The visual culture of rationalization in the modern 20th century enterprise

2006 ◽  
Vol 44 (3) ◽  
pp. 5
Author(s):  
Jakob Tanner
Keyword(s):  
Visual Culture ◽  
20Th Century

scholarly journals Kaplice grobowe a współczesna kultura wizualne

Artifex Novus ◽  
2020 ◽  
pp. 80-97
Author(s):  
Bartłomiej Gutowski
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
The Other ◽  
Sensory Stimuli ◽  
Other Hand ◽  
Transcendent Experience ◽  
The One ◽  
Formal Solutions

Można wskazać wiele czynników determinujących formy grobowców wznoszonych na cmentarzach w drugiej połowie XX w. Po pierwsze, jest to specyfika miejsca silnie nacechowanego religijnym i duchowym kontekstem a zarazem świeckimi wpływami i ideami.  Po drugie, są nimi kulturowe i – dość często – historyczne uwarunkowania. W przypadku kaplic grobowych dominującą tendencją jest neomodernizm. Charakterystyczne jest poszukiwanie wzajemnych relacji pomiędzy przestrzenią, światłem, materiałem – współoddziaływania kształtów i symboliki, sprzyjającego indywidualnej kontemplacji. Wyraźnie czytelne jest dążenie do dematerializacji i podwójnego kodowania. Z jednej strony, zewnętrzny, fizyczny blok; z drugiej – jego wnętrze nakierowane na pozazmysłowe doświadczenie. Otwarcie na czysto zmysłowe bodźce, które wzmacniają odczuwanie doświadczenia „innego”. Przywołane w artykule obiekty odznaczają się oryginalnością form i – w pewnym stopniu – różnorodnością materiałów. Jednakże, o ile formalne rozwiązania odbiegają od siebie nawzajem, o tyle w zasadzie zauważamy wspólne dążenie do kreowania form, które pomagają nadać doświadczeniu śmierci indywidualny charakter. Tomb-Chapel and Contemporary Visual Culture Undoubtedly, there are numerous factors determining the forms of located at cementeries tombs built in the second half of the 20th century. Firstly, it is the specificity of the place strongly affected by the religious and spiritual context but also by atheistic concepts. Secondly, we encounter cultural – and quite often – historical conditions. In the case of tombs, the dominant tendencies are close to neomodernism. What is characteristic is the search for the interplay of space, lighting, materials and reflections – the interplay fostering individual contemplation with its shape and symbolic. The striving for dematerialization and double-coding is very clear. On the one hand, an external, physical block; on the other hand – its interior directed towards the transcendent experience. Open to purely sensory stimuli which strengthen the feeling of experiencing “the other”. The mentioned examples are characterized by originality of the form and – to some extend – diversity of materials. Insofar as, however, the formal solutions considerably differ from each other, we principally observe the pursuit of creating forms that help individualize the experience of death.

Information Visualization and Interface Culture

2011 ◽  
pp. 196-212
Author(s):  
Greg J. Smith
Keyword(s):  
User Interface ◽  
Visual Culture ◽  
20Th Century ◽  
Information Visualization ◽  
Graphical User Interface ◽  
Information Design ◽  
History Of ◽  
Information Aesthetics ◽  
History And Theory

This text seeks to contextualize the history of and discourse surrounding information visualization. It positions visualization in relation to broader 20th century visual culture and addresses the evolution of the interface as a ubiquitous tool and the aesthetics for understanding the organization of information. A timeline of precursors to the Graphical User Interface (GUI) is developed and a survey of recent related history and theory is conducted to deliver additional perspectives on information aesthetics. The text concludes with a brief survey of several recent visualization projects to illustrate the variety of fields being engaged and enriched by contemporary information design.

scholarly journals Unfolding Margaret Maclean's Orihon-Format scrapbook in the Royal Ontario Museum Collection: a focus on context, preservation and access

2021 ◽  
Author(s):  
Celio Humberto Barreto Ramos
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
Management Strategies ◽  
Editorial Process ◽  
Museum Collection ◽  
Japanese History ◽  
Collections Management ◽  
Large Format ◽  
Royal Ontario Museum ◽  
Item Level

