4. Calm Images: The Invisible Visual Culture of Digital Image Distribution

2021 ◽  
pp. 73-86
Author(s):  
Simon Rothöhler
Keyword(s):  
Visual Culture ◽  
Digital Image ◽  
Image Distribution ◽  
The Invisible

The Power of Symbolism in Byzantine Art

1998 ◽  
pp. 152-157
Author(s):  
Isabelle Sabau
Keyword(s):  
Visual Culture ◽  
Eastern Orthodox ◽  
Christian Faith ◽  
Orthodox Church ◽  
Byzantine Art ◽  
Church Decoration ◽  
The Invisible ◽  
Eastern Orthodox Church

Our deeply visual culture today shows the fascination humanity has with the power of images. This paper intends to discuss the use and importance of images within the context of Byzantine art. The works produced in the service of the Eastern Orthodox Church still employed today, show a remarkable synthesis of doctrine, theology and aesthetics. The rigid program of Church decoration was meant as a didactic element to accompany the liturgy. The majesty of the images bespeaks of the Glory of God and the spiritual realities of the Christian faith. The images were intended to educated and provide contemplation of the invisible realm of the spirit. Byzantine aesthetics, therefore, is thoroughly in the service of theology.

Picturing the Invisible

2015 ◽  
Vol 27 (4-5) ◽  
pp. 333-360 ◽  
Author(s):  
Birgit Meyer
Keyword(s):  
Visual Culture ◽  
Lived Experience ◽  
Central Point ◽  
Critical Study ◽  
New Methods ◽  
Multi Media ◽  
Southern Ghana ◽  
The Invisible

An understanding of religion as a practice of mediation has great potential to open up new methods and theories for a critical study of religion. Leading beyond the privileged medium of the text, this understanding approaches religion as a multi-media phenomenon that mobilizes the full sensorium. The central point of this article is that forms of visual culture are a prime medium of religion, and studying them offers deep insights into the genesis of worlds of lived experience. Pictorial media streamline and sustain religious notions of the visible and the invisible and involve embodied practices of seeing that shape what and how people see. Discussing the implications of the “pictorial turn” for the study of religion, I argue that a more synthesized approach is needed that draws these fields together. The methodological and theoretical implications of this approach are exemplified by turning to my research on video and representations of the “spiritual” in Southern Ghana.

scholarly journals Digital Image Distribution

1999 ◽  
Vol 5 (10) ◽  
Author(s):  
Howard Besser
Keyword(s):  
Digital Image ◽  
Image Distribution

Network access to visual information: a study of costs and uses

2000 ◽  
Vol 25 (2) ◽  
pp. 5-9
Author(s):  
Howard Besser
Keyword(s):  
Digital Image ◽  
Visual Information ◽  
Large Scale ◽  
Network Access ◽  
Image Distribution ◽  
Educational Site ◽  
Digital Delivery

This paper summarizes a subset of the findings of a study of digital image distribution which focused on the Museum Educational Site Licensing Project (MESL) - the first large-scale multi-institutional project to explore digital delivery of art images and accompanying text/metadata from disparate sources. This Mellon Foundation sponsored study evaluated the costs, infrastructure, and efforts involved in implementing the MESL project, as well as user reaction to functionality. The study also examined costs of running analog slide libraries and compared these to costs and functionality associated with digital image distribution.

Without a blink: Machine ways of seeing in contemporary visual culture

2020 ◽  
Vol 11 (1) ◽  
pp. 103-107
Author(s):  
Diğdem Sezen
Keyword(s):  
Artificial Intelligence ◽  
Social Media ◽  
Visual Culture ◽  
Digital Image ◽  
Medical Diagnosis ◽  
Wide Spectrum ◽  
Lessons Learned ◽  
Human Vision ◽  
Technological Advances ◽  
Image Production

In the last decade following the technological and commercial advances in digital image production and in artificial intelligence, human vision-centred understanding of visuality has changed profoundly. Machine vision technologies (MVTs) are used across a wide spectrum of activities ranging from surveillance to medical diagnosis, to adaptive visual filters on social media. This commentary calls for a rethinking of visuality that takes both technological advances and lessons learned from cultural studies into consideration.

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