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Drawing from decolonial theories, I explore the history of art education in the Dominican Republic in the first half of the 20th century. I examine how racial hierarchies were activated in art classes in school through the romanticization of the countryside and the mystification of children's material culture. A distorted use of rural imagery served to advance the elite's narrative of White Dominican identity and to normalize a racial imaginary that negated the country's African heritage. I analyze how national and global discourses that coupled modernity with Whiteness encouraged aesthetic preferences that permeated children's visual culture and national art. I contend that, because children's art and play conjure images of innocence, the exhibition of children's material culture was utilized to naturalize the absence of a Black heritage. This article builds on recent scholarship that underscores the need to diversify art education histories. [ABSTRACT FROM AUTHOR]

The author explores the use of advanced digital technology, such as generative artificial intelligence (AI), by art and media educators in teaching visual culture. Topics discussed include the importance of critical thinking in using digital technology in promoting civic engagement in students, and the need for art and media educators to consider the impact of AI on existing inequities and discriminations.

The author reflects on visual culture and the importance of teaching art through a lens of visual culture. Topics discussed include the importance of art education, the relationship between the image and producer, the challenges posed by artificial intelligence to visual culture, and the need for art teachers to consider students' personal, social and cultural histories when teaching through a visual culture lens.

Copyright of Treaties & Documents / Razprave in Gradivo is the property of Institut za Narodnostna Vprasanja and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article introduces visual analyses by art teachers of lesbian, gay, bisexual, transgender, queer, Intersex, Asexual, Two Spirit (LGBTQIA2S+) representations in Disney animations as a teaching tool for enhancing critical visual literacy. Topics discussed include role of child-oriented media in understanding power dynamics within visual culture, concept of intersectionality, and representation of LGBTQIA2S+ characters in "Moana," "Zootopia," "Coco," "Encanto" and "Raya and the Last Dragon."

This article examines the social practices and material culture surrounding the consumption of chocolate in eighteenth-century Spain, through the practice of dipping bizcochos (sponge biscuits). Yet dipping biscuits into chocolate appears ubiquitously in early modern textual and visual sources, this custom has been mostly overlooked by historians. By focusing on the materiality of chocolate consumption, this study offers another example of a more complicated and nuanced story of 'the civilising process' and manners in the eighteenth century. An examination of underexplored visual, textual and material evidence allows us to further our understanding of how the introduction of chocolate had a profound impact on Spanish economies, culture and society. Overall, the focus on bizcochos (and dipping) opens a window to explore broader cultural phenomena regarding sociability, table manners, and gender relations in the Spanish Enlightenment. [ABSTRACT FROM AUTHOR]

Copyright of Frontiers: The Interdisciplinary Journal of Study Abroad is the property of Frontiers Journal, Inc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Diasporic food cultures enter dominant societies through a variety of manners and spaces, in homes, at food fairs, restaurants, through cookbooks, in supermarkets, but also in visual media. This special section investigates how the representations of diasporic food cultures in popular television and film mediate a variety of food traditions which negotiate and challenge dominant societal assumptions about the present, the past and the future of food and eating, and their complex relationships to race, class, gender, identity and the environment. The contributions to the issue note how the meeting of various diasporic culinary traditions and the often already transcultural host food traditions marks the start of new, feminist, decolonial food cultures, identities and futures, which raise critical questions about our food culture. This investigation of the representation of diasporic food cultures not only reveals the continuing transmutation of food cultures but more importantly the transformation of culture as such, within an increasingly polarized, uneven and fortified world where the dominant food system contributes to a social and ecological breakdown. [ABSTRACT FROM AUTHOR]

Tourism in national parks is on the rise and contributes to shaping notions of the non-human world (often depicted as 'nature'). One country that is currently facing a shift towards an enhanced emphasis on tourism in its national parks is Sweden. This article aims to unravel, illuminate, and problematize ways of seeing the non-human world in tourists' Instagram posts about Swedish national parks, and also to consider the productive effects these might have on the relationship between humans and the non-human world. In a discursive and visual cultural analysis, representations of the non-human world, how they are situated in historically inherited ways of seeing, and what implications they might have for how humans approach and understand the non-human world are traced and reflected upon. These representations construct ways of seeing the non-human world as a sublime, desolate, and physically challenging treasury of unique character. In this way, a romantic tourist gaze is constructed, which approaches the national parks as isolated enclaves and commodified havens that offer tourists an escape from humanity, grand views, and seclusion. The main implication of this tourist gaze is a sustaining of the approach to the human world and the non-human world as separated. [ABSTRACT FROM AUTHOR]

