Visual Culture Research Articles

Implementation of the Cooperative Learning Model in Arts and Culture Subjects in Elementary Schools

This research aims to determine the planning, implementation and impact of the jigsaw type cooperative learning model on class V arts and culture subjects at SDN 1 Gumantar. The research subjects were the principal and teachers of arts and culture subjects. The research instruments are in the form of observation guidelines, interview guidelines and documentation guidelines that measure planning, implementation and impacts produced using the jigsaw type cooperative learning model in arts and culture subjects. Data collection techniques in this research used observation, interviews and documentation. Data analysis techniques are carried out using Data Reduction, Data Display (data presentation), Conclusion Drawing/Verification (drawing conclusions and verifying). There are various kinds of learning models that can be implemented in a learning activity. One of them is the jigsaw type cooperative learning model which is a learning model where students can learn to collaborate, work together and be responsible for understanding certain material and conveying it to their group friends. So that when implementing the jigsaw type cooperative learning model in arts and culture subjects, learning activities can indirectly foster the value of student cooperation. The objectives of this research are as follows: 1) to describe the planning of the jigsaw type cooperative learning model in arts and culture subjects, 2) to describe the jigsaw type cooperative learning model in arts and culture subjects, 3) to describe the impact of the jigsaw type cooperative learning model on The 11th unit of visual arts material culture lesson is making works of art from recycled household waste materials.

Italy’s colonial archives and its history of racial violence. An interview with Gaia Giuliani, author of Bianco e nero. Storia dell’identità razziale degli italiani (2013) and Race, Nation and Gender in Modern Italy. Intersectional Representations in Visual Culture (2019)

ABSTRACT This interview is dedicated to the pioneering work of Gaia Giuliani in critical race, whiteness and postcolonial Italian studies in Italy and internationally, over ten and five years, respectively, from the publication of Bianco e nero: Storia dell'identità razziale degli italiani (with Cristina Lombardi-Diop, Mondadori Education, 2013) and Race, Nation and Gender in Modern Italy: Intersectional Representations in Visual Culture (Palgrave Macmillan, 2019). Shelleen Greene is an associate professor of Cinema and Media Studies in the Department of Film, Television and Digital Media at the UCLA School of Theater, Film and Television. Her Equivocal Subjects: Between Italy and Africa – Constructions of Race and Nation in the Italian Cinema (Bloomsbury, 2012) set a milestone in scholarship on Italian visual culture and race. Lorgia Garcia Peña, scholar and activist, is a professor of Latinx Studies at the Effron Center for the Study of America and the Department of African American Studies at Princeton University. Her Translating Blackness (Duke, 2022) conceived Latinx Caribbean diaspora (also in Italy) as part of both Black migrants’ oscillating border-crossings and their forms of resistance to colonialism and racism. Both scholars have long been in dialogue with Giuliani’s scholarship.

Paul Tillich and Photography

Paul Tillich did not consider photography to be a form of art and, therefore, rarely talked about it. In this paper, I discuss what he said publicly about photography in relationship to Tillich’s own understanding of art and in conversation with some of his contemporaries in Europe. This discussion will include reasons as to why he was reluctant to admit photography to be art and how his thoughts could have been changed. Premised upon the belief that Tillich’s theological analysis of art is still relevant for contemporary theological discussions of art, this paper will try to situate Tillich’s theology of art in the midst of the visual culture of the early 20th century. I will further make two related claims: (1) there were moments of his intellectual career when Tillich could have reflected on photography in a deeper way; (2) the examination of Tillich’s reluctance can be fruitful for future theological reflection on photography.

The Concept of Image in Contemporary Culture and its Application to the Products of Students of Fine Arts

Contemporary literature has addressed new concepts necessitated by changes, cognitive explosions, and globalization. Image culture stands at the forefront of these concepts. The image, as the foremost visual art, is a language that has captured human energies to create an era. This study aims to explore the concept of the image in contemporary culture and its applications in the products of students of fine arts. The researcher utilized the descriptive-analytical method, concluding that visual culture and its social and spatial references have a clear impact on cultivating aesthetic taste among learners.

