Refract: An Open Access Visual Studies Journal
Parent: UC Santa Cruz
eScholarship stats: History by Item for December, 2024 through March, 2025
| Item | Title | Total requests | 2025-03 | 2025-02 | 2025-01 | 2024-12 |
|---|---|---|---|---|---|---|
| 3rb6n5q7 | BLAST RADIUS: No. 4 in a Series of Data Humanization Performances | 392 | 101 | 158 | 72 | 61 |
| 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 | 296 | 65 | 76 | 81 | 74 |
| 9n15q89f | The Face of an Empire: Cosmetics and Whiteness in Imperial Portraits of Queen Elizabeth I | 275 | 77 | 96 | 52 | 50 |
| 5w56c6n3 | Trans Self-Imaging Praxis, Decolonizing Photography, and the Work of Alok Vaid-Menon | 229 | 85 | 46 | 44 | 54 |
| 0p507033 | Denis Diderot’s “Salons” as Art Conservation in Eighteenth-Century France | 215 | 51 | 62 | 68 | 34 |
| 4dv7j9tv | Maurice Denis (1870–1943) and the Sacred Grove: Temporality in Fin de Siècle France | 154 | 41 | 43 | 41 | 29 |
| 94q869s6 | (Un)veiling Sappho: Renée Vivien and Natalie Clifford Barney’s Radical Translation Projects | 141 | 41 | 38 | 33 | 29 |
| 1z0340v4 | Mere Image: Caravaggio, Virtuosity, and Medusa’s Averted Eyes | 139 | 41 | 39 | 29 | 30 |
| 5r76v48z | I’m New Here: Black and Indigenous Media Ecologies: Curatorial Statement | 129 | 36 | 42 | 27 | 24 |
| 8vc716rq | Visualizing Banaba: Art and Research about a Diffracted Pacific Island | 127 | 33 | 27 | 38 | 29 |
| 3zm9t9mc | Introduction to “Refraction” | 122 | 34 | 32 | 30 | 26 |
| 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 | 122 | 32 | 15 | 31 | 44 |
| 15h4c86z | Refract Journal, Issue 1: "Refraction" | 119 | 42 | 25 | 25 | 27 |
| 4259n982 | What is Radical Writing in Visual Studies? | 115 | 26 | 29 | 32 | 28 |
| 9tt733sc | The Double Edge of Visibility and Invisibility: Cassils and Queer Exhaustion | 105 | 33 | 16 | 31 | 25 |
| 7s96s6kb | “If You’re Out There, Please Listen to Me…”: Voices of Mourning Through the Wind Phone (Kaze no Denwa) | 98 | 36 | 27 | 24 | 11 |
| 3dm5k83w | Mapping Sonic Futurities | 86 | 13 | 23 | 38 | 12 |
| 0qk2z1c2 | Refract Journal, Volume 2: "Translation" | 81 | 14 | 20 | 24 | 23 |
| 9w11p9st | Photogrammetry and Zhongshan Pavilion: Reconstructing Urban Memory of the Wenxi Fire | 77 | 15 | 23 | 22 | 17 |
| 8z75g1k7 | Imagining the Future of Digital Publishing | 76 | 12 | 10 | 36 | 18 |
| 697345pn | Power Geometry in Urban Memory: Reading Taksim Square Through the Concept of Representation of Space | 75 | 26 | 22 | 14 | 13 |
| 2r4924w1 | Land, Water, Explorer: Place-Making “America” in the Early Modern Period | 74 | 22 | 16 | 15 | 21 |
| 50g5j00d | Images, Copyright, and the Future of Digital Publishing in the Arts | 71 | 14 | 16 | 24 | 17 |
| 5d99g907 | VOLTA VOLTA | 70 | 15 | 14 | 24 | 17 |
| 9ps74313 | Sensing Place | 69 | 26 | 14 | 17 | 12 |
| 3d78r1db | The Somatic and Textural Language of Patricia Belli: Recrafting Social and Political Bodies in 1990s Nicaragua | 68 | 20 | 13 | 23 | 12 |
| 2r58110h | The Trophy and The Appeal: Colonial Photography and the Ghosts of Witnessing in German Southwest Africa | 67 | 16 | 17 | 12 | 22 |
| 6x75v6kd | Happy Bullish 2011!!!: Olek’s Project B | 64 | 16 | 26 | 12 | 10 |
| 9818j6f7 | Navigating Media, Technology, and Narrative: Considering the Digital Turn in Scholarly Publishing | 63 | 16 | 16 | 16 | 15 |
| 0288q432 | Glimmers of Digital Publishing Innovation | 58 | 14 | 14 | 13 | 17 |
| 1n63968d | Public Displays of Affection | 58 | 22 | 11 | 14 | 11 |
| 6d00j8md | Olympic-Scale Subversion: Poster Art, Architecture, Performance, and the Afterlives of Mexico 1968 | 58 | 36 | 10 | 8 | 4 |
| 26t834v1 | Harun Farocki, Serious Games III (Immersion) (Review) | 54 | 21 | 12 | 13 | 8 |
| 7b11466t | Documenting Gender's Signs: Site, Performance, and the US-Mexico Border in Contemporary Art | 54 | 16 | 14 | 16 | 8 |
| 1nz6x651 | Visualizing Precarity and Security: Mona Hatoum’s Drowning Sorrows and Guadalupe Maravilla’s Walk on Water | 53 | 12 | 11 | 19 | 11 |
| 78x622wh | The Televised Apocalypse | 50 | 12 | 17 | 11 | 10 |
| 9ps0d7z3 | From a Native Daughter: Seeking Home and Ancestral Lines through a Dashboard Hula Girl | 49 | 18 | 13 | 12 | 6 |
| 0q8867m4 | Letter from the Editor | 48 | 6 | 14 | 13 | 15 |
| 31w7t9f3 | Linguistic Spatial Violence: The Muslim Cameleers in the Australian Outback | 48 | 18 | 9 | 15 | 6 |
| 6cd60127 | Daisy Bell | 48 | 8 | 18 | 10 | 12 |
| 3418x4nr | Postpublication, Measuring Impact, and Multimedia | 46 | 8 | 7 | 22 | 9 |
| 98n4g1zw | The Future of Digital Publishing | 44 | 9 | 11 | 13 | 11 |
| 2mc923xr | Rogue Masks: Visualizing Multidisciplinary Studies | 43 | 13 | 7 | 14 | 9 |
| 7wf111p2 | Peer Review Models, Publication Types, Open Access, and the Future | 43 | 9 | 13 | 7 | 14 |
| 77f2z4g6 | What Does It Mean to Be Truly Open Access? | 42 | 11 | 14 | 12 | 5 |
| 1fw4b73b | In the Traces: Reflections on Fieldwork in the Region of Ani | 41 | 10 | 15 | 3 | 13 |
| 1jb7j7r4 | Mining Things: Confronting Loss and Flux in the Slate Industry Ruins of Northwest Wales | 41 | 16 | 6 | 11 | 8 |
| 6kg3223z | “Translation, Translation, Rehearsal” in Conversation | 41 | 7 | 11 | 9 | 14 |
| 8g38v41w | The Struggle of Memory against Forgetting: Afterlife and Memorialization of Imagery Surrounding South Africa’s Truth and Reconciliation Commission | 40 | 13 | 9 | 12 | 6 |
| 8k61f03t | Beyond Borders and Biology: Lisa Myeong-Joo’s Self-Portrait of a Circle (2016) | 40 | 13 | 8 | 8 | 11 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.