In this essay Vilém Flusser outlines a liberating approach to aesthetic education that overcomes the disintegration of culture exemplified by the disastrous tripartition of science, politics, and art. Flusser views this tripartition as an inevitable consequence of the unmanageable quantity of information available to modern humans that prevents them from participating completely and acquiring true competence in culture. The response to these overwhelming quantities of information is a turn to specialization. Flusser contrasts this current state of culture with the imagined unity of the Stone Age before the dissolution of a unified culture. As part of his solution to this dilemma, Flusser rejects the view that knowledge of every aspect of culture must be the prerequisite for competence with culture. He posits instead that the task of future education will be to train students to access, connect, and manipulate the information that modern technologies allow us to store. In this way the goal of school will be to train generalists, not specialists. Knowledge transfer is out. These generalists are quasi artists who participate actively in the growth of culture. Flusser evokes an original meaning of art from before the tripartition, art as method, in this case a method that facilitates communication between different subcultures and generates new information from what our technologies have stored. [ABSTRACT FROM AUTHOR]

An analysis of watercolours from Michel van Meeyer's «Friends' Album» reveals the unique characteristics of the work and its relevance to source criticism. The study suggests that van Meeyer might not have directly witnessed the events he depicted. The album's role before becoming a primary source demonstrates a fascinating blend of visual and textual cultures in early modern Europe. Two watercolours portray James I in significant contexts: one shows him in the English Parliament, and the other depicts him among spectators at a rooster battle. These images provide insights into contemporary perceptions of James I and the interactions between the king and society. The purpose of this article is to analyze Michel van Meyer's friends' album, focusing on depictions of King James I Stuart (1603-1625) and royal authorities. It aims to examine the representation of power from the perspective of a traveller and compare it with the official image constructed by governmental institutions. In conclusion, at the presource stage, the album amicorum functioned much like modern social media, capturing life moments to share with family and friends. These «travel notes» were similar to contemporary photography, often signed and dated. The results of this analysis show that the albums provide insights into the perception of the king and its origins. Watercolours can be examined both as reflections of van Meyer's receptive attitudes and as sources of royal representation for acquaintances. This historical artifact actively participated in its time, rather than merely representing a tradition. In the watercolours, King James I is depicted as a proponent of chivalrous ideals, emphasizing his affiliation with the Order of the Garter and traditional equestrian portraits. Early Art England preserved representative strategies from the Tudor dynasty, such as the cult of St. George and the king's procession on St. George's Day. The king's title as a «blessed peacemaker», continuing the Elizabethan imperial tradition, is also maintained. The watercolour depicting a cockfight highlights the king's leisure activities and serves as a symbolic representation of social hierarchies. The originality of this analysis lies in its examination of Michael van Meyer's album as an object representing the image of King James I in society for the first time. [ABSTRACT FROM AUTHOR]

This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth's identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town's identities. The data shows that Google Images' preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan's (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images' representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town. [ABSTRACT FROM AUTHOR]

This article explores, through a case study of Jean–Pierre Alibert's (1820–1905) expedition in Siberia (1844–1857), the relationship established between Earth sciences, mining, and visual arts during the second half of the 19th century. Alibert was a French businessman who discovered an important deposit of graphite in Siberia. He then built a mine to exploit this material which was in high demand to produce pencils. When Alibert returned to Europe in 1857, he created an album of gouaches to commemorate his expedition, and he offered some sculptures composed of graphite and nephrite jade to important scientific institutions in Paris as trophies of the expedition. While a few written sources are available, I will directly question these visual and material sources to situate this case study within the context of its time, and of Earth sciences' progress and technical achievements, to shed light on the phenomena that characterized the quest for a renewed scientific visual language related to Earth sciences. [ABSTRACT FROM AUTHOR]

Stephanie Rains' book, "Advertising and Consumer Culture in Ireland, 1922-1962: Buy Irish," explores the ways in which consumer culture and advertising were embedded in everyday life and national culture in Ireland during this period. Rains argues that consumer culture reflected the cultural and political values, contradictions, and anxieties of the time. The book draws on a diverse range of sources, including radio transcripts, print advertising, newspapers, and magazines, to provide a comprehensive examination of the consumer landscape in Ireland. It also highlights the role of women in shaping consumer landscapes and navigating household expenditure. The book offers varied perspectives on different aspects of consumer culture, including home ownership, street advertising, and radio programming. While the visual material could have been better integrated into the text, the book is a valuable resource for researchers interested in the histories of urban space, gender, visual culture, modernity, and citizenship in Ireland and beyond. [Extracted from the article]