My thesis comprises the analysis, cataloguing and preservation of Canadian author and educator Margaret MacLean’s Japan Scrapbook at The Royal Ontario Museum. This project uses collections management strategies to describe the scrapbook at the item-level, catalog 597 printed photographs and images for upload to The Museum System database (TMS); attempts to decode the author’s compilation and editorial process and finally, make recommendations for suitable handling procedures for access and physical preservation. The objects are affixed onto a large-format, traditional, Japanese, accordion-bound, album-style book called orihon. Together they capture a moment in Japanese history and visual culture in the first decade of the 20th century, and foreshadow MacLean’s 1920s education work at The ROM. The scrapbook was compiled sometime between 1904 and 1928, using materials ranging from about 1880 to 1915, illustrating the 1904 to 1908 period when Margaret Maclean and her father resided in Yokohama, Japan.

Past

2019 ◽  
pp. 221-260
Author(s):  
Renee Hobbs ◽  
Liz Deslauriers ◽  
Pam Steager
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
Academic Libraries ◽  
Public Libraries ◽  
Negative Influence ◽  
Educational Film ◽  
Film And Television ◽  
Rapid Changes ◽  
The Times ◽  
Media And Technology

The use of film in public libraries has a long history nearly as old as the medium itself—a past we must consider in order to help us better imagine the future of film and media in school, public, and academic libraries. Libraries constantly reinvent themselves to align with the times. Amid ever-rapid changes in media and technology, looking to the past offers steadying perspective. During the 20th century, as television and film rose in popularity and significance, librarians and educators gradually adapted to society’s shift from a print to a visual culture and recognized that audiovisual media, including radio, film, and television, could promote learning. In the early 1900s, film programs were already being used to promote the library as well as generate interest in books. Public libraries were also experiencing reform as they shifted from primarily serving academics to catering to the needs and interests of the general public. During the same time, debate over the positive and negative influence of the moving image and effects of screens was already underway. Gradually over decades, movies have found their place in library collections, from the documentary-style educational film to blockbusters on VHS tape. And as the popular format for film and media shifts to digital, librarians are faced with the tasks of preservation and digitization of physical collections.

Nature and Culture in Digital Media Landscapes

2021 ◽  
pp. 35-54
Author(s):  
Tiago Cruz ◽  
Fernando Paulino ◽  
Mirian Tavares
Keyword(s):  
Visual Culture ◽  
Digital Media ◽  
20Th Century ◽  
Industrial Revolution ◽  
Point Of View ◽  
Social Semiotics ◽  
Media Art ◽  
Nature And Culture ◽  
Artistic Work ◽  
The Way

The landscape genre in art is something that has not been explored until today, despite being a dominant genre until the 20th century. During the industrial revolution, in the context of cinema, photography, and other media, this genre continues its strong presence. However, it is not so clear what happens with the advent of digital media. In this context, the authors contextualize landscape, having visual culture and social semiotics as their point of view, and present a set of digital media-art artefacts that are taken as references to the way the topic has been approached and explored and where digital media assume themselves as tools and products in the construction and presentation of the artistic work. The objective will be to expose how the concept of landscape evolves, and it is presented in the scope of digital media-art.

`Vulnerable to the Eye'

2003 ◽  
Vol 36 (1) ◽  
pp. 145-155 ◽  
Author(s):  
Robert Plant
Keyword(s):  
Fixed Point ◽  
Visual Culture ◽  
20Th Century ◽  
Group Analysis ◽  
Western World

This article focuses on the importance of the foundation matrix for group analysis by considering shifts in the visual culture of the Western world since the beginning of the 20th century. The author explores the influence that these shifts have had on the development and practice of group analysis; in particular; by linking the development of group analysis with the move away from the single fixed-point perspective style of painting which dominated Western visual culture starting from the Renaissance until the advent of Cubism.

