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Copyright of Journal of Media & Cultural Studies is the property of Journal of Media & Cultural Studies 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.)

Fashion is a concept that is also a product of visual culture and takes its source from visual culture, is intertwined with the life of the individual, and appears in different aspects of the changing processes of time, to create aesthetic and comfortable forms of human life. While the rather wide range of fashion brings diversity to fashion education, the production of fashion products in aesthetic forms has led to the necessity of art education, and the production of fashion products with the right methods has led to the necessity of technical education. Fashion design education is a form of design education in which artistic and vocational technical education is taught to the student through blending them correctly. Besides, vocational and technical courses; art education, which is taught in fashion design education with the basic education logic is the result of the multi-directional education approach provided to the fashion design student. Art education-based courses, especially taught in the first years develop the student's creativity, originality, aesthetic point of view and aesthetic expression style. Drawing (Figure Drawing), which is one of the most important of these lessons, is a basic course that teaches the student to see and perceive and to express what they can see and perceive in an aesthetic way. Thanks to this course, the student, who gains observation and shaping skills through developing aesthetic sensitivity will receive basic artistic training for the fashion design program designed to dress the human body aesthetically and functionally. In this article, which was investigated on this perceived need, the importance, position, process and content of the Drawing (Figure Drawing) course for the fashion design program were examined and the opinions and expectations of Selcuk University fashion design students about the course were tried to be set forth. The position and content of the Drawing (Figure Drawing) course in the fashion design program were tried to be determined in the Bologna programs found on the university websites and the course information packages in the program. Descriptive analysis was used in the study conducted with the literature research and qualitative research method, and semi-structured questions were used in the interviews with the purposeful sample group. In the purposefully selected sample group in the study, some students are admitted by the Talent Exam, and some are admitted by the Central Examination System. In particular, students studying in different periods and groups were reached. With this approach, the unbiased opinions of the students who came to the department by drawing before and the students who did not know about drawing before university were collected and compared by descriptive analysis. When the departments of fashion design and textile and fashion design at the undergraduate education level in Turkey are examined, it is seen that these departments accept students with a special talent exam based on the Pattern (Figure Drawing) course and training, which is a necessary education, or with a central examination system that includes completely general theoretical courses or portfolio examinations. According to the findings obtained from the interviews in the study, almost all of the students who were admitted both to the talent exam and the central examination system considered the Drawing (Figure Drawing) course quite necessary for their education. Considering their success status, it was understood from their statements that the students who took the talent exam were more successful. It was determined that the students who took the central exam drew more still-life, lifeless models such as lifeless mannequins and tors due to their lack of pre-qualification and readiness. While the students who took the talent exam expressed their opinions on more advanced subjects, such as drawing faster and drawing what they imagined, the students who took the central examination system. The students who took the central exam reported that they would like to draw more different things, that they would like to be told more about drawing knowledge at the beginning of the course, and that they would like the instructor to be more interested, to give information frequently, and to warn and correct mistakes. Their common answers can be regarded as being able to draw more live models, providing models from outside, improving the workshop environment, using different environments, enriching the materials, drawing more fabrics, and enriching the content. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Akdeniz Sanat is the property of Akdeniz University, Faculty of Fine Arts 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.)

This research aims to examine how visual culture images are reflected in the students' artistic works through Van Gogh's "Bedroom", which secondary school 7th grade students consider as a visual culture image. This research is an art-based qualitative research. The study group consisted of 7th grade students studying in a medium-sized secondary school in the Eastern Anatolia Region in the 2022-2023 Academic Year. This research was created from a worksheet consisting of five questions as a data collection tool and artistic products related to the process. The first data were collected with a worksheet. Then, the students were asked: "If you were the artist of this work, how would you create it?" Based on the question, pictures were made and then the second data of the research was obtained. At the end of the process, the students' ideas about their own drawings were added to the worksheet. Descriptive analysis, which is a qualitative data analysis, was used to analyze the research data. As a result of the research, it is seen that the students mostly adhere to the environment and social culture in which they live in their artistic works, and some students want to give some messages with their paintings in order to reflect the events they experience. It was observed that the students successfully reflected the compositions they created with their own visual culture images in the context of color, shape and composition elements. As a result of the positive feedback received from the school principal, teachers and students where the study was conducted, it is recommended that our visual arts teachers be informed about visual culture and that more visual culture practices be implemented in visual arts classes. [ABSTRACT FROM AUTHOR]

