Refract: An Open Access Visual Studies Journal
Parent: UC Santa Cruz
eScholarship stats: History by Item for April through July, 2024
| Item | Title | Total requests | 2024-07 | 2024-06 | 2024-05 | 2024-04 |
|---|---|---|---|---|---|---|
| 9n15q89f | The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I | 290 | 34 | 57 | 68 | 131 |
| 3rb6n5q7 | BLAST RADIUS: No. 4 in a Series of Data Humanization Performances | 286 | 97 | 56 | 72 | 61 |
| 5w56c6n3 | Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon | 218 | 32 | 31 | 78 | 77 |
| 0p507033 | Denis Diderot’s “Salons” as Art Conservation in Eighteenth-Century France | 176 | 30 | 28 | 45 | 73 |
| 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 | 172 | 61 | 37 | 38 | 36 |
| 9tt733sc | The Double Edge of Visibility and Invisibility: Cassils and Queer Exhaustion | 157 | 35 | 21 | 43 | 58 |
| 94q869s6 | (Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects | 156 | 35 | 52 | 42 | 27 |
| 1z0340v4 | Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes | 143 | 30 | 13 | 42 | 58 |
| 2r58110h | The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa | 136 | 16 | 17 | 79 | 24 |
| 8vc716rq | Visualizing Banaba: Art and Research about a Diffracted Pacific Island | 123 | 26 | 34 | 23 | 40 |
| 4dv7j9tv | Maurice Denis (1870–1943) and the Sacred Grove: Temporality in Fin de Siècle France | 117 | 30 | 14 | 29 | 44 |
| 15h4c86z | Refract Journal, Issue 1: "Refraction" | 102 | 41 | 38 | 10 | 13 |
| 3zm9t9mc | Introduction to “Refraction” | 99 | 27 | 26 | 26 | 20 |
| 5r76v48z | I’m New Here: Black and Indigenous Media Ecologies: Curatorial Statement | 97 | 24 | 16 | 39 | 18 |
| 8z75g1k7 | Imagining the Future of Digital Publishing | 96 | 33 | 14 | 33 | 16 |
| 0qk2z1c2 | Refract Journal, Volume 2: "Translation" | 87 | 45 | 25 | 5 | 12 |
| 4259n982 | What is Radical Writing in Visual Studies? | 79 | 29 | 29 | 10 | 11 |
| 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 | 79 | 22 | 26 | 13 | 18 |
| 7s96s6kb | “If You’re Out There, Please Listen to Me…”: Voices of Mourning Through the Wind Phone (Kaze no Denwa) | 77 | 19 | 15 | 17 | 26 |
| 697345pn | Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space | 75 | 14 | 5 | 24 | 32 |
| 5d99g907 | VOLTA VOLTA | 71 | 30 | 20 | 6 | 15 |
| 9818j6f7 | Navigating Media, Technology, and Narrative: Considering the Digital Turn in Scholarly Publishing | 69 | 23 | 12 | 16 | 18 |
| 0288q432 | Glimmers of Digital Publishing Innovation | 68 | 15 | 11 | 28 | 14 |
| 9ps74313 | Sensing Place | 65 | 22 | 17 | 8 | 18 |
| 98n4g1zw | The Future of Digital Publishing | 63 | 15 | 11 | 22 | 15 |
| 31w7t9f3 | Linguistic Spatial Violence: The Muslim Cameleers in the Australian Outback | 58 | 19 | 21 | 9 | 9 |
| 9ps0d7z3 | From a Native Daughter: Seeking Home and Ancestral Lines through a Dashboard Hula Girl | 58 | 15 | 14 | 12 | 17 |
| 50g5j00d | Images, Copyright, and the Future of Digital Publishing in the Arts | 56 | 15 | 6 | 21 | 14 |
| 3d78r1db | The Somatic and Textural Language of Patricia Belli: Recrafting Social and Political Bodies in 1990s Nicaragua | 55 | 12 | 13 | 16 | 14 |
| 0q8867m4 | Letter from the Editor | 53 | 21 | 23 | 3 | 6 |
| 26t834v1 | Harun Farocki, Serious Games III (Immersion) (Review) | 53 | 14 | 12 | 15 | 12 |
| 3dm5k83w | Mapping Sonic Futurities | 51 | 10 | 7 | 26 | 8 |
| 2r4924w1 | Land, Water, Explorer: Place-Making “America” in the Early Modern Period | 50 | 20 | 13 | 9 | 8 |
| 6x75v6kd | Happy Bullish 2011!!!: Olek’s Project B | 49 | 19 | 15 | 8 | 7 |
| 9w11p9st | Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire | 49 | 16 | 12 | 10 | 11 |
| 5p888323 | Table of Contents | 46 | 11 | 5 | 20 | 10 |
| 1gb5592r | Interview with Boreth Ly on Her New Book, Traces of Trauma | 45 | 20 | 6 | 8 | 11 |
| 1n63968d | Public Displays of Affection | 45 | 14 | 10 | 11 | 10 |
| 86g096rx | Craptions: Instagram Notes from Joseph Grigely | 45 | 16 | 8 | 5 | 16 |
| 24r1z37d | Refract Journal, Volume 4: Document/ary Full Issue | 44 | 26 | 13 | 3 | 2 |
| 8g38v41w | The Struggle of Memory against Forgetting: Afterlife and Memorialization of Imagery Surrounding South Africa’s Truth and Reconciliation Commission | 44 | 15 | 12 | 8 | 9 |
| 0jm0w8c7 | Front Matter | 42 | 10 | 5 | 16 | 11 |
| 3418x4nr | Postpublication, Measuring Impact, and Multimedia | 42 | 10 | 8 | 13 | 11 |
| 7wf111p2 | Peer Review Models, Publication Types, Open Access, and the Future | 42 | 12 | 7 | 15 | 8 |
| 77f2z4g6 | What Does It Mean to Be Truly Open Access? | 41 | 13 | 6 | 13 | 9 |
| 7b11466t | Documenting Gender's Signs: Site, Performance, and the US-Mexico Border in Contemporary Art | 41 | 15 | 6 | 4 | 16 |
| 39w6b0hx | Refract Journal, Volume 3: Hauntings and Traces Full Issue | 40 | 16 | 12 | 1 | 11 |
| 60j1b922 | Introduction | 40 | 11 | 7 | 11 | 11 |
| 5b9722wt | "LeWitt Transpositions" and Conceptual Transpositions: Considering the Grammars of Conceptual Art and Parametric Drawing | 38 | 11 | 5 | 6 | 16 |
| 5tr219kd | Looking Backward into the Future: Thoughts on the Study of the Past, Ritual, and Women’s Eucharistic Experiences in Byzantium | 36 | 16 | 7 | 8 | 5 |
Disclaimer: due to the evolving nature of the web traffic we receive and the methods we use to collate it, the data presented here should be considered approximate and subject to revision.