Taking the Lid off the Utah Teapot

Der Beitrag stellt die These auf, dass der Einfluss digitaler Bilder auf visuelle Kultur nur verstanden werden kann, wenn die spezifische Materialität dieser Artefakte bedacht wird. Anhand einer Analyse des berühmten Utah teapot werden fünf materiale Schichten unterschieden, darunter Herstellung, Codierung, forensische und epistemische Materialität, sowie der Begriff der Trans-Materialität. Jede Schicht wird in Beziehung zu theoretischen Konzepten von Materialität in Medienwissenschaften, Kunstgeschichte, Computerwissenschaft und Anthropologie diskutiert. </br></br>This article argues that the impact of digital images on visual culture can only be understood if the specific materiality of these artefacts is taken into account. An analysis of the famous distinguishes five material layers, including making, coding, forensic and epistemic materiality, as well as the notion of trans-materiality. Each layer is developed in relation to theoretical concepts of materiality in media studies, art history, computer science, and anthropology.

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Parallax Error: The Aesthetics of Image Censorshipe

Membrana Journal of Photography - Augmented ◽

10.47659/m3.074.art ◽

2017 ◽

pp. 74-81

Author(s):

Ronnie Close

Keyword(s):

Visual Culture ◽

Art History ◽

Arab World ◽

The Political ◽

Photographic Images ◽

Original Photograph ◽

The Impact ◽

Image Collection ◽

Visual Cultures ◽

Image Object

Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation

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The Visual Turn in Sport History

10.1093/oxfordhb/9780199858910.013.35 ◽

2017 ◽

Author(s):

Mike O’Mahony

Keyword(s):

Visual Culture ◽

Media Studies ◽

Art History ◽

Academic Disciplines ◽

Sport History ◽

Wide Range ◽

Film And Media Studies ◽

Visual Artifacts ◽

Complex Forms ◽

Visual Materials

The representation of sport in visual culture has generated a valuable research resource that, until recently, has been underutilized and undertheorized. Recent interventions, drawing on developments within other academic disciplines including art history, film, and media studies have, however, opened up opportunities for sport historians to engage with a wide range of sport-related visual artifacts. This chapter offers insights into how sport historians can effectively engage with this wide range of visual material. It deploys specific case studies to reveal potential opportunities and strategies to enable sport historians to treat visual materials as complex forms of documentation that can thus enhance an engagement with the complexities of sport’s past and present. It also reflects on how the recent expansion of the sport museum as a repository for, and means of displaying, this material provides a context for the future expansion of sport history studies into the field of visual culture.

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Hearing the pain of others: Engineering affect and empathy through the soundscapes of This Song is For... (2019) and Love Story (2017)

Image & Text ◽

10.17159/2617-3255/2020/n34a9 ◽

2020 ◽

Author(s):

Jenni Lauwrens

Keyword(s):

Sexual Abuse ◽

Mass Media ◽

Visual Culture ◽

Media Studies ◽

Art History ◽

Visual Art ◽

Theoretical Framework ◽

Love Story ◽

Theoretical Perspectives ◽

The Mass Media

While there is a solid and growing literature on audiences' affective and empathie responses to visual art, visual culture, and the mass media more generally, less attention has been given to how voice might play a central role in such experiences. In this article I explore two artworks that utilised voice to solicit particular responses from their audiences. The artworks, This Song is For ... (2019) by Gabrielle Goliath and Love Story (2017) by Candice Breitz, are analysed here through the lenses of affect and empathy, particularly as they intersect with voice studies. I begin by problematising these concepts and exploring the ways in which they have been theorised in art history, cultural and media studies, philosophy, and psychology. A careful negotiation between these theoretical perspectives allows me to construct a theoretical framework through which to analyse the intensely overwhelming responses the artworks elicited by paying particular attention to the effects of their soundscapes. I conclude that through the clever choreography of voice and image, both artworks constructed and manipulated their audiences in significant ways. By inviting their audiences on a critical journey, an encounter with these artworks may have led to a profoundly transformed understanding of the experiences of people who have suffered as a result of sexual abuse and various other traumas, such as oppression and displacement.

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Badania nad wizualnością w perspektywie multidyscyplinarnej. Kwestionariusz Kultury Wizualnej

Kultura i Spoleczenstwo ◽

10.35757/kis.2009.53.4.1 ◽

2009 ◽

Vol 53 (4) ◽

pp. 3-55

Author(s):

Maciej Frąckowiak ◽

Łukasz Rogowski

Keyword(s):

Cultural Studies ◽

Visual Culture ◽

Media Studies ◽

Art History ◽

Film Studies ◽

Scientific Project

The Kwestionariusz Kultury Wizualnej (Polish Visual Culture Questionnaire) is a nation-wide scientiﬁc project. Over forty Polish researchers and artists, representing the fields of sociology, anthropology, cultural studies, film studies, philosophy, photography, media studies and art history, were asked to answer two questions: what is visual culture?; whether it is worthy of study and how and why? This article contains the project’s assumptions and answers to the above questions.