Earthquake is one of the most common natural disasters around the world and can cause loss of life and property. In this case, posters are needed as a mass communication tool within the scope of social awareness. Earthquake awareness posters are the posters prepared to inform the public in case of disaster and to show ways and methods of protection. These posters contain information such as what to do before, during and after the earthquake, precautions to be taken and emergency contact numbers. In this article, the communication role of posters is examined within the scope of visual culture. The connection analysis on the earthquake posters the information included in the posters and the design language displayed for the perception of this information are evaluated in terms of communication. The starting point of the study is the earthquake that hit 11 provinces in Turkey on February 6, 2023. In order to provide a theoretical basis for the scope of the study, the literature review method, which has an important role in social science studies, is used. The data required to achieve the purpose determined in the research are obtained by scanning the literature and combining the obtained information by the researchers. In the research, it is concluded that making earthquake awareness posters only on anniversaries or on certain dates related to the subject is not sufficient to raise public awareness, and that designs for these and similar issues should be enriched in all areas of life within the scope of lifelong education philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & 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.)

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts 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.)

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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.)

Copyright of Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals 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.)

In mythological periods, many gods are highlighted with their physical characteristics, as we can see from paintings and sculptures. The strong, strong and large structures of the gods in the physical context strengthen their representation on earth. This situation, which is shaped by the physical patterns of mythological gods, is continued by emphasizing the advertisements that form a column of the culture industry with the "male body image" today. In a context parallel to the mythological gods, in today's advertisements, the "male body image" is emphasized in visual forms and brought to the fore with its physical characteristics (width, height, muscular, strong, large structure, etc.). The culture industry is effective in the increase in advertisements based on physical appearance for the male body image, and this also determines the gender boundaries. For this reason, the main question of the study is how the image of the male body is constructed through the culture industry today. The sub-questions of the study are; "with which mythological expressions the image of the male body was constructed from the mythological period to the present; Answers were sought to the questions of how the image of the male body is constructed today and what kind of similarities and differences exist when the mythological periods and the male body image produced today are compared. In addition, in the study, Bartes' semiotic analysis method was used by scanning the images of certain advertisements that highlight the male body suitable for the purpose of the research. [ABSTRACT FROM AUTHOR]

This article analyzes the Minimalism in the social life of Sarıkeçili Nomads under the influence of Western society, which is popular as a Minimalist lifestyle. It also emphasizes the relationship of Sarıkeçili Nomads, who live in the southern regions of Turkey, with the philosophy of Minimalism. Sarıkeçili Nomads have adopted a simple lifestyle as a nomadic community for centuries, making principles such as simplicity and functionality the basic elements of their daily lives. The nomadic lifestyle they have chosen can be passed on to future generations by ensuring the continuity of traditions, customs, and culture. In this article, the aim is to prepare a short documentary film and create documentation by recording the lifestyle and culture of Sarıkeçili Nomads, reinterpreting it according to today's documentary elements. Initially, a literature review was conducted, and the regions where Sarıkeçilis live were determined. Then, the necessary equipment, team, and resources were provided, and fieldwork commenced. Documentary filming was conducted, and simultaneously, fieldwork was carried out to observe the life and cultural style in the regions where Sarıkeçili Nomads reside. The article aims to visually convey the life of Sarıkeçili Nomads and the philosophy of Minimalism to the audience, illustrating their beauty. y combining the power of visual expression with literary content, it attempts to reveal how Minimalism can be realized in harmony with natural life, offering deep meaning and peace to individuals. [ABSTRACT FROM AUTHOR]

The fact that wrestling is a popular sport in the world turns national or international tournaments into visual feasts. Today, wrestling sportswear designs are a part of this feast. Innovative designs make important contributions to both visuality and cultures with the use of local fabrics in these clothes. In this study, wrestling jerseys were produced for female wrestlers by using kutnu fabrics produced specifically for Gaziantep region. Various patterns were designed for these women's wrestling leotards and these patterns were transferred to the fabric with digital printing technique. A design selected from 6 different women's wrestling jerseys designed within the scope of the study was produced. Thus, in the field of fashion and textile design, it is aimed to blend local fabrics with wrestling, our Turkish ancestor sport, and to create a new value in this field. With this study, it is aimed to popularize the use of local fabrics in clothing in sports branches and to contribute to the oblivion of our traditional arts. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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.)

