Refract: An Open Access Visual Studies Journal
Parent: UC Santa Cruz
eScholarship stats: Breakdown by Item for November, 2024 through February, 2025
| Item | Title | Total requests | Download | View-only | %Dnld |
|---|---|---|---|---|---|
| 3rb6n5q7 | BLAST RADIUS: No. 4 in a Series of Data Humanization Performances | 336 | 9 | 327 | 2.7% |
| 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 | 283 | 38 | 245 | 13.4% |
| 9n15q89f | The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I | 269 | 88 | 181 | 32.7% |
| 0p507033 | Denis Diderot’s “Salons” as Art Conservation in Eighteenth-Century France | 213 | 12 | 201 | 5.6% |
| 5w56c6n3 | Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon | 181 | 45 | 136 | 24.9% |
| 50g5j00d | Images, Copyright, and the Future of Digital Publishing in the Arts | 179 | 45 | 134 | 25.1% |
| 1z0340v4 | Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes | 152 | 29 | 123 | 19.1% |
| 4dv7j9tv | Maurice Denis (1870–1943) and the Sacred Grove: Temporality in Fin de Siècle France | 139 | 25 | 114 | 18.0% |
| 94q869s6 | (Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects | 130 | 30 | 100 | 23.1% |
| 3zm9t9mc | Introduction to “Refraction” | 124 | 7 | 117 | 5.6% |
| 8vc716rq | Visualizing Banaba: Art and Research about a Diffracted Pacific Island | 118 | 9 | 109 | 7.6% |
| 5r76v48z | I’m New Here: Black and Indigenous Media Ecologies: Curatorial Statement | 114 | 29 | 85 | 25.4% |
| 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 | 113 | 11 | 102 | 9.7% |
| 4259n982 | What is Radical Writing in Visual Studies? | 102 | 13 | 89 | 12.7% |
| 9tt733sc | The Double Edge of Visibility and Invisibility: Cassils and Queer Exhaustion | 100 | 38 | 62 | 38.0% |
| 15h4c86z | Refract Journal, Issue 1: "Refraction" | 97 | 12 | 85 | 12.4% |
| 3dm5k83w | Mapping Sonic Futurities | 90 | 26 | 64 | 28.9% |
| 9w11p9st | Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire | 84 | 11 | 73 | 13.1% |
| 0qk2z1c2 | Refract Journal, Volume 2: "Translation" | 78 | 10 | 68 | 12.8% |
| 7s96s6kb | “If You’re Out There, Please Listen to Me…”: Voices of Mourning Through the Wind Phone (Kaze no Denwa) | 77 | 18 | 59 | 23.4% |
| 8z75g1k7 | Imagining the Future of Digital Publishing | 71 | 30 | 41 | 42.3% |
| 5d99g907 | VOLTA VOLTA | 70 | 1 | 69 | 1.4% |
| 2r4924w1 | Land, Water, Explorer: Place-Making “America” in the Early Modern Period | 68 | 16 | 52 | 23.5% |
| 2r58110h | The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa | 68 | 9 | 59 | 13.2% |
| 3d78r1db | The Somatic and Textural Language of Patricia Belli: Recrafting Social and Political Bodies in 1990s Nicaragua | 60 | 25 | 35 | 41.7% |
| 9818j6f7 | Navigating Media, Technology, and Narrative: Considering the Digital Turn in Scholarly Publishing | 60 | 11 | 49 | 18.3% |
| 697345pn | Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space | 54 | 7 | 47 | 13.0% |
| 6x75v6kd | Happy Bullish 2011!!!: Olek’s Project B | 54 | 3 | 51 | 5.6% |
| 9ps74313 | Sensing Place | 54 | 18 | 36 | 33.3% |
| 0q8867m4 | Letter from the Editor | 53 | 2 | 51 | 3.8% |
| 0288q432 | Glimmers of Digital Publishing Innovation | 50 | 13 | 37 | 26.0% |
| 6kg3223z | “Translation, Translation, Rehearsal” in Conversation | 46 | 5 | 41 | 10.9% |
| 1n63968d | Public Displays of Affection | 45 | 17 | 28 | 37.8% |
| 1nz6x651 | Visualizing Precarity and Security: Mona Hatoum’s Drowning Sorrows and Guadalupe Maravilla’s Walk on Water | 45 | 8 | 37 | 17.8% |
| 7b11466t | Documenting Gender's Signs: Site, Performance, and the US-Mexico Border in Contemporary Art | 45 | 14 | 31 | 31.1% |
| 78x622wh | The Televised Apocalypse | 43 | 4 | 39 | 9.3% |
| 6cd60127 | Daisy Bell | 42 | 3 | 39 | 7.1% |
| 1fw4b73b | In the Traces: Reflections on Fieldwork in the Region of Ani | 41 | 5 | 36 | 12.2% |
| 3418x4nr | Postpublication, Measuring Impact, and Multimedia | 41 | 5 | 36 | 12.2% |
| 26t834v1 | Harun Farocki, Serious Games III (Immersion) (Review) | 40 | 7 | 33 | 17.5% |
| 98n4g1zw | The Future of Digital Publishing | 40 | 13 | 27 | 32.5% |
| 9ps0d7z3 | From a Native Daughter: Seeking Home and Ancestral Lines through a Dashboard Hula Girl | 39 | 10 | 29 | 25.6% |
| 77f2z4g6 | What Does It Mean to Be Truly Open Access? | 36 | 6 | 30 | 16.7% |
| 8g38v41w | The Struggle of Memory against Forgetting: Afterlife and Memorialization of Imagery Surrounding South Africa’s Truth and Reconciliation Commission | 36 | 9 | 27 | 25.0% |
| 31w7t9f3 | Linguistic Spatial Violence: The Muslim Cameleers in the Australian Outback | 35 | 3 | 32 | 8.6% |
| 7wf111p2 | Peer Review Models, Publication Types, Open Access, and the Future | 35 | 4 | 31 | 11.4% |
| 0cp7z1rr | Glitching the State: The Mechanics of Resistance in Ricardo Piglia’s La Ciudad Ausente | 34 | 5 | 29 | 14.7% |
| 73x8c0xw | Tito/Tata: Fiction and Factuality in Documentary Photographs of the Father Figure in Communist Yugoslavia | 34 | 9 | 25 | 26.5% |
| 86g096rx | Craptions: Instagram Notes from Joseph Grigely | 34 | 7 | 27 | 20.6% |
| 0jm0w8c7 | Front Matter | 33 | 6 | 27 | 18.2% |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.