scholarly journals KAJIAN BUDAYA VISUAL DALAM ILMU KOMUNIKASI: POSISI DAN METODE PENELITIAN

2017 ◽  
pp. 195-206
Author(s):  
Adde Oriza Rio
Keyword(s):  
Visual Culture ◽  
Communication Technology ◽  
Visual Communication ◽  
Visual Image ◽  
The Other ◽  
Culture Studies ◽  
Visual Ability ◽  
Visual Culture Studies ◽  
Other Hand ◽  
Communication Practices

AbstractThe centrality of the eye and visual ability in the life of individuals and society has spawneda form of culture that is called as visual culture. Visual culture studies are a burgeoningarea of study that emphasizes the complex interrelationship between visual image, cultureand spectators of visual image. On the other hand, communication practices that utilizevisual messages as means of interaction are also increasingly prevalent as this is driven bythe development of visual and communication technology which allows peoples to producetheir own visual image as messages to communicate them. This article tries to discuss theposition of visual culture studies within the communication science and the researchmethods that can be used in the communication science to examine visual image, culture,and spectatorships.Keywords: Visual culture, Visual culture studies, Visual communication,Communication science, Visual methodologies.

Anything Goes with Wit and Ambiguity: Playfulness in Japanese Visual Culture

Design Issues ◽  
2020 ◽  
Vol 36 (2) ◽  
pp. 72-86
Author(s):  
Hung Ky Nguyen
Keyword(s):  
Visual Culture ◽  
Visual Communication ◽  
Cultural Influence ◽  
Ethnographic Study ◽  
The Other ◽  
Sense Of Humor ◽  
Visual Communication Design ◽  
Communication Design ◽  
Other Hand

Being witty and being culturally appreciated are two independent things in visual communication design. More often than not, on one hand, the Japanese sense of ‘playfulness’ is manifested in enigmatic images, which express intriguing aspects of Japanese psyche. On the other hand, the Western sense of humor is often light hearted, as its major aim is to raise a smile instead of ambiguity. This ethnographic study examines the essence, categories, and sentiment of playfulness in Japanese context. It also explores in detail the situations in which playfulness is used and, where permitted, how Japanese artists and designers come up with playful ideas and encode meaning in their works. The conclusion focuses on how the Japanese sense of playfulness has long been used to establish cultural influence, social voice, and individual distinction.

Introduction

2020 ◽  
pp. x-15
Author(s):  
Aga Skrodzka
Keyword(s):  
Visual Culture ◽  
Everyday Life ◽  
Social Transformation ◽  
Visual Communication ◽  
Political Action ◽  
Culture Studies ◽  
Visual Texts ◽  
Disciplinary Boundaries ◽  
Visual Culture Studies ◽  
Visual Cultures

The Oxford Handbook of Communist Visual Cultures expands and enriches the field of Visual Culture Studies primarily through its global scope—a result of the project’s focus on communist visual cultures, which brings together disparate and broadly understood visual texts, produced in different places and moments in time—nevertheless, texts connected by the mobilization of looking employed in processes of social transformation and political action. Interdisciplinary in method, the book allows the reader to think about visual culture beyond representation, as something embedded in everyday life, a rich fabric of visual communication with specific, collective and individual, sites of meaning. Ultimately, the coming together of different fields of visual culture in this book will facilitate a rethinking of the visual within particular disciplines, lifting the conceptual restrictions imposed by ideas related to taste, function, visibility, dissemination, and appropriation, which are used to stake out disciplinary boundaries.

Bodily Adornment and Modification in Byzantium

2021 ◽  
pp. 98-116
Author(s):  
Alicia Walker
Keyword(s):  
Visual Culture ◽  
Twelfth Century ◽  
Church And State ◽  
The Other ◽  
Material Sources ◽  
Other Hand ◽  
Byzantine Church ◽  
The One ◽  
And Control

Focusing on Early and Middle Byzantine (fourth-to-twelfth-century) objects, images, and texts, this essay explores the tension between, on the one hand, efforts of the Byzantine church and state to discourage and control bodily adornment and modification and, on the other hand, the extensive evidence of widespread and immoderate engagement with these practices. The enhancement and manipulation of Byzantine bodies is considered as both a real and a metaphoric phenomenon. Evidence culled from secular and sacred, written and material sources demonstrates the importance of bodily adornment and modification to our understanding of Byzantine material and visual culture.

scholarly journals A descriptive mode in art and the issue of a representation

2020 ◽  
pp. 11-17
Author(s):  
O. V. Bezzubova ◽  
Keyword(s):  
Visual Culture ◽  
Art History ◽  
American Art ◽  
Pictorial Representation ◽  
Research Approach ◽  
Work Of Art ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Wide Range ◽  
New Research