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research 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.)

Copyright of Moment Journal: Journal of Cultural Studies is the property of Moment Journal: Journal of Cultural Studies 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.)

Copyright of Turkish Studies - Social Sciences is the property of Electronic Turkish Studies 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.)

In this study, the links between the intellectual background that creates technological progress and tools and the visual culture that dominates today’s world are examined and the relation of this relationship with the loss of privacy we experience is tried to be revealed. Like all human productions, technology is an ideological phenomenon that bears traces of the view on human, nature and life. Technological tools, connected with various economic and social interests, are at the center of ethical discussions as well as transforming ways of thinking and living. In contrast to a more cautious and slow-developing technology understanding in pre-industrial societies, in harmony with the rhythm and ideals of life, technological progress in modern culture has become the essence that governs attitudes and understandings about life itself. Modern technology, which does not recognize any traditional, moral or religious boundaries, has created a culture of thinking and understanding that centers visuality as a mediator of various political and economic power processes. This new culture, where seeing and being seen is blessed, brought about the disregard of the principles of privacy that governed life in pre-industrial societies, and many details about the private sphere began to be exposed to satisfy various psychological desires or to obtain economic benefits. While new communication technologies encourage surveillance, individuals take away their control over these tools in exchange for spesfic pleasures, and privacy becomes a victim of power and consumption. [ABSTRACT FROM AUTHOR]

Copyright of Mimarlık is the property of Chamber of Architects in Turkey 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 is a translation from English of the scientific work of the Turkish historian Nikole Kançal Ferrari: “An Italian Renaissance Gate for the Khan: Visual culture in Early Modern Crimea”. The article deals with the issue of foundation and identification of the author of the Iron Door (Demir Kapu) project in Backchisarai. The article also considers the question of the original location and date of installation of the project. This is rather difficult task due to the intensive restoration works and replacement of many decayed decorative components of the portal. The accurate analysis of the original appearance of the monument is almost impossible. In this regard, the analysis and research of the other sources is carried out except for the gates of the Topkapi Palace in Istanbul and the surviving inscriptions of the Crimean Khanate.

The visual culture and artistic accumulation that societies have been developing since the past is reflected in the works done in different fields. In the production of comics, basic features such as character design and color applications sometimes vary between cultures. Therefore, although the artist who produces the comic determines the visual basic features of a comic, the culture of the cartoonist is effective in the development of his style. Comics are produced in many parts of the world. Different design approaches and styles in comics may vary from region to region in terms of geography. In addition to the "comics" in the USA or the Japanese "manga", the form of comics produced by French-speaking countries is one of the important schools today. The Franco-Belgian comic style has a deep-rooted historical development process back to pre-printing times. There is important information to support this proposition. Therefore, in the article, the historical development process of the comics in France was explained in basic terms, the effect of the historical development of the French-Belgian comics on the linear language, character designs and subject selection in the context of style was examined with examples, and information was given about its place in popular culture. [ABSTRACT FROM AUTHOR]

The adventure of cinema that started with the Lumiere Brothers continues to be discussed with the changes it has experienced over time and the new meanings attributed to seeing. One of these discussions is about how reality in cinema can be evaluated through the actions of "looking" and "seeing". The new perspective that entered our lives with the camera, the effort to see and make sense has evolved into many different dimensions by mechanizing cinema. Russian Director Dziga Vertov, who stated that cinema is an artificial world presented to people through script, fiction and narrative techniques, opposed this by giving a new and realistic perspective with the sine-eye, which he explained in his published manifestos. This study evaluates the concepts of mechanization, gazing and reality in cinema through the position of the camera that changes with Vertov's perspective in order to look, see and make sense of it in visual culture. The study focuses on the interpretation of seeing and looking from Vertov's point of view by examining the film of the Man With A Movie Camera. [ABSTRACT FROM AUTHOR]