Decoding visual culture

As visual narratives become potent tools for emotional manipulation, it is imperative for our educational paradigms to evolve beyond traditional precepts to address this shift. We introduce ‘The Visual Code’ – an innovative educational tool tailored to nurture the ability to decode visual cues, foster critical thought, and elevate self-awareness. This concept operates through a triadic process: attentive observation, active interpretation, and rigorous validation. With visual culture firmly ensconced in modern design's ethos, frameworks like Design Theory become pivotal in deconstructing its nuances. Our proposed model for bolstering visual literacy equips individuals to both comprehend and critique intricate visual narratives, enabling them to discern and potentially counteract undue influences. Through a meticulous analysis rooted in keen observation, this article delves into the multifaceted role of visual codes across diverse campaigns, from art history, through visual communication to designed products, we are advocating for a more informed and discerning viewer. An inclusion of empirical research enhances the validity of this model in the context of high-school design education.

Between diaspora and region: Tony Gatlif and Mehdi Ben Attia

The article investigates the creative tensions between diaspora and region as they appear in queer Maghrebi francophone visual culture. By examining two important films from Maghrebi-French cinema – Tony Gatlif’s Exils (2004) and Mehdi Ben Attia’s Le fil (2009) – the article theorizes an affective understanding of diaspora and regionality wherein ephemeral aesthetic objects constitute regional archives of feeling and assemblages that reveal the messy complexities of identity, space, and belonging in a Maghrebi postcolonial setting. In so doing, the article also aims to ascertain how regional constellations of queer diasporic aesthetics may lead to new forms of kinship and community for minority ethnic and sexual subjects.

Modular narratives and visual digital culture in contemporary cinema. The case of Open Windows (Nacho Vigalondo, 2014)

In the present day, digital visual and convergence culture permeate the modes of production, circulation, and consumption of audiovisual representations, following the postulates of authors such as A. Darley or H. Jenkins. In this context, A. Cameron defines modular narratives as those in which classical narrative causality is replaced by a database aesthetic, dividing the narrative into discrete elements subject to manipulations of order, frequency, and duration. Focusing on the case of Open Windows (Nacho Vigalondo, 2014), this study aims to explore the imprints of digital visual culture on contemporary Spanish cinema incorporating modular narratives. The methodology employs an analysis model adapted to this narrative and aesthetic specificity within the framework of Computational Media Aesthetics. The film's mechanisms of representation are scrutinized through a multi-screen interface, where simultaneous events are juxtaposed within the same visual field. Finally, the discussion encompasses the necessity of applying such models to the analysis of audiovisual content associated with digital visual culture, as well as their potential utility for future research.

Designing Period Shame: Period Product Advertising in Australian Women's Magazines

Abstract Graphic design, while a force for positive change, has played a role in perpetuating harmful societal norms. This article focuses on the design of period product advertising in Australian women's magazines, examining a century of advertising (1920–2020) to uncover visual patterns in messaging that have contributed to societal prejudices against menstruation. Three distinct themes were identified: describing periods as a disorder, coding the taboo, and keeping a secret. This research sheds light on the effect that graphic design and representation has on society and emphasizes the need for responsible graphic design practices in shaping a more inclusive and empathetic visual culture.

In Visible Archives: Queer and Feminist Visual Culture in the 1980s

In Visible Archives: Queer and Feminist Visual Culture in the 1980s

DRAWING CONTAGION: AN ANALYSIS OF COVID-19 COMICS

When the world was suddenly caught up in the quagmires of Covid-19 pandemic, many attempts at providing awareness happened at personal, local and global levels. The outbreak of the pandemic witnessed an outbreak of narratives to shape a collective understanding about the disease. Along with the verbal narratives visual culture also contributed to the shaping of the culture of contagion. Comics have long been part of the visual culture of medicine. Graphic medicine is a novel field of medical humanities which is an intersection of the discourse of medicine and comics. This paper analyses how comics are used as a cultural artefact to sensitise the public during the Covid-19 pandemic period. It also attempts at analysing how the spatio-temporal tropes of the comics have made visible the invisible virus that spread havoc across the globe. The paper analyses the Covid comics that emerged during the period and how it has influenced the global public in shaping its culture of contagion.

