This article investigates the discursive register through which lives become grievable by focusing on a case study of the discourses surrounding the death of radical feminist, Andrea Dworkin. I argue that Dworkin becomes embroiled in an interlocking nexus of illicit subject positions that set the terms of her grievability and obstruct recognition of her as a rational being by framing her (1) as the quintessential emotional and irrational woman who is not worthy of the respect typically offered to the dead and (2) in relation to her wild, unruly, and excessive body, which is conflated with her feral work.

This paper treats studies on perspective published in sixteenth-century treatises as important sources for understanding Andrea Palladio's connection with perspective and with the sets and scenic spaces he designed for the stage before the construction of the Teatro Olimpico in Vicenza (1580-1585). Written and visual traces of these ephemeral theatres and their sets are extant in the monochrome frescoes on the eastern wall of the Teatro Olimpico's antiodeo, which represent 1561 and 1562 stagings of the plays Amor costante and Sofonisba. A survey of these frescoes using image-based modeling techniques is a preliminary necessary phase for building rigorous 3D models of Palladio's illusionistic sets, which are strictly dependent on the harmonic and dimensional ratios that appear in contemporary treatises on perspective. All of these experiences can be considered as models to test that precise idea of Theatre which is revealed in the Teatro Olimpico in Vicenza.

Combining photographic portraits and testimony, Andrea Gjestvang's En dag i historien: 22. juli concerns the experiences and thoughts of 43 young people who survived the terror attack at the Labour Party youth camp on Utoya Island, outside Oslo on 22 July 2011. Published the year after the events, the book captures a moment in time in which memories of what happened were still very raw, and the various attempts at commemoration in diverse cultural forms were yet to be conceived of, and subsequently contested. Drawing on recent writings on photography (by Ariella Azoulay, Robert Hariman and John Lucaites, Susie Linfield and John Roberts) as well as an interview with photographer Andrea Gjestvang, this article is an attempt to come to terms with how the 'image-text' in En dag i historien invites a form of committed spectatorship that unfolds over time.

This article sheds new light on Andrea del Verrocchio's Measured Drawing of a Horse Facing Left (recto), c.1480-88 (Metropolitan Museum of Art, 19.76.5), by scrutinizing the artist's unique approach to the representation of measurement. It takes as its focus the complex apparatus of annotations traversing the horse, which painstakingly translates the proportions of the equine body into words. A close reading of these "written vectors" fundamentally transforms our understanding of the function of text in a measured drawing. For Verrocchio, writing is not merely a descriptive tool but rather a powerful vehicle for the construction of a spatialized body within the boundaries of the pictorial field. His experimentation with the graphic potential of the written word challenges the traditional tension between pictura and scriptura and speaks to a broader shift in how drawn images were constructed and conceptualized during the Renaissance.