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Teaching Archaeology in VR

Handbook of Research on Teaching With Virtual Environments and AI - Advances in Educational Technologies and Instructional Design ◽

10.4018/978-1-7998-7638-0.ch022 ◽

2021 ◽

pp. 518-538

Author(s):

Nevio Danelon ◽

Maurizio Forte

Keyword(s):

Virtual Reality ◽

Computer Science ◽

Art History ◽

Digital Humanities ◽

Research Unit ◽

Visual Media ◽

Experimental Teaching ◽

Art And Culture ◽

Duke University ◽

The Impact

The authors discuss their experience at Duke University and, more specifically, at the Dig@Lab, a core research unit of the CMAC (Computational Media Art and Culture) program in the Department of Art, Art History, and Visual Studies. This community of scholars and students represents a new branch of experimental teaching in digital humanities with the participation of students and faculty from the humanities, engineering, computer science, neuroscience, and visual media. In particular, the Dig@Lab studies the impact of virtual reality in cyberarchaeology and virtual museums.

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M.A.D.: Media Art Database(s) and the Challenges of Taste, Evaluation and Appraisal

Leonardo ◽

10.1162/leon.2009.42.3.245 ◽

2009 ◽

Vol 42 (3) ◽

pp. 245-250

Author(s):

Slavko Kacunko

Keyword(s):

Information System ◽

Computer Science ◽

Media Studies ◽

Art History ◽

Motive Force ◽

Network Interface ◽

Media Art ◽

Bottom Up ◽

Taste Evaluation ◽

History And Theory

This essay seeks to delineate the possible mutual benefits that different disciplines such as art history, media studies, computer science, etc. might derive from their specific efforts at formulating requirements and strategies for the appraisal of records and data as well as scientific and other concepts related to media art in its widest sense. In this context, the author presents the M.A.D. Media Art Database project as an information system at the disposal of media art and its history and theory, and as a network interface between archived material and knowledge. With its bottom-up structure, the M.A.D. database is proposed as a decisive motive force in assembling potent aggregates of knowledge and expertise.

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Evaluating the Impact of Adaptive Parsons Problems on Students in Introductory Computer Science Courses

Proceedings of the 51st ACM Technical Symposium on Computer Science Education ◽

10.1145/3328778.3372640 ◽

2020 ◽

Author(s):

Mansi Shah ◽

Daniel D. Garcia

Keyword(s):

Computer Science ◽

Science Courses ◽

Computer Science Courses ◽

Introductory Computer Science ◽

The Impact

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After Luther: Visual Culture, Materiality and the Legacy of 1517

The Journal of Ecclesiastical History ◽

10.1017/s0022046920002614 ◽

2021 ◽

pp. 1-6

Author(s):

JENNIFER SPINKS

Keyword(s):

Visual Culture ◽

Early Modern ◽

Public Engagement ◽

Religious Identity ◽

Visual Images ◽

Important Work ◽

Religious Identities ◽

Public Activity ◽

Material Turn ◽

The Impact

Do historians look at Luther and the Lutheran Reformation differently in the aftermath of the Lutherjahr of 2017, and its frenzy of academic and public activity? As recent publications on Luther demonstrate – notably Lyndal Roper's 2016 biography Martin Luther: renegade and prophet – there is a still a great deal to say about Luther, and how his friendships, passions, prejudices and physical experiences shaped him. But while Luther was the monumental public figure of 2017, some of the most important work coinciding with the anniversary addressed instead Lutheranism as a movement, and the nature of religious identities in Luther's aftermath. It also demonstrated and furthered the impact of the visual and material turn in history and in Reformation studies. Building upon decades of scholarship on Lutheran visual images, recent Reformation scholarship has demonstrated in increasing depth how religious identity can and should be read through both material and visual culture. The three publications examined here – a monograph by Bridget Heal, a website by Brian Cummings, Ceri Law, Bronwyn Wallace and Alexandra Walsham, and the exhibition catalogue Luther! 95 treasures – 95 people – contribute to the material, sensory turn in Reformation and early modern scholarship, and in the latter two cases also reveal the impact of this upon public engagement with Reformation histories.

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