In this poster I compare two types of visualization that can be distinguished by the role of the viewer. In the first, which I call “closed visualization,” interpretation is seen as a decoding of meanings already set by the author. The other—“open visualization”—sees the viewer as an active co-creator of meanings. In its processual character, open visualization elicits the critical potential of the imagination and is open to new contexts and interpretations. As such, open visualization democratizes the production of knowledge (...) by enabling the critical analysis of the spectator. Instead of the hegemonic production of discourse typical of closed visualization, it introduces a “diagonal perspectivism” that allows problems to be seen from differentiated perspectives. As examples of the mentioned models of visualization I will analyze two projects: Neil Halloran’s The Shadow Peace: The Nuclear Threat and Aby Warburg’s Mnemosyne Atlas. (shrink)

In this paper, I analyze two methods of reading archives: ‘against the grain’ and ‘along the grain’. First one focuses mainly on revealing what is marginalized and omitted in archive’s dominant narration. The other carefully studies the logic of an archive itself. As such, reading against the grain allows to reveal victims’ forgotten stories, while reading along the grain helps to understand perpetrators’ perspective that may further lead to better recognition of the mechanisms of organized violence. I apply both approaches (...) to the album War against War (1924) by Ernst Friedrich, which contains archival photographs from World War I. Keywords: War against War; World War I; archival photographs; reading against the grain; reading along the grain. (shrink)