Visuality From Intercultural Perspectives: Technologies of Imaging in Communication, Art and Social Science (original) (raw)
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5th Biannual Conference of the International Association for Visual Culture
Can we teach what we see? Can we see what we teach? How is the world changed, reaffirmed, or progressed through the visual? How does it slip back? What impact can thoughtful uses of images in teaching, scholarship, artistic, and political practice have on the future, as well as on the telling of history? How can we as scholars, practitioners, educators, and concerned citizens of the world see ourselves as teachers of and through the visual, whatever our context? The International Association for Visual Culture will feature papers and creative proposals that address the issues of visual pedagogies from different starting points that include but are not limited to: The visual as a tool for teaching: i.e., teaching through showing, uses of interactive learning tools including Digital Humanities, using the classroom as a space for community involvement or public-facing projects; Visual pedagogies as a political tool: from the protest image to leveraging an image as a tool for “militant research”; The teaching of Visual Culture Studies: academia and visual culture, teaching and inventing diverging new methodologies in teaching the significance of visual literacy across disciplines, including the critical consumption and production of images; Thinking through ways to “decolonize the classroom” in changes in course structure, assigned texts, and assessment; Different challenges posed across visual media, both historically and in terms of the media themselves: film versus photography; prints versus text; digital versus postdigital; Interrogating racism, gender and sexual discrimination, ableism, and religious, and ethnic persecution through visual pedagogies; The significance of the visual in a world where “alternative facts” and “post-truth” discourse is infiltrating public discourse and threatening democracy; The visual as a scientific instrument: We welcome proposals that tackle the questions of various scientific approaches to visual pedagogies; Emancipation and the pedagogy of the visual: breaking the ‘all seeing eye,’ including both challenging the truth of the image, and introducing non-ocular-centrism to fields like Visual Culture Studies, Art History, Film Studies, artistic practice, and political engagement.
Socio-cultural Perspectives on Visual Communication
This article discusses four sources of socio-cultural reference in visual communication studies - art history, film studies, the psychology of art and visual representation, and the anthropology of visual communication - and suggests that socio-culturally nested analyses of visual texts still offer the greatest promise for illuminating the nature of pictorial communication and the particular role of visual form in media production, reception, interpretation and use. The article specifically calls for a re-invigorated use of social semiotics: analyses of cultural texts within the concrete social contexts of visual media production and reception, and with a heightened awareness of the impact of shifting technology, industrial synergy, and trans-cultural media activity.
‘Visual Culture, Visual Methods.’ Ph.D Summer School. Aarhus University, June 2015.
Visual culture encompasses more than the study of images or the use of visual methods. It takes as its premise the idea that the way people experience their reality goes well beyond the material or the textual. The perspective of visual culture turns our attention toward the centrality of visual experience in everyday life. This course considers the conceptual premises for visual sensemaking and focuses on methods of analysis and interpretation that challenge text-centric approaches. Particularly in contemporary mediatized contexts, seemingly endless streams of images, sounds, and fragments of information characterize and constitute social life. How do we make sense of visual expressions or visual aspects of culture? How do we use visual methods or more broadly, how do we challenge methods that rely on (or were designed for) the analysis of texts? What does a ‘visual culture’ approach look like in practice? The goal of this course is to explore these questions theoretically, discuss case studies, and also practice methods through experimental exercises and assignments.
The Palgrave Handbook of Image Studies, 2021
The history of visual sociology is intimately entwined with the evolution of sociology and has dispersed and episodic trajectories across various geographies and historical periods. In this entry, I will present visual sociology not as a subfield of sociology but rather as a para-field, and trace some of the historical routes and roots contributing to the ongoing emergence of post/disciplinary features. Addressing how and in what context the topic emerged will primarily focus on critical moments and thinkers whose contributions nourish the field in important ways but have sometimes been overlooked. To do visual sociology justice, this depiction must be considered a piece in a vastly larger ecology of schools of visual sociology intercontinentally and historically with diverging perspectives that merit being addressed in a more extensive work. The specific aims of this entry are to present critical points of traction that attend specifically to the questions of how this post/discipline matters for the study of images; what particular set of problems are raised; what consequences visual sociology has had that are important for image studies; and generally what visual sociology contributes to understanding images. Readers will not be surprised to find shared approaches, thinkers, and theoretical perspectives with other topic areas.