The predominant for XX century art studies tradition was seriously reconsidered during the 1970– 1980s during the so called «new art history» development, when many received concepts were called into question. A notion of descriptiv e mode of painting proposed by an American art historian S. Alpers is of great interest in this context because it allows us to revise the homogeneous development of European art. While elaborating the concept of descriptive mode of painting, Alpers took under consideration a wide range of historical and cultural sources thus contributed to the new research approach nowadays known under the title of visual culture studies. It is not less important that she also focused on the issue of pictorial representation, which inquires the essence of the work of art.

scholarly journals Terorisme dan Simalakama Media Massa

2020 ◽  
Vol 1 (2) ◽  
pp. 107-123
Author(s):  
Farid Pribadi
Keyword(s):  
Mass Media ◽  
Visual Image ◽  
Qualitative Approach ◽  
The Other ◽  
Symbolic Violence ◽  
Symbiotic Relationship ◽  
Combination Technique ◽  
Other Hand ◽  
Terrorist Acts ◽  
Relationship Of

This article discusses the symbiotic relationship of mutualism between mass media andterrorism. Whether we realize it or not, acts of terrorism in the homeland are still interestingand economically valuable news material in front of the mass media. On the other hand, onthe part of terrorists, the news about terrorist acts actually becomes a strategic campaignarea to show their existence. The research uses a qualitative approach to narrative analysismethod. The results of the study are www.okezone.com and www.tribunnews.com placingthe terror terror events in Medan Mapolrestabes as interesting and economically valuablenews material. The style of the news flow is arranged with a choice of tense, dramatic andsensational nuances of words. In addition, the display of photo and video illustrationsshortly after the explosion also aims to display as if the news of the explosion event is true,not engineering, objective and valid. The combination technique of choice of words, storyline, placement techniques and the size of photos and videos all aim to make the emotions ofthe reader participate dissolved in a tense situation as the situation at the scene of theexplosion. The practice of compiling this kind of news flow is called, as Jean Baudrillard'spractice of simulation. The practice of simulation through the practice of compiling newslines and the touch of visual image technology will eventually create conditions ofhyperreality. Namely the conditions between reality will be mixed with the pseudo so it isdifficult to distinguish which is original and fake. Next, the airing of a list of victims ofunknown origin will actually give birth, as Pierre Bourdie calls it symbolic violence. That is,the practice of violent symbols aimed no longer at the physical target but rather consciousthoughts. Symbolic violence in the appearance of the victim list really has the potential tocreate traumatic feelings towards the families of the victims.

scholarly journals Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn

2019 ◽  
pp. 5-23
Author(s):  
Charolotta Krispinsson
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Scientific Discipline ◽  
Self Control ◽  
Simple Fact ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Art Historians ◽  
History Of ◽  
Material Turn

Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 

Visualizing Literacy: Images, Media, and Method

2017 ◽  
Vol 25 (3) ◽  
pp. 293-319 ◽  
Author(s):  
Ryan P. Bonfiglio
Keyword(s):  
Visual Culture ◽  
Visual Literacy ◽  
Biblical Interpretation ◽  
Ancient World ◽  
Culture Studies ◽  
Ample Evidence ◽  
Near Eastern ◽  
Visual Culture Studies ◽  
Design And Implementation ◽  
Media Research

While biblical scholars have long been interested in questions about textual literacy in the ancient world, relatively little attention has been given to the concept of visual literacy – that is, the extent to which images were produced and read as a type of language. The following article introduces this concept as it has been developed in recent work in visual culture studies and then offers a series of probes that attempt to assess the prominence of visual literacy in the ancient Near Eastern world. Though it is not possible to arrive at a precise rate of visual literacy, there is ample evidence to suggest that those who produced/commissioned art were highly concerned about questions regarding the readability of their materials and often privileged artistic motifs over epigraphic content in the design and implementation of certain mixed-media artifacts. These lines of evidence suggest that images functioned as a prominent vehicle of communication in the ancient world alongside, and sometimes in place of, text-based media. Research on visual literacy not only sheds new light on the ancient media contexts of the biblical world but also offers a more explicit rationale for how and why ancient images should be used in biblical interpretation today.


Photography’s Aura

2018 ◽  
Author(s):  
Hikari Hori
Keyword(s):  
Mass Media ◽  
Visual Culture ◽  
Public Institutions ◽  
The Other ◽  
Other Hand ◽  
The Media ◽  
Imperial Citizenship ◽  
Extreme Care ◽  
Viewing Practices

It is impossible to understand the media-scape of Japan from the 1920s through 1945 without analyzing the implications of representations of the emperor as well as the effects of state-led- and voluntary self-censorship on their production and reception. The emperor’s portrait photograph (goshin’ei) was too sacred to gaze upon, and citizens and soldiers even died to protect it. It was preserved with extreme care in public institutions and battleships. On the other hand, paradoxically, Hirohito was the first emperor whose public appearances were covered by multiple mass media, ranging from personalized collectible postcards to newsreels, which were readily available for viewers’ scrutiny. These contradictory viewing practices, one prohibited and another accessible, disrupted the visual culture of emperor-centered disciplined and nationalized imperial citizenship. (122 words)

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