento hemos construido un relato fragmentario en el que proponemos formas de articular lo que escapa al ver y en el que exponemos los diferentes procesos artísticos llevados a cabo. Todo ello se expone en relación con determinados enunciados de los regímenes visuales que ordenan y configuran nuestra mirada. La forma en la que este relato fragmentario ha sido construido trata de no preconfigurar el sentido de la investigación desde un marco conceptual previo. En este mismo sentido, el relato no busca alimentar diferenciaciones binarias entre teoría y práctica o entre creación y no-creación, artístico y no-artístico. La escritura empleada no se da al margen del propio trabajo, sino que, como parte del mismo, busca privilegiar la naturaleza variada del relato y la pluralidad de voces y procesos que han intervenido en la investigación. En definitiva, a través de múltiples textos, procesos y experiencias hemos podido explorar otras lógicas visuales al margen de los principios de claridad, transparencia y legibilidad. Ello nos ha permitido desarrollar un ejercicio de investigación en base a la práctica artística, ensayando diferentes formas de habitar, aprehender, decir y ver el mundo. / [CA] La present tesi doctoral, titulada Dir casa, cel, bosc. Assaig sobre l'habitabilitat del món i els límits de la visualitat aglutina la investigació duta a terme durant el període comprés entre febrer de 2018 i juliol de 2021. Aquesta investigació s'inscriu en la pràctica artística, per la qual cosa recull diferents processos, gestos i projectes desenvolupats durant aquests anys. Partint de la nostra condició d'"habitants dels afores" i "parlants del dir" hem transitat diverses realitats, l'aprehensió de les quals, resulta impossible de dur a terme per mitjà del veure. Al llarg del treball hem constatat la impossibilitat d'accedir a un esdevindre pur, abordant aquest fet a partir de la distància insalvable entre món i llenguatge. Una bretxa que ha sigut treballada, especialment, sobre la base de la configuració visual de la realitat i el privilegi del sentit de la vista en el nostre context cultural. A través de l'estudi de les visualitats hegemòniques occidentals hem atés la crisi de l'epistemologia visual i l'assentament d'una falla en el coneixement visual del món. D'alguna manera, això ens ha permés preguntar-nos per altres formes d'habitabilitat que comprenguen aquests factors. Per tal de dur a terme aquest plantejament hem construït un relat fragmentari en el qual proposem maneres d'articular allò que escapa al veure i on exposem els diferents processos artístics duts a terme. Tot això s'exposa en relació amb determinats enunciats dels règims visuals que ordenen i configuren la nostra mirada. La forma en la qual aquest relat fragmentari ha sigut construït tracta de no preconfigurar el sentit de la investigació des d'un marc conceptual previ. En aquest mateix sentit, el relat no busca alimentar diferenciacions binàries entre teoria i pràctica o entre creació i no-creació, artístic i no-artístic. Així mateix, l'escriptura emprada no es dona al marge del treball, sinó que, com a part d'aquest, cerca privilegiar la naturalesa variada del relat i la pluralitat de veus i processos que han intervingut en la investigació. En definitiva, a través de múltiples textos, processos i experiències hem pogut explorar altres lògiques visuals al marge dels principis de claredat, transparència i llegibilitat. Això ens ha permés desenvolupar un exercici d'investigació sobre la base de la pràctica artística, assajant diferents maneres d'habitar, aprehendre, dir i veure el món. / [EN] This doctoral thesis, entitled Saying home, sky, forest. Essay on the habitability of the world and the limits of visuality brings together the research carried out during the period between February 2018 and July 2021. This research is inscribed in the artistic practice, so it gathers different processes, gestures and projects developed during these years. Starting from our condition of "inhabitants of the outside" and "speakers of saying", we have traversed different realities whose apprehension is impossible to carry out by means of seeing. Throughout the work we have noted the impossibility of accessing a pure happening, approaching this fact on the basis of the unbridgeable distance between world and language. A gap that has been worked on, especially on the basis of the visual configuration of reality and the privilege of the sense of sight in our cultural context. Through the study of Western hegemonic visualities, we have attended to the crisis of visual epistemology and the establishment of a failure in the visual knowledge of the world. In a way, this has allowed us to ask ourselves about other forms of inhabitation that harbour these factors. In order to carry out this approach, we have constructed a fragmentary narrative in which we propose ways of articulating that which escapes seeing and in which we expose the different artistic processes carried out. All of this is presented in relation to certain statements of the visual regimes that order and configure our gaze. The way in which this fragmentary account has been constructed tries not to preconfigure the meaning of the research from a previous