Visual language and culture are co-constitutive and constantly evolving. This transformation is more pronounced in the contemporary visual literacy landscape especially with widely used social media and more democratic technologies, such as smartphone cameras, which are used for myriad purposes and in diverse ways. These uses and purposes vary by culture and demographics but little is understood about how smartphone cameras shape contemporary Western ways of seeing: visual culture and literacy. Specifically, this study seeks to explore and identify how people living in Australia use their smartphone cameras to document their everyday lives. It also explores how these devices influence the participants' visual languages and literacies. To analyse these changes, this study adopts a two-method approach. First, 30 participants were recruited from three different age groups. These participants donated a consistent two weeks of the images on their camera rolls for analysis. These images were then subjected to an 11-variable analysis. Second, 23 participants followed through with an interview to contextualise their photographic behaviour and identify the aspects they perceive shape their ways of seeing. These two methods allow an understanding of who or what is photographed as well as how and why these participants made images in certain ways. [ABSTRACT FROM AUTHOR]

This article examines cartoons reflecting rural North China created by Chinese collaborationist artists during the Second Sino-Japanese War. I argue that these cartoons showcased a transition in the discourse of rural modernisation. I examine the image of Japanese-occupied rural North China from the perspectives of cultural history and visual culture studies. Analysing cartoons by northern Chinese collaborationist cartoonists, I delineate the transformation of the image of rural North China before and after 1937 and present the process in which rural North China was reconceptualised, reshaped, and visualised by pro-Japanese propaganda after 1937. [ABSTRACT FROM AUTHOR]

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Copyright of Tempo (1413-7704) is the property of Universidade Federal Fluminense, Departamento de Historia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Female donation and representation are an important part of Serbian medieval visual culture. This paper explores the donation and representation of queen and empress Jelena in Serbian visual culture. It points to the mechanisms of presence and visibility of Jelena in the life of medieval Serbia by way of her participation in political matters of the state, her participation in the creation of visual culture, donations she made as a female ruler along with her husband, her visual portraits in monumental fresco painting, as well as her erection of endowments during Emperor Dušan’s lifetime. [ABSTRACT FROM AUTHOR]

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Copyright of Revista de Estudos da Linguagem is the property of Revista de Estudos da Linguagem and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Specialists in the study of gender and sexuality in early modern northern art are clarifying--and resolving--problems of evidence and method to transform the field. This essay assesses contributions that bear on visual culture in the fifteenth and sixteenth centuries, primarily in the Netherlands, with attention to gender, intersectionality, queering, and trans theory. Of particular importance is the concept of "female agency," which assesses the exercise and limits of women's power under patriarchy. I break from convention by proposing a more flexible and inclusive model, termed "situational agency," which allows for greater variety and change in human experience and for variability in gender and power. Importantly, it resolves problems of context and periodization that have limited our understanding of early modern northern art. [ABSTRACT FROM AUTHOR]

Copyright of Dynamis is the property of Dynamis - Facultad de Medicina de la Universidad de Granada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the nineteenth century to the present, Indigenous periodicals have served as mediators for both complex citational practices and decolonial translations, as well as an important archive documenting and representing Indigenous people and issues. This special issue of the journal American Periodicals brings together scholars working on Indigenous periodicals to provide a glimpse into the vast array of Indigenous periodical writing as continuous repositories of Indigenous knowledge. The contributions highlighted in this special issue, emerging from an MLA roundtable session and a symposium on Indigenous print cultures, show that Indigenous periodicals serve as distinct material carriers of Indigenous information and visual-graphic spaces of communication, knowledge production, and community-building. They are complex media artifacts whose relation to the construction of sovereignty is articulated through periodicity, network, mediator, and archive. As special issue editors, we seek to broaden existing understandings of Indigenous textualities and interpretative traditions by offering a fresh approach to analyzing periodicals and the role they play in the expansion of Indigenous print, while also highlighting Indigenous periodicals' ongoing political and cultural work of sharing diverse viewpoints, expressing identity, establishing and participating in traditions, and asserting sovereignty. [ABSTRACT FROM AUTHOR]