The working class in Turkey lives its most active period in and around the foundation of Workers’ Party of Turkey (TİP). In the journal of Sosyal Adalet, which is the own publication of the party, TİP visualizes its political discourse and identity with the support of artists, and gives coverage to the illustrations and works of photography by artists such as Abidin Dino and Fikret Otyam. In the same years, Nedim Günsür in his paintings, and Halit Refiğ, Ertem Göreç and Atıf Yılmaz in their films handle themes on labour. It is in the 1970s when the working class and its problems find a wider place in visual culture, and it is with the establishment of the Visual Artists Association when artists alongwith the working class begin to express their demands and expectations more clearly. In these years Yüksel Arslan renders Karl Marx’s Das Kapital, whereas the worker statues by Muzaffer Ertoran and Mehmet Aksoy get attacked, and the labour matters are adopted by the Turkish artists living abroad as well. On the other hand, compared to the previous ten years, the number of films dealing with the problems of workers increase in number, movies on the subject are directed by Lütfi Ö. Akad, Tunç Okan and Yavuz Özkan. In the present study, how the working class, emerged as an important motif in visual culture between 1960 and 1980, is handled and interpreted in painting, illustration, graphic design, sculpture and cinema will be examined in the axis of the political and social dynamics of the period in question. [ABSTRACT FROM AUTHOR]

While human beings maintain their daily lives with the knowledge they have obtained through their senses, on the other hand, they contribute to the formation of a social culture with this knowledge. Along with the fact that communication is a simple action that enables people to establish relationships among themselves, the realization of communication with the help of technological tools within the historical process, and the use of many different ways of communication are also included in these cultural processes. The data flow, which gained speed along with the invention of mass media in the nineteenth century, carried these tools to an important point in social life. Their informative, communicative and entertaining functions for the society further increased the effects of these tools. In particular, these tools play a major role in their description as the twenty-first century's communication age, information age, show age. These tools also enabled the emergence of new ways of seeing and the transformation of visual culture into global culture along with the increasing use of visuals. In this study, the use of visual as a way of communication was discussed through visual culture theory. For this purpose, it was attempted to investigate how a culture was created through the ways visuals are used especially in visual-based mass media. It was emphasized that visuals strengthen expression and communication and also guides the perspectives of societies and people. In this study, whose literature was reviewed, it was pointed out that the visuals affect the audience's mental world and is of importance in the establishment of communication, and it was focused on the role of mass media in this process. [ABSTRACT FROM AUTHOR]

This study aims to examine the development and implementation of social network-based visual culture activities in the workshop courses that are part of the curricula in fine arts high schools. In their visual culture activities, students of fine arts high schools have used social media and social networks as examples of web 2.0 technologies. Social networks allow people from different communities to come together and communicate. Communication technologies such as social networks and internet subject people to a communicative and visual bombardment. Given that visual cultures in contemporary society are spread mostly via media products, there is a need to approach and consider visual culture in terms of its connection with media products. In this context, visual arts activities that aim to improve the critical thinking skills of students, to associate their visual literacy skills with their technological literacy skills in this technological age, and to support their visual awareness were utilized. The study focused on “The Garden of Earthly Delights” of Hieronymus Bosch, and required the students to complete a collage piece entitled “The Garden of Earthly Delights Today” in three weeks by associating the original work with the present day. The social network-based visual culture activity for the study was implemented within the Two-Dimensional Art Workshop (2DAW) course, and made use of a participatory action research design. Nine 11th grade students from a fine arts high school participated in the study, for which data was collected from the researcher notes, researcher diaries, student diaries, semi-structured interviews and documents. A content analysis was used in the analysis of the data, and the study findings showed that, thanks to the utilization of visual culture activities based in critical pedagogy, the students acquired a critical perspective and were able to criticize these activities in their environments on the basis of society, religion, race, gender and power. Based on the findings of the study, it is recommended that visual culture education in fine arts high schools incorporate activities that allow students to express themselves, to engage in critical questioning and to draw upon their own life experiences.