conceptual framework. In this same sense, the narrative does not seek to feed binary differentiations between theory and practice or between creation and non-creation, artistic and non-artistic. The writing employed does not occur at the margins of the work itself, but rather, as part of it, seeks to privilege the varied nature of the narrative and the plurality of voices and processes that have been involved in the research. In short, through multiple texts, processes and experiences, we have been able to explore other visual logics outside the principles of clarity, transparency and legibility. This has allowed us to develop a research exercise based on artistic practice, testing different ways of inhabiting, apprehending, saying, articulating and seeing the world. / Esta tesis ha sido realizada en el marco del Programa de Ayudas de Investigación y Desarrollo (PAID-01-07) de la Universitat Politècnica de València / Granero Ferrer, A. (2021). Decir casa, cielo, bosque. Ensayo sobre la habitabilidad del mundo en los límites de la visualidad [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/179555

[ES] Esta investigación de Tesis tiene como objetivo principal analizar un determinado corpus de producciones de la ciencia ficción cinematográfica reciente. Estas películas parecen compartir unas claves visuales que, lejos de mantener los parámetros tradicionales del género, abordan otras referencias estéticas relacionadas con lo familiar, lo orgánico y lo nostálgico. La investigación comienza con el planteamiento de los objetivos, el marco teórico y las metodologías de trabajo y avanza con la delimitación del corpus y la justificación del mismo. A continuación se profundiza en el género de la ciencia ficción y en el lenguaje visual como herramienta fundamental para abordar la cultura visual reciente. Gracias a esta exploración, se propone una línea temporal de la evolución estética de la ciencia ficción cinematográfica mediante la que definir las corrientes mayoritarias del género, detectando a su vez los giros y propuestas alternativas más relevantes. Al realizar este ejercicio se localizan una serie de producciones de los años sesenta que, por su discurso en torno a la nostalgia y la subjetividad parecen inspirar al corpus actual. A partir de esa información se aborda el análisis del corpus, desde sus elementos conceptuales y narrativos -relacionados con la estética de la dirty scifi- a su expresión formal, precisada en tres claves definidas: lo natural -en un género que tradicionalmente rechaza lo orgánico-, lo espiritual -en tramas definidas por la razón- y lo físico y lo íntimo -que vuelve la mirada del afuera y del futuro al aquí y al ahora-. Por último, al profundizar en estas claves, se exploran determinados elementos que actúan como figuras simbólicas de cada relato. Elementos referidos en este análisis como artefactos que representan visualmente la propuesta conceptual -o novum- de cada película y que, como construcciones diegéticas, permiten ciertas reflexiones sobre el modo en el que la sociedad que las ha diseñado se relaciona con los conceptos de memoria, nostalgia y futuro. Finalmente, las conclusiones dan cuenta de aquello que -previamente planteado en los objetivos iniciales- ha quedado resuelto, de qué preguntas se han podido responder y de qué otras han surgido a partir del análisis realizado. Como resultado, la investigación propone un recorrido que abarca las generalidades de la ciencia ficción cinematográfica y su cualidad simbólica para detectar un impulso estético que, si bien se intuye en la contracultura de los años sesenta, asume hoy una presencia compartida. Esta perspectiva trata de ofrecer al lector un desarrollo explicativo equivalente al desarrollo investigador, de forma que le resulte posible descubrir esta tendencia y reflexionar acerca de cómo sus motivos visuales podrían evidenciar el carácter de su contexto creador. / [CA] Aquesta investigació de Tesi té com a objectiu principal analitzar un determinat corpus de produccions de la ciència-ficció cinematogràfica recent. Aquestes pel·lícules semblen compartir unes claus visuals que, lluny de mantindre els paràmetres tradicionals del gènere, aborden altres referències estètiques relacionades amb allò familiar, orgànic i nostàlgic. La investigació comença amb el plantejament dels objectius, el marc teòric i les metodologies de treball i avança amb la delimitació del corpus i la justificació d'aquest. A continuació s'aprofundeix en el gènere de la ciència-ficció i en el llenguatge visual com a eina fonamental per a abordar la cultura visual recent. Gràcies a aquesta exploració, es proposa una línia temporal de l'evolució estètica de la ciència-ficció cinematogràfica mitjançant la qual definir els corrents majoritaris del gènere, detectant al seu torn els girs i propostes alternatives més rellevants. En realitzar aquest exercici es localitzen una sèrie de produccions dels anys seixanta que, pel seu discurs entorn de la nostàlgia i la subjectivitat semblen inspirar al corpus actual. A partir d'aqueixa informació s'aborda l'anàlisi del corpus, des dels seus elements conceptuals i narratius -relacionats amb l'estètica de la dirty scifi- a la seua expressió formal, precisada en tres claus