Impressions of two necropolis seals have been found at Abydos that show a complete sequence of First Dynasty rulers from Narmer to Den and Narmer to Qa'a, respectively. On these seals, a tail-like appendage is attached to Narmer's name which is interpreted as a bull's tail. In this paper, this extraordinary writing is discussed in the context of royal representation and bovine symbolism, and also in regards to the posthumous reception of Narmer as a 'founding father'. It will be shown that during the reign of Den there was a fertile ground for innovations in general and, in particular, new visual representations. Finally, the writing of Narmer's name is addressed in the context of sealing practice. [ABSTRACT FROM AUTHOR]

Copyright of Ileti-s-im is the property of Universite Galatasaray, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Rickshaw art is considered a significant part of visual culture in Bangladesh. It is not only a form of art, but also a medium for circulating messages among the common people about social, cultural, religious, ethical, philosophical, and national issues. Rickshaw painters and pullers act as campaigners for social awareness. This study seeks to investigate people's thoughts about rickshaw art and its impact on society. It attempts to explain the images and messages painted on the back of rickshaws. Moreover, to illustrate the idea of this paper and evaluate the messages of rickshaw arts, multiple rickshaws from different cities in Bangladesh have been observed critically. Semi-structured interviews have been conducted to better comprehend the perspectives of rickshaw artists and rickshaw pullers. The major findings of the study suggest that rickshaws are very popular and that rickshaw art has changed substantially with the passage of time. Rickshaw artists possess some ideological and philosophical outlook for social transformation. In addition, the rickshaw pullers circulate the viewpoints of the painters in all corners of mega and small cities as well as villages in Bangladesh. [ABSTRACT FROM AUTHOR]

The article discusses anti-Asian racism teaching strategies that art educators may consider in art and visual culture education. Topics explored include the rise in racism experienced by Asians and Asian Americans due to the coronavirus disease 2019 (COVID-19) pandemic, the empowerment of students through engagement in art interventions against racism, and the creation of antiracist memes to reject race-related stereotypes online particularly on social media platforms.

In this article I propose a novel extension to landscape analysis through multidimensional understandings, including--yet reaching beyond--tangible and into more-than-representational understandings of landscape. This "transoptic" approach to landscape, breaking away from strictly searching for visual representations of culture, allows for sonic, experiential, and emotional layers of meaning embedded in landscapes to emerge from their plural cultural and historical contexts. Memory, and the production and experience of that memory in the landscape, benefit from this transoptic understanding. Utilizing memory work, which includes both memory production and consumption, in Wales as a case study, I employ a transoptic landscape analysis to approach multicultural understandings of Welsh history, memory, landscape, and identity in the National Wool Museum. Wales faces significant challenges as it navigates the rapidly shifting geopolitics of Europe, the United Kingdom, and its own histories and institutions. This demonstrated transoptic qualitative landscape method may be applied not only to Wales's complicated geographies but to those nations and peoples facing similar challenging memory work across Europe and the globe. Through an epistemology and methodology in which landscape is treated as transoptic and the appropriate mixed methods are deployed to explore multidimensional space and place, clearer contexts of embedded, perhaps even contested, meanings may emerge. [ABSTRACT FROM AUTHOR]

As the Chinese state ramps up its efforts in international narrative competitions, Chinese media master new genres and test different visual languages on global social media platforms. The diverse content they produce provides a new source of information about China's self-representations intended for foreigners and thus provides a condensed answer to one of the key questions of China's foreign policy: Who is China? It also responds to the question that many observers outside of China pose: What does China's rise mean for the rest of the world? To explain how Chinese state media use new mediums to (re)imagine China and narrate its relations with the world, this study focuses on the entertainment visual content they posted on YouTube between 2013 and 2019 to introduce and endorse Xi Jinping's Belt and Road initiative (BRI). Using a critical discursive methodology, it decodes text-visual frames created by Chinese media to bring to the fore components of BRI's discursive politics that are imperceptible in formal diplomatic communications. [ABSTRACT FROM AUTHOR]

The author discusses the Daily Life Object Project (DLOP) which she developed to demonstrate the connection and presence of art in the daily lives of students. Topics explored include the facilitation of DLOP in the course "Exploring Art and Visual Culture" that was offered to non-art-major undergraduate students, the exploration of various art forms through the framework of material culture, and the observed changes in the attitudes of students toward the artmaking process.

