The Experts below are selected from a list of 91335 Experts worldwide ranked by ideXlab platform
Maryam Fakouri - One of the best experts on this subject based on the ideXlab platform.
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LibGuides: Introduction to Visual Culture: Books
2015Co-Authors: Maryam FakouriAbstract:These sources should help you to understand concepts in your Introduction to Visual Culture class.
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LibGuides: Introduction to Visual Culture: Organizations
2015Co-Authors: Maryam FakouriAbstract:These sources should help you to understand concepts in your Introduction to Visual Culture class.
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LibGuides: Introduction to Visual Culture: Videos
2015Co-Authors: Maryam FakouriAbstract:These sources should help you to understand concepts in your Introduction to Visual Culture class.
Divya P Toliakelly - One of the best experts on this subject based on the ideXlab platform.
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the geographies of cultural geography ii Visual Culture
Progress in Human Geography, 2012Co-Authors: Divya P ToliakellyAbstract:Geography is a Visual discipline and as such holds a complex relationship with Visual Culture. In the last two decades the collaborations between geographers and artists has grown exponentially. In an era where public impact and engagement are politically encouraged, there is a risk of collapsing the differences between Visual Culture as a discipline and the Visual as an accessible mode of research communication. This paper reviews the ways in which collaborations between geographers and Visual artists have taken shape, and argues for a careful and respectful engagement between them.
Kerry Freedman - One of the best experts on this subject based on the ideXlab platform.
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The Art of Gaming: Knowledge Construction in Visual Culture Learning Communities
Advances in Social Networking and Online Communities, 2014Co-Authors: Kerry FreedmanAbstract:Students learn about relationships, form social groups, and interact with peers in and through Visual Culture. This chapter is a discussion of the range of Visual arts learning, from the development of art skills and concepts to learning about social aspects of art and design, that occurs in Visual Culture learning communities and the particular conditions and effects of Visual Culture that support niche communities tied to adolescents’ and young adults’ artistic and social interests. In this chapter, the author theorizes about ways that Visual Culture supports online niche communities and characteristics of art and design education that sustain communal life.
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Visual Culture learning communities how and what students come to know in informal art groups
Studies in Art Education: A Journal of Issues and Research in Art Education, 2013Co-Authors: Kerry Freedman, Emiel Heijnen, Mira Kalliotavin, Andrea Karpati, Laszlo F PappAbstract:This article is the report of a large-scale, international research project involving focus group interviews of adolescent and young adult members of a variety of self-initiated Visual Culture groups in five urban areas (Amsterdam, Budapest, Chicago, Helsinki, and Hong Kong). Each group was established by young people around their interests in the production and use of a form of Visual Culture. The research questions for this study focused on: a) conditions of Visual Culture communities, b) group practices in Visual Culture communities, c) individuals in a Visual Culture community, and d) peer teaching and learning processes. The results of this study indicate that Visual Culture groups act as powerful student communities for auto-didactic and peer initiated learning. Although the education that occurs in these groups may be considered informal, students maintain them to increase their art knowledge and skills, as well as for entertainment and social networking. Several answers to each research question a...
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teaching Visual Culture curriculum aesthetics and the social life of art
2003Co-Authors: Kerry FreedmanAbstract:Global Culture is rapidly shifting from text-based communication to image saturation. Visual Culture is everywhere: on television, in museums, in magazines, in movie theaters, on billboards, on the internet, and in shopping malls. As a result, learning about the complexities of Visual Culture is becoming ever more critical to human development. This is the first book to focus on teaching Visual Culture. The author provides the theoretical basis on which to develop a curriculum that lays the groundwork for postmodern art education (K-12 and higher education). Drawing on social, cognitive, and curricular theory foundations, Freedman offers a conceptual framework for teaching the Visual arts from a cultural standpoint. Chapters discuss: Visual Culture in a democracy; aesthetics in curriculum; philosophical and historical considerations; recent changes in the field of art history; connections between art, student development, and cognition; interpretation of art inside and outside of school; the role of fine arts in curriculum; technology and teaching; television as the national curriculum; student artistic production and assessment; and much more.
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Interpreting Gender and Visual Culture in Art Classrooms
1994Co-Authors: Kerry FreedmanAbstract:The purpose of this paper is to present gender issues in the context of a broad definition of art education that includes many types of Visual Culture and a social reconstruction of the school subject. Specifically, the paper focuses on three gender issues: (a) the representation of females in Visual Culture; (b) females as respondents to Visual Culture; and (c) the gendered characteristics of cultural production by students. The foundational importance of presenting cultural context and connections of Visual Culture to identity are also discussed in relation to learning. The paper concludes with five recommendations for practice.
Hsiao-cheng Sandrine Han - One of the best experts on this subject based on the ideXlab platform.
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Visual Culture Versus Virtual Culture: When the Visual Culture is All Made by Virtual World Users
International Journal of Virtual and Augmented Reality, 2017Co-Authors: Hsiao-cheng Sandrine HanAbstract:Visual Culture in virtual worlds is not purely authentic or purely imaginative. When Culture emerges in a Visualized virtual world, where everything that can be seen is created by its users, Visual Culture can be diverse and complex. Users from different cultural backgrounds perceive and construct meanings that may be different from those intended by the virtual world creators and other users. The author used observation, survey, and interview as her research methodologies to analyze Visual Culture in a Visualized virtual world where the content is created by its users.
Nicholas Mirzoeff - One of the best experts on this subject based on the ideXlab platform.