There are many unknowns in our national graphic design history. In particular, local craftsmen constitute a significant and essential part of this unknown. In the pre-computer era of graphic design, commercial art products, illustrations, and sign lettering in locals can quickly disappear because they are not recorded in the rapid transformation process of cities. However, these products, made by craftsmen who call themselves painter and can be regarded as pioneers of contemporary graphic design, are examples of our disappearing cultural heritage, and they shape our visual memory for many years; the region needs to have specific features and reflect the visual culture of the area. Founded in 1916 to promote agricultural production in Adapazarı, Turkish Agricultural Equipment Corporation Inc., also known as a car factory, affects the history of the city’s graphic design in the coming years. A commercial painter Numan Balıca who was a competent practitioner of folk art, invited from Bursa to illustrate the horse carriages produced in the corporation, spends a lifetime contributing to the city’s visual culture with both himself and his apprentices. In this way, Balıca, who undertakes the task of an educator without any formal education and trains dozens of apprentices throughout his professional life, plays a role in the history of the city’s graphic design and visual culture. The apprentices he trains are not only illustrators, but also they did the lettering on nameplates, shop signs, window signages, building signs. When the computer enters the graphic design production process, they become active in the field of advertising. With Balıca, his apprentices, and those trained by his apprentices, the knowledge transmission between generations can be seen and documented in the case of Adapazarı. Numan Balıca, who worked in Adapazarı from 1949 until the year of his death in 1976, trained firstly his sons Münir Balıca, Mesut Balıca and then Şevki Akarca, Necati Hüdaverdi, Mustafa Karapınar, Erol Nurcan, Enver Ertaban. Alaaddin Kolçak, who made a name with his mastery in illustration and sign painting after Balıca, leads to Kabil Aslan, Rüstem Arslan, Hüsmen Arslan, Ali Uzavcı, Mehmet Yılmaz and Recep Bahar. On the other hand, Mesut Balıca, one of the sons of Balıca, raised Veysel Önder, Cihat Önder, Nejdet Hız, Tuncay Dinçer, Lütfi Sezgin and Murat Sarıçiçek, who still maintain advertising companies in Adapazarı. Thus, the article presents the data and findings necessary for the craftsmen to take their place in the history of local illustration, graphic design and advertising. It started with illustration and evolved into contemporary graphic design products. This study aims to record these craftsmen who produce products that shape visual culture and visual memory in terms of their strong relations with the local population and contribute to the cultural, ethnographic, and folkloric research carried out in the following years. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts 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 subject of this work is Christen Købke, who gained fame with his paintings in Denmark's Golden Age and acquired the identity of Denmark's national artist. The Golden Age covers the period from the early 1800s to 1850s in Denmark's cultural life, and art and culture gain importance in this period. Traditionally it is linked to the Danish Golden Age, painter Eckersberg and landscape painting. Historically, the Danish Golden Age, during the Napoleonic wars, with the British bombardment of Copenhagen in 1807.In the artistic context, it begins with the innovative views of Christoffer Wilhelm Eckersberg in 1815. Art has developed based on concepts such as poverty and war in daily life. The artists have created irresistible images that invite the viewer to dream but are impressed by details that seem almost unreal.In this study, the prominent pictures of Christen Købke were selected and analyzed iconographically. The visual culture of the Danish Golden Age is addressed with a focus on Christen Købke's works. In order to fully define this period in European history, the place of Købke's works in the visual culture of the Danish Golden Age and its interaction with the European painting art of the 19th century were emphasized in our study. [ABSTRACT FROM AUTHOR]

