Refract: An Open Access Visual Studies Journal
Parent: UC Santa Cruz
eScholarship stats: Breakdown by Item for March through June, 2025
Item | Title | Total requests | Download | View-only | %Dnld |
---|---|---|---|---|---|
3rb6n5q7 | BLAST RADIUS: No. 4 in a Series of Data Humanization Performances | 928 | 19 | 909 | 2.0% |
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 | 291 | 28 | 263 | 9.6% |
9n15q89f | The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I | 287 | 73 | 214 | 25.4% |
5w56c6n3 | Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon | 275 | 53 | 222 | 19.3% |
1z0340v4 | Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes | 203 | 58 | 145 | 28.6% |
0p507033 | Denis Diderot’s “Salons” as Art Conservation in Eighteenth-Century France | 181 | 21 | 160 | 11.6% |
15h4c86z | Refract Journal, Issue 1: "Refraction" | 175 | 18 | 157 | 10.3% |
0qk2z1c2 | Refract Journal, Volume 2: "Translation" | 162 | 17 | 145 | 10.5% |
9tt733sc | The Double Edge of Visibility and Invisibility: Cassils and Queer Exhaustion | 156 | 58 | 98 | 37.2% |
94q869s6 | (Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects | 153 | 22 | 131 | 14.4% |
4dv7j9tv | Maurice Denis (1870–1943) and the Sacred Grove: Temporality in Fin de Siècle France | 149 | 23 | 126 | 15.4% |
8vc716rq | Visualizing Banaba: Art and Research about a Diffracted Pacific Island | 130 | 26 | 104 | 20.0% |
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 | 129 | 33 | 96 | 25.6% |
5r76v48z | I’m New Here: Black and Indigenous Media Ecologies: Curatorial Statement | 129 | 49 | 80 | 38.0% |
3zm9t9mc | Introduction to “Refraction” | 128 | 18 | 110 | 14.1% |
697345pn | Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space | 108 | 14 | 94 | 13.0% |
7s96s6kb | “If You’re Out There, Please Listen to Me…”: Voices of Mourning Through the Wind Phone (Kaze no Denwa) | 107 | 17 | 90 | 15.9% |
71s0p8nf | Lupine Sensibilities: Dynamically Embodied Intersubjectivity between Humans and Refugee Wolves | 102 | 50 | 52 | 49.0% |
9w11p9st | Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire | 102 | 12 | 90 | 11.8% |
6d00j8md | Olympic-Scale Subversion: Poster Art, Architecture, Performance, and the Afterlives of Mexico 1968 | 101 | 14 | 87 | 13.9% |
4259n982 | What is Radical Writing in Visual Studies? | 99 | 8 | 91 | 8.1% |
9ps74313 | Sensing Place | 96 | 23 | 73 | 24.0% |
2r58110h | The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa | 95 | 13 | 82 | 13.7% |
3d78r1db | The Somatic and Textural Language of Patricia Belli: Recrafting Social and Political Bodies in 1990s Nicaragua | 93 | 20 | 73 | 21.5% |
8z75g1k7 | Imagining the Future of Digital Publishing | 93 | 42 | 51 | 45.2% |
2r4924w1 | Land, Water, Explorer: Place-Making “America” in the Early Modern Period | 87 | 24 | 63 | 27.6% |
6cd60127 | Daisy Bell | 83 | 5 | 78 | 6.0% |
50g5j00d | Images, Copyright, and the Future of Digital Publishing in the Arts | 82 | 11 | 71 | 13.4% |
31w7t9f3 | Linguistic Spatial Violence: The Muslim Cameleers in the Australian Outback | 76 | 12 | 64 | 15.8% |
6x75v6kd | Happy Bullish 2011!!!: Olek’s Project B | 75 | 4 | 71 | 5.3% |
5d99g907 | VOLTA VOLTA | 73 | 3 | 70 | 4.1% |
9ps0d7z3 | From a Native Daughter: Seeking Home and Ancestral Lines through a Dashboard Hula Girl | 73 | 7 | 66 | 9.6% |
0288q432 | Glimmers of Digital Publishing Innovation | 71 | 13 | 58 | 18.3% |
78x622wh | The Televised Apocalypse | 71 | 4 | 67 | 5.6% |
1tt3z9mp | Refract and the University of California | 70 | 40 | 30 | 57.1% |
86g096rx | Craptions: Instagram Notes from Joseph Grigely | 70 | 12 | 58 | 17.1% |
26t834v1 | Harun Farocki, Serious Games III (Immersion) (Review) | 69 | 11 | 58 | 15.9% |
1jb7j7r4 | Mining Things: Confronting Loss and Flux in the Slate Industry Ruins of Northwest Wales | 68 | 11 | 57 | 16.2% |
60j1b922 | Introduction | 68 | 5 | 63 | 7.4% |
98n4g1zw | The Future of Digital Publishing | 68 | 15 | 53 | 22.1% |
3dm5k83w | Mapping Sonic Futurities | 67 | 14 | 53 | 20.9% |
24r1z37d | Refract Journal, Volume 4: Document/ary Full Issue | 66 | 19 | 47 | 28.8% |
1n63968d | Public Displays of Affection | 65 | 19 | 46 | 29.2% |
2mc923xr | Rogue Masks: Visualizing Multidisciplinary Studies | 65 | 7 | 58 | 10.8% |
5b9722wt | "LeWitt Transpositions" and Conceptual Transpositions: Considering the Grammars of Conceptual Art and Parametric Drawing | 64 | 9 | 55 | 14.1% |
7b11466t | Documenting Gender's Signs: Site, Performance, and the US-Mexico Border in Contemporary Art | 64 | 14 | 50 | 21.9% |
9053999t | White Shoals, White Shrouds: Reflections on the Ethics of Looking at Captive Bodies | 64 | 7 | 57 | 10.9% |
1fw4b73b | In the Traces: Reflections on Fieldwork in the Region of Ani | 63 | 13 | 50 | 20.6% |
5p888323 | Table of Contents | 63 | 7 | 56 | 11.1% |
5jn548z0 | Thinking of Water as a Material Witness: An Attempt to Fill the Voids in the Archive of the Moscow Canal (1932–37) | 62 | 15 | 47 | 24.2% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.