Refract: An Open Access Visual Studies Journal
Parent: UC Santa Cruz
eScholarship stats: Breakdown by Item for May through August, 2026
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 0qk2z1c2 | Refract Journal, Volume 2: "Translation" | 2,451 | 1,779 | 672 | 72.6% |
| 9ps74313 | Sensing Place | 1,968 | 1,889 | 79 | 96.0% |
| 15h4c86z | Refract Journal, Issue 1: "Refraction" | 1,770 | 1,549 | 221 | 87.5% |
| 24r1z37d | Refract Journal, Volume 4: Document/ary Full Issue | 1,726 | 1,680 | 46 | 97.3% |
| 39w6b0hx | Refract Journal, Volume 3: Hauntings and Traces Full Issue | 1,610 | 1,528 | 82 | 94.9% |
| 8z75g1k7 | Imagining the Future of Digital Publishing | 1,267 | 1,205 | 62 | 95.1% |
| 9n15q89f | The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I | 909 | 162 | 747 | 17.8% |
| 2r4924w1 | Land, Water, Explorer: Place-Making “America” in the Early Modern Period | 668 | 458 | 210 | 68.6% |
| 5w56c6n3 | Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon | 523 | 182 | 341 | 34.8% |
| 3z87h5q9 | Strange Weather Forecast: Inside Santa Cruz Museum of Art and History’s New Exhibit | 510 | 468 | 42 | 91.8% |
| 6j606941 | Halophilic | 483 | 380 | 103 | 78.7% |
| 3rb6n5q7 | BLAST RADIUS: No. 4 in a Series of Data Humanization Performances | 473 | 50 | 423 | 10.6% |
| 4q20b7qq | Synthesizing a Dual-Definition of Façade in the Western Palaces of the Yuanming Yuan: Art, Politics, and Place-making in the Garden of Perfect Brightness | 470 | 356 | 114 | 75.7% |
| 71s0p8nf | Lupine Sensibilities: Dynamically Embodied Intersubjectivity between Humans and Refugee Wolves | 464 | 189 | 275 | 40.7% |
| 0jz4t1c3 | Memory Matter(s) | 454 | 336 | 118 | 74.0% |
| 1n63968d | Public Displays of Affection | 447 | 362 | 85 | 81.0% |
| 316544kf | Review of An-My Lê: On Contested Terrain | 440 | 371 | 69 | 84.3% |
| 1z0340v4 | Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes | 396 | 188 | 208 | 47.5% |
| 0p507033 | Denis Diderot’s “Salons” as Art Conservation in Eighteenth-Century France | 383 | 184 | 199 | 48.0% |
| 9tt733sc | The Double Edge of Visibility and Invisibility: Cassils and Queer Exhaustion | 359 | 240 | 119 | 66.9% |
| 7s96s6kb | “If You’re Out There, Please Listen to Me…”: Voices of Mourning Through the Wind Phone (Kaze no Denwa) | 351 | 84 | 267 | 23.9% |
| 94q869s6 | (Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects | 326 | 71 | 255 | 21.8% |
| 9w11p9st | Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire | 319 | 53 | 266 | 16.6% |
| 4dv7j9tv | Maurice Denis (1870–1943) and the Sacred Grove: Temporality in Fin de Siècle France | 312 | 132 | 180 | 42.3% |
| 6d00j8md | Olympic-Scale Subversion: Poster Art, Architecture, Performance, and the Afterlives of Mexico 1968 | 297 | 75 | 222 | 25.3% |
| 1gb5592r | Interview with Boreth Ly on Her New Book, Traces of Trauma | 284 | 76 | 208 | 26.8% |
| 6cd60127 | Daisy Bell | 279 | 64 | 215 | 22.9% |
| 50g5j00d | Images, Copyright, and the Future of Digital Publishing in the Arts | 265 | 56 | 209 | 21.1% |
| 5jn548z0 | Thinking of Water as a Material Witness: An Attempt to Fill the Voids in the Archive of the Moscow Canal (1932–37) | 265 | 126 | 139 | 47.5% |
| 5r76v48z | I’m New Here: Black and Indigenous Media Ecologies: Curatorial Statement | 248 | 82 | 166 | 33.1% |
| 97z5x16t | “Tool of Enlightenment”: The Dreamachine’s Effects for Individual Autonomy | 236 | 62 | 174 | 26.3% |
| 697345pn | Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space | 234 | 59 | 175 | 25.2% |
| 9ps0d7z3 | From a Native Daughter: Seeking Home and Ancestral Lines through a Dashboard Hula Girl | 223 | 168 | 55 | 75.3% |
| 2r58110h | The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa | 220 | 59 | 161 | 26.8% |
| 2tx4j89p | A Catalog of American Things | 220 | 47 | 173 | 21.4% |
| 0288q432 | Glimmers of Digital Publishing Innovation | 213 | 56 | 157 | 26.3% |
| 7wt7z8mx | Douce Mélancholie: Sonic Negotiations of Absence in the Works of Susan Philipsz and Félicia Atkinson | 208 | 144 | 64 | 69.2% |
| 8g38v41w | The Struggle of Memory against Forgetting: Afterlife and Memorialization of Imagery Surrounding South Africa’s Truth and Reconciliation Commission | 198 | 55 | 143 | 27.8% |
| 3d78r1db | The Somatic and Textural Language of Patricia Belli: Recrafting Social and Political Bodies in 1990s Nicaragua | 195 | 82 | 113 | 42.1% |
| 4259n982 | What is Radical Writing in Visual Studies? | 187 | 67 | 120 | 35.8% |
| 78x622wh | The Televised Apocalypse | 183 | 56 | 127 | 30.6% |
| 8k61f03t | Beyond Borders and Biology: Lisa Myeong-Joo’s Self-Portrait of a Circle (2016) | 181 | 57 | 124 | 31.5% |
| 9053999t | White Shoals, White Shrouds: Reflections on the Ethics of Looking at Captive Bodies | 181 | 62 | 119 | 34.3% |
| 5tr219kd | Looking Backward into the Future: Thoughts on the Study of the Past, Ritual, and Women’s Eucharistic Experiences in Byzantium | 178 | 88 | 90 | 49.4% |
| 51v5j2xh | It's Like She Had Never Existed: The Family Story and the Assembly of Disability | 174 | 48 | 126 | 27.6% |
| 8vc716rq | Visualizing Banaba: Art and Research about a Diffracted Pacific Island | 174 | 56 | 118 | 32.2% |
| 73x8c0xw | Tito/Tata: Fiction and Factuality in Documentary Photographs of the Father Figure in Communist Yugoslavia | 173 | 74 | 99 | 42.8% |
| 7xm6v7j2 | My Love to Be Defused: Beginnings of an Ethics of Belonging through Negotiations of a National Socialist Image in Daily Life, from Infancy to Adulthood (Excerpts from Diaries Now Titled, The Responsibility of Being That Sort of Baby, March 24–July 25, 20 | 173 | 69 | 104 | 39.9% |
| 0581030r | Strategies of Il/legibility: Lorraine O’Grady, Gayatri Spivak, and Visual Decipherment | 164 | 78 | 86 | 47.6% |
| 1fw4b73b | In the Traces: Reflections on Fieldwork in the Region of Ani | 162 | 46 | 116 | 28.4% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.