Jabra, Jabra Ibrahim (1920–1994)

2018 ◽  
Author(s):  
Sonja Mejcher-Atassi
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
Significant Contribution ◽  
Modern Art ◽  
Founding Member ◽  
Cultural Life ◽  
Literary Writing

Born in Bethlehem, Palestine, in 1920, Jabra Ibrahim Jabra was a distinguished intellectual whose literary writing, translation, and criticism played an important role in Arab cultural life in the second half of the 20th century. A painter, art critic, and founding member of the Baghdad Group for Modern Art in 1951 (together with the Iraqi artists Jewad Selim and Shakir Hassan Al Said), Jabra’s most significant contribution to modern art was perhaps his writings as an art critic, particularly his publications JawadSalimwa-nasb al-hurriyya (JewadSelim and the Monument of Freedom, Baghdad, 1974) and al-Fann al-‘iraqi al-muasir (Iraqi Art Today, Baghdad, 1970), with which he introduced modern art in Iraq to a broader public. Jabra also wrote about his first encounters with art, and more broadly about visual culture, in his autobiography al-Bi’r al-ula (The First Well, 1987).

scholarly journals Universal Constructivism and Politics: Torres-García in Conversation with Siqueiros

2014 ◽  
Vol 5 (1) ◽  
Author(s):  
Gianmarco Visconti
Keyword(s):  
Cultural Identity ◽  
Visual Culture ◽  
20Th Century ◽  
Latin American ◽  
Visual Language ◽  
The Creation ◽  
The Difference

This essay seeks to extend the discussion of 20th-century Modernism in a Latin American context by juxtaposing the work of Uruguay's Joaquín Torres-García with the radical leftist politics of the Mexican Muralist movement. As part of this argument, the difference between textual and visual language is discussed as well as the role of monuments in the creation of history and cultural identity. Finally, it concludes with a brief talk on the visual culture of Fascist Italy and the issue of mapping as it pertains to nationalistic sentiment.

scholarly journals Hermaphroditism and intersexuality in Portuguese medical photograph

2017 ◽  
Vol 32 ◽  
pp. 81-100
Author(s):  
António Fernando Cascais
Keyword(s):  
Sexual Dimorphism ◽  
Visual Culture ◽  
20Th Century ◽  
Medical Clinic ◽  
Photographic Recording ◽  
Original Diagnosis ◽  
Culture Of Medicine ◽  
Photographic Images ◽  
Medical Photography ◽  
Strict Compliance

The interest harboured by the Visual Culture of Medicine in photographic images of hermaphrodites dates back in Portugal to the birth of medical photography, with the photographic recording of a case of male hermaphroditism, that was studied in 1864 by Carlos Miguel Augusto May Figueira (1829-1913) at the Medical Clinic Service of the S. José Hospital, only four years after the publication of the seminal work on this topic by Félix Nadar. This 1864 study is one of the founding elements of a Portuguese scientia sexualis in the wider context of modern sexology, as described by Michel Foucault, that evolved in Portugal between the mid-19th century and the 1930s-1940s. The thematic lineage of research into hermaphroditism and intersexuality, initiated by May Figueira was subsequently pursued by Portuguese clinicians and medical scientists from the first decade of the 20th century up until the 1940s. The ultimate goal of the medical photographic recording of hermaphrodites was to pave the way to surgical correction, in strict compliance with binary sexual dimorphism that the original diagnosis never dared to question.

scholarly journals Metaescenografías pintadas = Painted Meta-scenographies

2019 ◽  
pp. 77
Author(s):  
Carmen González-Román
Keyword(s):  
Visual Culture ◽  
20Th Century ◽  
Italian Renaissance ◽  
Siglo Xx

La vista urbana en perspectiva ilusionista es un motivo iconográfico procedente de la cultura visual del Renacimiento italiano, momento en el que fue utilizado tanto en el teatro como en la pintura. Este artículo estudia la influencia y pervivencia de esta iconografía en la pintura occidental y pone en evidencia, particularmente, los casos de metaescenografías. Se plantea una reflexión sobre los usos de dicho motivo, en especial, su empleo como recurso metaartístico, sus variantes, así como su temporalidad. A partir de ahí, se analizan algunos ejemplos de las vanguardias artísticas del siglo XX donde esta iconografía reaparece, bien constatando la supervivencia de la visión euclidiana o adquiriendo el significado de metaescenografías pintadas.AbstractThe urban view in an illusionist perspective is an iconographic motif from the visual culture of the Italian Renaissance, at which time it was used both in theatre and in painting. This article studies the influence and survival of this iconography in Western painting and highlights, in particular, cases of meta-scenographies. A reflection is raised on the uses of this motif, especially its use as a meta-artistic resource, its variants, as well as its temporality. From there, some examples of 20th century artistic avant-gardes where this iconography reappears are analyzed, either confirming the survival of the Euclidean vision or acquiring the meaning of painted meta-scenographies.

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