Dissemination Of Imagery Research Articles

PRODUÇÃO VIDEOGRÁFICA: PROPOSTA METODOLÓGICA PARA O ENSINO DE GEOGRAFIA COMO LUGAR DE VIVÊNCIA

The growing familiarity with technologies that promote the dissemination of imagery and information in actual society are highlighted among the Geography Teaching methodologies. In this study, we used videographic production as a methodology for teaching Geography. The general goal is to understand the videographic production process within the Geography of Elementary School II, and the specific goals are: (i) to identify the perceptions of students about the reality found in the experience in the school space and (ii) to explain the teacher's didacticpedagogical mediation in a video production in the school space with students. It was found that the application of the use of audiovisual language for the Teaching of Geography enables a more intense articulation between geographical concepts and experienced reality, in addition to the enhancement of imagination and critical reflection in students.

Rethinking Alcock in the New Media Age

Whilst the English law of tort is generally favourable towards the psychiatric damage claims of primary victims, claims from secondary victims are treated in a much more restrictive manner. The leading case of Alcock v Chief Constable of South Yorkshire Police (Alcock) arising from the Hillsborough disaster establishes that amongst other things, secondary victims must overcome a number of control mechanisms in order to found a duty of care in negligence: There must be a close proximity of relationship with the immediate victim; and proximity in time, space and perception in relation to the shocking event. In relation to the means by which the shock is caused, the House of Lords in Alcock emphasised that perception was generally expected to be with one’s own unaided senses and that the viewing of a television broadcast of events would not normally suffice. However, the decades since the judgment have witnessed an explosion of new media platforms and technologies which have arguably transformed the dissemination of imagery. In light of this transformation, this article seeks to consider the implications of such technologies for the legal framework arising from Alcock, suggesting that the current approach fails to recognise the realities of the modern age in a number of ways. Looking to Australian jurisprudence as a basis for change, this article proposes how the law might be reformed to better reflect the contemporary world.

Kiki Smith: Prints, Books & Things

Well-known as a sculptor, Smith has also worked extensively as a printmaker--in fact her printed works and other editioned art, including books and multiples, are arguably as important as her sculpture. Smith emerged in the early 1980s as one of a generation of artists who returned to figurative imagery after a period in which American art had leaned to the abstract and conceptual. In Smith's case the interest in the figure was literal: She is fascinated by the anatomy of the human body, which is an immediate and emotionally powerful presence in much of her work. She is equally concerned with the natural world, and animals have become increasingly important in her recent imagery. The heart of printmaking is the ability to create more than one example of an artwork, and this appeals to Smith's interest in the public dissemination of imagery and information. Her work is politically sensitized but she is also fascinated by craft and is constantly exploring and experimenting with her materials. Her prolific body of printed art incorporates techniques extending from elaborate etchings to crude rubber stamps and images ranging from wall-sized lithographs and deluxe artist's books to screen-printed giveaway posters and removable tattoos. Kiki Smith: Prints, Books and Other Things accompanies an exhibition devoted to this underacknowledged but crucial dimension of her art.

The printed image and the transformation of popular culture, 1790-1860

Patricia Anderson advances the challenging central argument that an essentially modern mass culture had begun to develop as early as 1840. Between 1790 and 1860 the widening dissemination of print led to the transformation and unprecedented expansion of popular cultural experience; and from the centre of this transformed culture there emerged a mass culture. The new culture's hallmark was its pictorial character. Patricia Anderson interprets a range of under-used or neglected sources, focusing on four illustrated magazines, but also examining penny fiction, broadsides, and other artefacts which played a significant part in the mass dissemination of imagery. A recurring theme is the declining role of art reproduction in people's otherwise expanded pictorial experience. The study questions the adequacy of simplistic concepts of class and culture. It combines modern cultural theory and historical evidence to demonstrate how people of all kinds, especially workers and women, interacted with the printed image and helped to shape an increasingly visual mass culture. In doing so, it offers a new way to look at and extract meaning from 19th-century popular illustration.