definides: allò natural -en un gènere que tradicionalment rebutja l'orgànic-, allò espiritual -en trames definides per la raó- i allò físic i íntim -que gira la mirada del fora i del futur a l'ací i a l'ara-. Finalment, en aprofundir en aquestes claus, s'exploren determinats elements que actuen com a figures simbòliques de cada relat. Elements referits en aquesta anàlisi com a artefactes que representen visualment la proposta conceptual -o novum- de cada pel·lícula i que, com a construccions diegétiques, permeten unes certes reflexions sobre la manera en què la societat que les ha dissenyades es relaciona amb els conceptes de memòria, nostàlgia i futur. Finalment, les conclusions donen compte d'allò que -prèviament plantejat en els objectius inicials- ha quedat resolt, de quines preguntes s'han pogut respondre i de quines altres han sorgit a partir de l'anàlisi realitzada. Com a resultat, la investigació proposa un recorregut que abasta les generalitats de la ciència-ficció cinematogràfica i la seua qualitat simbòlica per a detectar un impuls estètic que, si bé s'intueix en la contracultura dels anys seixanta, assumeix hui una presència compartida. Aquesta perspectiva tracta d'oferir al lector un desenvolupament explicatiu equivalent al desenvolupament investigador, de manera que li resulte possible descobrir aquesta tendència i reflexionar sobre com els seus motius visuals podrien evidenciar el caràcter del seu context creador. / [EN] To delimit and analyze a certain corpus of productions of recent cinematographic science fiction is the main objective of this Thesis research. These films seem to share some visual keys that, far from maintaining the traditional parameters of the genre, approach other aesthetic related to familiar, organic and nostalgic references. Research begins with the statement of the objectives, the theoretical framework and the working methodologies and it progresses with the delimitation of the corpus and its justification. It then delves into the genre of science fiction and visual language as a fundamental tool for approaching recent visual culture. Thanks to this exploration, a timeline of the aesthetic evolution of cinematic science fiction is proposed to define the main currents of the genre, detecting in turn the most relevant turns and alternative proposals. In carrying out this exercise, a series of productions from the sixties are located which, due to their discourse on nostalgia and subjectivity, seem to inspire the current corpus. Based on this information, the analysis of the corpus is approached, from its conceptual and narrative elements -related to the aesthetics of dirty sci-fi- to its formal expression, specified in three defined keys: natural -in a genre that traditionally rejects the organic-, spiritual -in plots defined by reason- and physical and intimate -that turns the gaze from the outside and the future to here and now-. Finally, by delving deeper into these keys, we explore certain elements that act as symbolic figures in each story. Elements referred to in this analysis as artifacts that visually represent the conceptual proposal -or novum- of each film and that, as diegetic constructions, allow certain reflections on the way in which the society that has designed them relates to the concepts of memory, nostalgia and future. Finally, the conclusions give an account of what -previously raised in the initial objectives- has been resolved, which questions have been answered and which others have arisen from the analysis carried out. As a result, the research proposes a journey that covers the generalities of cinematic science fiction and its symbolic quality in order to detect an aesthetic impulse that, although intuited in the counterculture of the sixties, assumes today a shared presence. This perspective tries to offer the reader an explanatory development equivalent to the research development, so that it is possible to him or her discover this tendency and reflect on how its visual motifs could evidence the character of its creative context. / Cuenca García, C. (2022). Claves estéticas de la ciencia ficción cinematográfica (2014-2019): la representación de lo otro a través del diseño de producción audiovisual [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190242

The dissertation analyses the reliefs and paintings on thirty-one different tombs in Western Anatolia erected between 600 and 450 BC, in order to illuminate the ways in which non-Greek elites were identified on their memorials. The tombs from three areas are treated: Phrygia, Hellespontine Phrygia and Lydia, where the primary language groups were Phrygian, Mysian and Lydian. There is little literary evidence for these regions, and what there is tends to focus on political developments. Descriptions of people and society are few, and tend to represent them from an outside perspective, grouping them according to cultural characteristics which differentiate them from Greeks. It is clear, however, that the regions were important, prosperous places, controlled by illustrious grandees and land marked with a relatively high proportion of monumental tombs. Of these monumental tombs, there is a relatively high number decorated with striking and