RE-READING OF VULNERABLE MINDS IN COSTUME- A SELECT STUDY ON TWO MALAYALAM MOVIES

Masculinity as depicted in visual culture is often appropriated as the ideal to adhere in most of the representations, whether it is cinema or performing arts. Patriarchal order tends to project masculinity as the source of power from which the matrix of a society is outlined. Representation of masculinity on screen and their dimensions convey human experiences in a hitherto unperceived way. Apart from being a muscular figure which is categorized against a vulnerable woman, the dawn of 20th century has witnessed varied representations onscreen including sensitive, vulnerable, possessive protagonists trapped in a well-toned muscular body striving for an identity. Performing arts, unlike movies gives space for representing varying emotions pertaining to their role in society using costumed characters and images.

대중문화와 현대미술을 활용한 시각문화 미술교육 사례 연구

Objectives The purpose of this study was to examine the educational experience of elementary students through visual culture art education using popular culture and contemporary art. Methods A case study was applied as the study method to derive the educational meaning experienced by the case subject in the field. Fifth-grade elementary school students were selected as case subjects to implement three sessions of visual culture art education programs. Results The results are as follows. First, the students showed different and extremely complex preferences for popular culture images. Second, the students embraced contemporary art better by using popular culture and cultivated an active attitude toward art appreciation. Third, the students developed the ability to connect popular culture and contemporary art in their lives. Fourth, the students' scope of art recognition expanded. Conclusions This study shows that utilizing contemporary art and popular culture in education can lead to learning associated with the actual lives of learners.

Design of Ex-Libris to Face Identity Problems in the Teaching Community

This research establishes the need to train primary school teachers in visual literacy. It initiated from an exploratory study which analyzed the learning process of pupils in order to evaluate the educational possibilities of visual culture, using a case study as methodology, and Arts-Based Educational Research which involved one hundred university students. The objective was to evaluate the benefits of using a creative arts workshop aimed at future primary school teachers, integrating issues of identity and social themes. Among the outcomes, what stands out is the motivation of the students for the use of graphic design, given that each student was able to create their own ex-libris (book-plate). We work to support the encouragement of future teachers’ creativity.

Formation of national and cultural identity as a function of spectacularity and spectacularity culturee

“Spectacularity” in the modern information society is one of the crucial factors and tools for the formation of national and cultural identity, since its role in festive, ceremonial, visual, television, screen, Internet culture, and other similar types of postmodern culture, which have the most important ideological and educational resources for the formation of national and cultural self-awareness and self-identifi cation of citizens in society, is paramount. In modern times, namely in the era of postmodernism, the screen, as well as screen, television, Internet, and visual culture are a powerful ideological weapon, an infl uential educational tool, participating in the creative national and cultural policy of the state. The materials of the article can be used in the educational process in the Cultural Studies major.

Art Education Through a Contemporary Visual Culture Lens

Art Education Through a Contemporary Visual Culture Lens

The eye at hand: when visually impaired people distribute ‘seeing’ with sensing AI

What does it mean to see and look? Can seeing and looking be done without using the eyes? This article contributes to studies in visual communication through empirical visual research into human vision, visual impairment and computer vision technologies, using video-ethnographic methods. These topics essentially enable a respecification of the concept of vision, the role of visual and material culture, and the exploration of visual means of communication in social and cultural worlds. In this article, the authors advance the understanding of visuality and vision by showing empirically how ‘seeing’ and ‘looking’ are not uniquely human abilities, but rather informational phenomena that can be achieved through distribution with a technological, nonhuman sensing AI. This study draws on video-recorded data in which visually impaired persons (VIPs) use a smartphone with a computer vision-based app while grocery shopping in a supermarket. Based on video ethnography, ethnomethodology and conversation analysis (EMCA), they show the orderly, practical organization of four specific practices: (1) fleeting glancing; (2) searching; (3) identifying; and (4) locating. In the examples, these ordinary human practices for achieving visual information are done while using the technology as a handheld ‘eye’. This research contributes to studies in visual impairment, visuospatial organization and the use of AI consumer products in a context of cultural practices for accomplishing the act of looking at and picking up grocery products. The article contributes new knowledge on visuality by expanding the concept of distributed perception and by suggesting a praxeological respecification of achieving visuospatial perception as an action in the world.