The present study aims to critically analyse political deepfakes using visual framing analysis (Coleman 2010). As a form of framing analysis, visual framing analysis relies on the understanding of visual framing as the selection of one view, scene, or angle (i.e. a frame) in order to make some aspects of a perceived reality more salient and therefore promote a particular "problem definition, casual interpretation, moral evaluation, and/or treatment recommendation" (Entman 1993: 52). I claim that visual framing analysis can be useful for the investigation of political deepfakes as sophisticated means of textual and visual disinformation which construct frames that encode ideologies. In other words, the study aims to unveil the means used by political deepfakes to build (fake) realities. The study addresses the following research questions: RQ1. What frames appear in political deepfakes? RQ2. How do visual and textual material construct the frames? RQ3. What are the social implications and political functions of these frames? To answer such questions, a qualitative analysis is conducted on a sample of five verified political deepfakes in English circulated through social media. The ultimate aim of the study is to shed some light on the role that political deepfakes play in our society and the representational strategies employed in the larger landscape of disinformation. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Children's growth has long been measured against the axis of time. Yet anthropometric indexes such as age for height measurements do not simply mark the passage of time and associated growth but themselves indicate "norms" that stand as markers of potential. Charting changing modes of representing the problem of children's growth over the 20th century and into the 21st, this paper attends to visual technologies that distribute potential unevenly around the world, asking what is at stake in making children's growth and development visible, and whose potential is affirmed in the process? [ABSTRACT FROM AUTHOR]

From the refined silk used to make japonse rokken to the coarse cotton laborers' shirts, textiles have long been critical indicators of rank and status in the visual culture of the early modern Dutch Republic and its global networks. And yet, due to the complexity of trade, the ways in which these textiles generated meanings is not easy to discern. With these concerns in mind, this essay debuts the preliminary findings of the Dutch Textile Trade Project (dutchtextiletrade.org), an ongoing, collaborative digital art history project that brings together four types of data (textual, material, visual, and quantitative) in an effort to advance the study of historical trade textiles and their social meanings. [ABSTRACT FROM AUTHOR]

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Eadweard Muybridge, whose studies of animals in motion precipitated the first motion pictures, has been associated with positivism, modernism, and masculinity. Late nineteenth-century spiritualism has been associated with mysticism, Victorianism, and femininity. These associations make the Kate and Robert Johnson Residential Photo Album, photographed by Muybridge, a compelling artifact. The album is an anomaly in both Muybridge's career and within spiritualism. Along with preserving images of the Johnsons' domestic space, it also features astonishing images that are the only known examples of spirit photography by Muybridge. Because the couple was alive and took turns posing as the spirits, these photographs are an anomaly within spiritualism as well since spirit photographs generally constituted proof of contact with the netherworld. As such, the artifact helps us reevaluate the relationship between nineteenth-century positivism and spiritualism and consider the aesthetic influence of the sitter Kate Johnson on the album's production. This article also places the album in the context of other visual culture phenomena, such as scrapbooking and album practices, as well as museum aesthetics. Finally, it considers narratives of gender, sexuality, and the nuclear family, within and beyond the album itself and the discourses surrounding spiritualism. [ABSTRACT FROM AUTHOR]

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The present article focuses on the agricultural knowledge preservation in the indigenous Adivasi (tribal) communities in India, and on the connection between nature, society and culture within these communities. Our research is a survey realized in four villages belonging to two districts of the Odisha State of India, Koraput and Rayagada, with an interest in understanding the indigenous agriculture practices, their connection to their local beliefs and festivals, and also the way this kind of knowledge reflects in the language and community life. In these districts, agriculture is the main source of income, as in most villages, the communities still forage, collecting plants from the nearby forests, and we were interested in how they recognize, collect and cook roots and tubers, while many Adivasis maintain a tradition of selling their produce (vegetables and fruit) in local markets. The methodology comprises field data collection (a field research journal, visual documentation), participative and non-participative observation, and knowledge sharing from the local people. [ABSTRACT FROM AUTHOR]

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Copyright of Studies on Art & Architecture / Kunstiteaduslikke Uurimusi is the property of Estonian Society of Art Historians and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the construction of luxury in digital visual culture. Topics discussed include the reliance of luxury brands on aesthetic representations and visual images that communicate experience and value of the item, the realms of luxury consisting of the real, imaginary and the luxury product, as well as the relationship between luxury items and luxury consumers, and the interplay between identity-building and methods of proliferation such as the use of digital technologies.