articulate images. There is much to be gained from examining the images on these tombs, as ‘indigenous’ sources for how elite Western Anatolians described themselves. Previous approaches to the tombs and their images have tended to look at them individually or in smaller groups, and to concentrate on the transmission and reception of Persian and Greek culture in the Achaemenid provinces. This dissertation contributes a broader comparative study of the decorated tombs, focussing on the kinds of statuses the images represent and the cultural forms these took. By comparing the various methods of self-representation, it clarifies patterns of identities in Western Anatolia and their relationship to historical circumstances. The dissertation is divided into five chapters. An introduction outlines the scope and sample, the historical background, previous studies of the monuments, the definition of ‘identity’ and the methods of analysis adopted here. Three case study chapters present the regions and the decorated monuments within them. A concluding chapter synthesises three aspects: social identities (roles and spheres of life represented); geographic and chronological patterns; and cultural affiliations and orientations. The dissertation concludes that a tension between Persian identities and local traditions is evident in some of the tomb images, which relates to the political upheavals in Western Anatolia and the Aegean at the time of the Persian Wars.

This thesis examines the transmission and reception of images in Le Roman de la rose manuscripts and printed editions of the late fifteenth and early sixteenth centuries. Through in-depth case studies, I analyse how illustrators, editors, and readers used printed imagery in Rose books ca. 1481-1538, during the period of Rose printed edition production, exploring wider cross-disciplinary issues concerning the history of the book, the relationship between word and image, and readership practices following the advent of French printing. I argue that the mobility of printed imagery, which was facilitated in part by the wider dissemination of woodcuts in workshops, influenced the form and function of images in books. In addition, I problematize the 'transition' from manuscript to print in the later Middle Ages, through an investigation of artisans' personal and professional collaborations and evidence of image sharing between hand-illustrated and printed books. Bookmakers and readers used printed imagery in fascinating ways in books, appropriating and modifying woodcuts in order to engage with certain subjects and motifs. Readers' visual responses to books are under-examined, and I assess how readers' drawings add insight into their understanding of printed editions and those editions' visual iconography. French books contain a large body of evidence pertaining to image production and reception, but printed imagery is often overlooked, despite its potential to shed light on the practices of illustrators, editors, and readers. I provide new strategies for examining patterns of printed image production, circulation, and reception in the visual presentations of manuscripts and printed editions of this period. I also deepen understanding of the Rose and its consumption in the later Middle Ages and Renaissance, probing the role of images in books.

This thesis proposes elements for a cognitive anthropology of visual art. Most works of art are human-made objects that cannot be approached in purely functional terms, and as such they frustrate important cognitive expectations that people have about artefacts. For this reason, it is hypothesised that art triggers speculation about the artist’s intention, and that it is intuitively approached as a form of communication. By application of Bloom’s (1996) theory of artefact categorisation, and Sperber and Wilson’s (1986/1995) relevance theory of communication, a series of predictions are generated for art categorisation (or definition), art appreciation, and art cultural distribution. Two empirical studies involving more than 1,000 participants tested the most important of these predictions. In study 1, a relationship was found between how much a series of works of art were liked and how easy they were to understand. Study 2 comprised four experiments. In experiment 1, a series of hyperrealistic paintings were preferred when they were labelled as paintings than when they were labelled as photographs. In experiments 2a and 2b, a series of paintings were considered easier to understand and, under some conditions, were preferred, when they were accompanied by titles that made it easier to understand the artist’s intention. In experiment 3, a series of artefacts were more likely to be considered “art” when they were thought to have been created intentionally than when they were thought to have been created accidentally. The results of studies 1 and 2 confirmed the predictions tested, and are interpreted in the framework of relevance theory. The art experience involves speculation about the artist’s intention, and it is partly assessed as a form of communication that is constrained by relevance dynamics. Implications for anthropology of art, psychology of art, and the art world are discussed.