Twenty Years of Existence of Damar Kurung Gresik: Analysis Of Tajfel&Turner's Identity Theory

Damar Kurung is a Gresik Visual cultural heritage popularised by Masmundari since it was raised by cultural experts and exhibited in national galleries. In 2017, Damar Kurung was officially recognised by the government as an intangible visual culture. This will allow the research to study Damar Kurung further, which is now used as one of Gersik's cultural identities. The research method used is a case study that focuses on journal outputs and social media track records as the primary data and an interview method to confirm the analysis results; the research object is a journal with the theme of Damar Kurung from 2004-2024. The theory used in dissecting the data is the Tajfel and Turner identity theory, studied from the employer branding perspective. This research will find cultural value for psychological, functional, and economic benefits. In addition, it also explains how commodities help to raise their self-esteem. The usefulness of the commodity to the environment. Community acceptance in the damar kurung and the last. Moreover, the evaluation of the group tries to determine and use it as a reference material for other groups, specifically through social comparisons in the form of attribute values or characteristics. This research will improve understanding of how cultural heritage can be preserved and promoted as an important part of regional identity.

A Book Review of Lissette Lopez Szwydky and Glenn Jellenik’s Edited Collection Adaptation Before Cinema: Literary and Visual Convergence from Antiquity Through the Nineteenth Century

Adaptation Before Cinema: Literary and Visual Convergence from Antiquity Through the Nineteenth Century is one of the latest additions to the Palgrave Studies in Adaptation and Visual Culture, an outstanding series dedicated to exploring new ways of reflecting on the dialogue between adaptation and visual culture. With an underlying impulse to obliterate the unidirectional perception of adaptation as a derivative version of a source text, the series encompasses a broad range of media as symbolic spaces of multiplicity that generate connections and continuities between all forms of texts and narratives. Adaptations are treated as “complexly multiple” texts that are connected to “other pervasive plural forms” such as “sequels, series, genres, trilogies, authorial oeuvres, appropriations, remakes, reboots, cycles and franchises” (Szwydky & Jellenik, 2023, blurb). As such, the books published in this series offer a rich and thought-provoking ground not only for scholars of adaptation studies but also for scholars of literary studies, cultural studies and film studies who seek fresh perspectives and like to think outside the box.

The Digital Afterlives of Dambudzo Marechera

Abstract Dambudzo Marechera who died in 1987 remains a fascinating phenomenon in African literary culture. He is very much alive in the visual culture in which he circulates digitally. He is at once posthumous, multiple, and contemporary. Even though Marechera did not live to see the 21st century, he left versions of himself that remain both relevant and resonant. This paper considers the various ways Marechera’s digital afterlives manifest and force us to interrogate the intersections of life, death, personal data and human autonomy and presents a critique of unethical digital resurrection. Who does digital Marechera belong to?

All Aboard the Nascopie: Image-Making, Colonial Modernity, and Coastal Memory in the Canadian Eastern Arctic

Between 1912 and 1947, when it sank, the icebreaker the RMS Nascopie, a British-made vessel commissioned by the HBC to be used as a supply ship, serviced the eastern Canadian Arctic. For an eight-year period during this time it also counted tourists among its passengers, alongside HBC personnel, missionaries, medical practitioners, scientists, and government officials. Life aboard the ship, wildlife, sea ice, inclement weather, and Inuit were all documented in the reports, written diaries, and visual records that emanated from the Nascopie as it operated under the many, often contradictory, guises of icebreaker, supply vessel, cruise ship, and sovereign symbol. Looking across photography, painting, and printmaking during the 1930s through to the present day, I consider the Nascopie as an anchor between the visual arts and the coastal landscape. Here, I position Inuit and non-Inuit perceptions of cultural and environmental change and continuity along Canada’s coastline within the transformative effect of colonial modernity. Image-making, notably photography and painting, aboard the Nascopie sought to reproduce the Canadian Arctic as an object of collective history and national identity. Confronting the often-anonymous Inuit and Arctic environments throughout the photography and painting of Lorene Squire and F.H. Varley, I identify how the Nascopie, as a colonial actor in the local landscape, persists in contemporary Inuit visual and cultural memory, most notably in the work of Shuvinai Ashoona. By untangling the inter-media and multi-temporal role of the Nascopie across past and present image cultures, I explore the intertwined narratives of coastal history, visual culture, and colonial modernity in the eastern Canadian Arctic.