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the Visual Culture reader
2002Co-Authors: Nicholas MirzoeffAbstract:PART 1. INTRODUCTIONS/PROVOCATIONS/CONVERSATIONS The Subject of Visual Culture Nicholas Mirzoeff, Studying Visual Culture Irit Rogoff, Narrativizing Visual Culture: Towards a Polycentric Aesthetics Ella Shohat and Robert Stam, Voices from the Web Various, Kino-I, Kino-World: Notes on the Cinematic Mode of Production Jonathan L. Beller, Conversations in Visual Culture W.J.T. Mitchell PART 2. PLUG IN THEORY Optics Rene Descartes, The Fetishism of the Commodity Karl Marx, Double-Consciousness W.E.B. Dubois, Woman in a Mirror Marshall McLuhan, The Fact of Blackness Frantz Fanon, Rhetoric of the Image Roland Barthes, Four Fundamental Concepts of Pyschoanalysis Jacques Lacan, The Society of the Spectacle Guy Debord, Ideology and Ideological State Apparatuses Louis Althusser, Simulacra and Simulations Jean Baudrillard, Prohibition, Psychoanalysis and the Heterosexual Matrix Judith Butler Virtual Bodies and Flickering Signifiers N. Katherine Hayles PART 3. GLOBAL/DIGITAL (a.) Imagining Globalization Here and Now Arjun Appadurai, Remaking Passports: Visual Thought and the debate on multiculturalism Nestor Garcia Canclini, Ethnicity and Internationality: New British Art and Diaspora-Based Blackness Kobena Mercer, The Multiple Viewpoint: Diaspora and Visual Culture Nicholas Mirzoeff, Gender, Nationalism and Internationalism in Japanese contemporary art Lisa Bloom, (b.) The Space of the Digital of Other Spaces Michel Foucault, Spectres of Cyberspace Geoffrey Batchen, Othering Cyberspace Wendy Chun, Where Do You Want to Go Today? Cybernetic Tourism, the Internet and Transnationality Lisa Nakamura, Eden by Wire: Webcameras and the Telepresent Landscape Thomas Campanella, Satellite and Cyber Visualities: Analyzing the Digital Earth Lisa Parks PART 4. SPECTACLE AND DISPLAY Spectacle, Display, Surveillance: Historical Citizenship and the Fremantle Prison Follies Frederick Wiseman, Come to Western Australia Toby Miller, Visual Stories Anne Reynolds, The Great Un-American Numbers Game Andrew Ross, The Wall, the Screen and the Image: The Vietnam Veterans' Memorial Marita Sturken, The Prison House of Culture: Why African Art? Why the Guggenheim? Why Now? Michelle Wallace, Videotech John Fiske Cinema After Film, Television After the Networks, The Mobilized and Virtual Gaze in Modernity: Flaneur/Flaneuse Anne Friedberg, What is Digital Cinema? Lev Manovich, Film and the Digital in Visual Studies: Film Studies in the Era of Convergence, Lisa Cartwright, Kung-Fu Cinema and Frugality May Joseph, The Video Public Sphere David Joselit Tara McPherson PART 5. Visual COLONIALISM/Visual TRANSCulture Visual Colonialism, Visual Regimes of Colonisation: Aboriginal Seeing and European Vision in Australia Terry Smith, Orientalism and the Exhibitionary Order Timothy Mitchell, Soft-Soaping Empire: Commodity Racism and Imperial Advertising Anne McClintock, from The Colonial Harem Malek Alloula, Vodun Art, Social History and the Slave Trade Suzanne Preston Blier Identity and TransCulture His Masters Obi: Machine Magic, Violence and Transculturation Jill Casid, Passing for White, Passing for Black Adrian Piper, The Other History of Intercultural Performance Coco Fusco, Photography and the Substance of the Image Olu Oguibe, Engendering New Worlds: Allegories of Rape and Reconciliation Orianna Baddeley PART 6. THE GAZE, THE BODY, AND SEXUALITY (a) The Gaze and Sexuality Ideal Masculinities: An Anatomy of Power Anthea Callen, The Forbidden Gaze: Women Artists and the Male Nude in Late Nineteenth-Century France Tamar Garb, Reduplicative Desires
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Diaspora and Visual Culture: Representing Africans and Jews
1999Co-Authors: Nicholas MirzoeffAbstract:This is the first book to examine the connections between diaspora - the movement, whether forced or voluntary, of a nation or group of people from one homeland to another - and its representations in Visual Culture. Two foundational articles by Stuart Hall and the painter R.B. Kitaj provide points of departure for an exploration of the meanings of diaspora for cultural identity and artistic practice. A distinguished group of contributors, who include Alan Sinfield, Irit Rogoff, and Eunice Lipton, address the rich complexity of diasporic Cultures and art, but with a focus on the Visual Culture of the Jewish and African diasporas. Individual articles address the Jewish diaspora and Visual Culture from the 19th century to the present, and work by African American and Afro-Brazilian artists.
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an introduction to Visual Culture
1999Co-Authors: Nicholas MirzoeffAbstract:This is a wide-ranging and stimulating introduction to the history and theory of Visual Culture from painting to the computer and television screen. It will prove indispensable to students of art and art history as well as students of cultural studies. Mirzoeff begins by defining what Visual Culture is, and explores how and why Visual media - fine art, cinema, the Internet, advertising, performance, photography, television - have become so central to contemporary everyday life. He argues that the Visual is replacing the linguistic as our primary means of communicating with each other and of understanding our postmodern world. Part One of the Introduction presents a history of modern ways of seeing, including: * the formal practices of line and colour in painting * photographys claim to represent reality * virtual reality, from the nineteenth century to the present. In Part Two, Mirzoeff examines: * the Visualization of race, sexuality and human identity in Culture * gender and sexuality and questions of the gaze in Visual Culture * representations of encounters with the other, from colonial narratives to Science Fiction texts such as The Thing, Independence Day, Star Trek and The X-Files * the death of Princess Diana and the popular mourning which followed as marking the coming of age of a global Visualized Culture.