Die Dissertation setzt sich mit den fotografischen Repräsentationen der Atombombenabwürfe auf Hiroshima und Nagasaki sowie der Havarie des Kernkraftwerks Tschernobyl auseinander. Dabei werden künstlerische, dokumentarische und touristische Bilder analysiert, die sich der jeweiligen Strahlenkatastrophe oftmals erst Jahre nach dem Ereignis annehmen und ikonografische oder medial-materielle Bezüge zu ihr aufweisen. Es zeigen sich zentrale Strategien, atomare Katastrophen, seien sie militärischer oder ziviler Natur, in fotografische Bilder überzuführen. Gerade das eigentliche Unvermögen, die visuell nicht sichtbaren Strahlenemissionen oder die Komplexität der Vorgänge auf atomarer Ebene zu visualisieren, hat sich als prägend erwiesen und bestimmt als Paradigma der Unsichtbarkeit die kulturelle Rezeption der Ereignisse. Es ist dieser Umgang mit den Abstraktionspotentialen der nuklearen Technologie, die im aktuellen Spannungsfeld ökologischer, sozialer und energietechnologischer Bildpolitik ihre Relevanz stets von neuem unter Beweis stellt. / The dissertation project seeks to analyse the photographic positions that deal with the atomic bomb attacks on Hiroshima and Nagasaki and the accident of the nuclear power plant in Chernobyl. This focus includes press photographs of the events as well as artistic, documentary and touristic images that take an approach towards the disasters often years after and hereby form iconographic or material references to the events. The study reveals central strategies for photographic images of atomic catastrophes, be they of military or civil nature. It is the inability to visualize non-visible nuclear rays or the complexity of processes on an atomic level that has turned out to be crucial. This incapacity of making images, a paradigm of invisibility, substantially coins the cultural role of the events. The question of how a society deals with these abstract potentials of nuclear technology has turned out to be always anew of high relevance in regard to ecological, social and technological policies of images.

[pt] Gráfica de rua – estratégias e táticas na cultura visual de rua do Rio de Janeiro é uma investigação sobre o campo da cultura visual de rua. Neste trabalho, observamos uma pluralidade de manifestações visuais – cartazes de lambe-lambe, pixações, grafites, outdoors, banners, impressos volantes, entre outros – objetos que se inserem em um universo dos impressos e através dos quais diversos agentes procuram se fazer representar no espaço público, apropriando-se da rua como um aparato visual. Compreendemos a rua como o lugar de um conflito territorial – uma disputa que se dá no espaço e se manifesta no plano das imagens, através da manipulação, do acúmulo e da sobreposição de indícios visuais. Propomos a noção de capital visual como uma abordagem para as estratégias e táticas de visibilidade levadas adiante pelos diferentes agentes na disputa de poder de que a rua é lugar. / [en] Street Graphic - strategies and tactics on the street visual culture of Rio de Janeiro is a reflection is an investigation about the street visual culture. In this work, we observe the plurality of visual manifestations, such as grafities, billboards, banners, flyers, among others. Objects that are part of the universe of printed forms and through which different agents seek to be represented in public space, by appropriating the street as a visual apparatus. We understand the street as a place of territorial conflict - a dispute that happens in space and manifests in images, through the manipulation, accumulation and overlap of visual clues. We propose the notion of visual capital as an approach to the strategies and tactics of visibility taken forward by the various players in the power struggle that happens in the street.

Using interpretive methods of social inquiry, this thesis explores the socio-political significance of body tattoos made of Chinese-like text, which have recently become popular Western phenomena. It theorizes how contemporary Western tattooing complicates bodily and social boundaries, providing context to interrogate ideas of authenticity. Coining the term "Chinesenough" (from “Chinese” and “enough”), I describe how many such tattoos do not reflect in Chinese what many wearers and viewers assume they do. I contrast how Chinesenough tattoos (re)produce whiteness to the multiple and contradictory Chinesenesses that are also (re)produced. Reading Chinesenough flash art on tattoo studio walls as objects constituting social space, I consider the social meaning of their English subtitles and manner of organization. I theorize the body’s absence from Chinesenough flash art while articulating my body’s sense experience of encountering the same. Finally, I produce and theorize five illustrations that carnivalize Chinesenough iconography to disrupt and transform the phenomenon.