Despite massive interest in visual culture and an abundance of theories on images, basic questions still animate researchers: What is an image? How does it work? Why is it powerful? This article reviews the growth of Visual Culture studies and provides an overview of key questions of visuality, how they have influenced research and offers a glimpse into future directions occupying the field.
Visual Culture isn't Just Visual: Multiliteracy, Multimodality and Meaning
Studies in Art Education: A Journal of Issues and Research in Art Education, 2004
The central claim of this article is that contemporary cultural forms such as teleregarding this article vision and the Internet involve more than the perceptual system of sight and may be addressed to the more than visual images as a communicative mode. Meaning is made through author at School of Art an interaction of music, the spoken voice, sound effects, language, and pictures. & Design, University of This means that even the recent shift to visual culture among art educators is Illinois at Urbana-insufficient to position art education within a reconceptualized, broad definition Champaign, 143 Axt of communications. To be relevant to contemporary social practice, art educa-& Design Building, tion must embrace interaction between communicative modes. The recent 408 East Peabody concepts of multiliteracy and multimodality are suggested for this purpose. This Drive, Champaign, IL article examines why these concepts have emerged, the challenge they make to 61820. E-mauil art education's traditional interest in the visual, and what teachers can begin to do in the classroom. I wish to thank my If we turn down the sound of a TV program, we find out how imporcolleagues Robin Wills tant dialogue is to our understanding of the picture. If we turn off the at the University of audiotrack to a video game, we find how critical the sound effects and Tasmania and Angela music are to experiencing the game. And if we block out the written text Thomas at the.. r ... X o. Universiy ofSydney on a website, we find that while the remaining images may be beautiful, for their invaluable or sensuous, or possess any number of qualities, it is usually impossible to assistance in the devel-say with any certainty what they are intended to mean. Each of these opment of this article cultural sites involves more than the perceptual system of sight and more than the communicative mode of the visual. The same applies to magazines, shopping malls, theme parks, product packaging, advertising in all its forms, aind all the other sites of contemporary visual cultural to which
Reframing Visual Social Science: Towards a More Visual Sociology and Anthropology
In Reframing Visual Social Science: Towards a More Visual Sociology and Anthropology, Luc Pauwels aims to deliver a comprehensive, well-balanced, analytical and critical-constructive overview of current and emerging forms and practices of visual research in culture and society. At 337 pages, the book is an attempt to address the growing need to better integrate knowledge and expertise between the social sciences, the humanities and behavioural sciences.
My foray into the visual methods begins with a series of problems encountered while researching subject positioning and intersubjectivity as they played out in the shooting of one of my recent documentaries, The Ecstatic. Authoring the film myself, how was I to reflexively use the images I filmed to provide data for my analysis of the dynamics of the film shoot as a social, cultural event, and thus a site for ethnographic enquiry? Even further complicating matters was that this particular project also demanded that I analyze the images in-sequence, that is to say, that I conduct a filmic analysis of the very same images after bits of film had been edited into a unified text. How were these two phenomena -the processual image as a source of data about cultural and social life, or the image as a cultural text, an artifact -different?
The culture of visuals and the visuals of culture
European Scientific e-Journal, 2022
This article offers the premises for an analytical reflection on how we look at images today, while questioning the role they have in our understanding of contemporary culture. We will discuss different visual culture aspects based on relevant case studies from advertising, branding, journalism, and art, arguing that the image is prevalent in today's media culture, with our perception shaped by its structural lecturing rules (in the detriment of other content formats). Since contemporary culture is constantly and arbitrarily build on a subjective and consciousness perspective, we are witnessing on the cultural identity definition of our existence through image-reading patterns, text-looking solutions, and video-lecturing directions, as a multimodal subjective information-processing reaction to the spectacle of this intense digitalization of the society.
The Global Reach of Visual Communication: Pitfalls and Potentials
Today’s digital, social communication technologies allow us to span physical boundaries in just seconds and with wide reach. In technical and professional communication, much of what is communicated digitally is done with visuals: icons, photographs, videos, drawings. Visual communication is often considered to be more universally accessible than plain text, and while this is true to some extent, all visual forms have cultural connotations. With the continued shift of technical and professional communication toward digital environments, and with such environments favoring the visual, this panel explores three cases of specific venues of visual communication and their impacts on global communication practices. These cases provide examples the cultural implications of visual communication in global, digital settings; all three presentations offer practical advice for using the material in the teaching of technical and professional communication courses.