Thinking about the social meanings of images and visuals arising from the public and accepting them as objects of ethnographic knowledge provides a rich framework for understanding culture. In this context, graffiti and street art are worth considering both as a cultural unit with its own folklore and in terms of its relationship with social institutions. Graffiti as a form of cultural expression was born in New York in the 1960s as a way of proclaiming the existence of youth who were deprived of opportunities in cities. Urban traces that started in ghetto neighborhoods and trains started to gain visibility in many cities of the world in the 1980s and it has reached today by establishing various partnerships with the dominant culture. Parallel to this, it has moved away from its subcultural nature; "art" feature has become prominent. It can be said that this practice, which transforms daily life with creativity with its unique procedures and tactics experiences a kind of "taming" and popularization and cooperation with art galleries, museums, municipalities and various organizations has increased. In this context, the aim of the study is to understand how the relevant cultural area is experienced in Athens, the capital of Greece, the reflections of change and the dynamics in production. Media attention on the density of the urban traces in the region, academic studies demonstrating the effect of growing political and economic crisis after 2008 on the increase of production in graffiti and street art, the neighborhood Exarchia which is the central location of historical and political movements with its walls covered with graffiti and street art are the reasons why Athens was chosen for this study. Within the framework of the sample of the study, an ethnographic method has been adopted and in-depth interviews and natural observations were conducted with 15 graffiti and street artists living in Athens. In the field research it was found that Athens graffiti and street art exhibits a hybrid character in terms of production methods and motivations; the socio-economic structure dominates the agenda of this cultural expression field and there is a trend towards "public recognition" in the social sphere in the transformation of graffiti into street art. While each of the actors in the field strives to create and compete their unique style with different motivations, on the other hand, their styles become an element of consumption culture and are integrated into the market. However, this situation indicates that the rules of the game have changed, not that the unique style and culture of the group in question have come to an end. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University 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 aim of the study was to examine the Generation M’s opinions, motivations and approaches on online belief practices within the frame of modern visual cultural and media. How the Internet and social media in the modern visual culture affect the online belief practices of Generation M as the main problem was addressed in the study. Accordingly, how young Muslims especially Generation M express themselves and their beliefs through the Internet and social media, and how symbolic sources of media space are associated with the meanings and practices of belief, spirituality, religion and transcendentality were discussed. The qualitative narrative analysis method was used to interpret the first-hand narratives about Generation M’s perceptions and experiences. Semi-structured interview data collection techniques as well as a cyberethnographic observation as a supportive element were used and the questionnaire was answered by 20 participants who were selected through purposive typical case and snowball sampling technique. In conclusion, it has been revealed that the Internet and social media which can be described as value-laden tools due to both their cultural determinations and technical features has a significant effect on the formation of young Muslims’ online belief practices. It can be stated that this effect has a secularizing feature since it subjects the content/principle of religious-like practices to the secular (secularizing) nature of modern visual culture. This indicates that although a part of the online belief practices of young Muslims presents a religious image, it may be inherent to a secular understanding. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Travel & Tourism Research is the property of Journal of Travel & Tourism Research 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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Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) 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.)

Copyright of Culture & Communication / Kültür ve İletişim is the property of Imge Publishing House 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.)

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, 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.)

This study aims to examine the development and implementation of social network-based visual culture activities in the workshop courses that are part of the curricula in fine arts high schools. In their visual culture activities, students of fine arts high schools have used social media and social networks as examples of web 2.0 technologies. Social networks allow people from different communities to come together and communicate. Communication technologies such as social networks and internet subject people to a communicative and visual bombardment. Given that visual cultures in contemporary society are spread mostly via media products, there is a need to approach and consider visual culture in terms of its connection with media products. In this context, visual arts activities that aim to improve the critical thinking skills of students, to associate their visual literacy skills with their technological literacy skills in this technological age, and to support their visual awareness were utilized. The study focused on “The Garden of Earthly Delights” of Hieronymus Bosch, and required the students to complete a collage piece entitled “The Garden of Earthly Delights Today” in three weeks by associating the original work with the present day. The social network-based visual culture activity for the study was implemented within the Two-Dimensional Art Workshop (2DAW) course, and made use of a participatory action research design. Nine 11th grade students from a fine arts high school participated in the study, for which data was collected from the researcher notes, researcher diaries, student diaries, semi-structured interviews and documents. A content analysis was used in the analysis of the data, and the study findings showed that, thanks to the utilization of visual culture activities based in critical pedagogy, the students acquired a critical perspective and were able to criticize these activities in their environments on the basis of society, religion, race, gender and power. Based on the findings of the study, it is recommended that visual culture education in fine arts high schools incorporate activities that allow students to express themselves, to engage in critical questioning and to draw upon their own life experiences.

Copyright of Global Media Journal: Turkish Edition is the property of Global Media Journal, Turkish Edition 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.)

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & 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.)

Since its beginnings, after caves were covered with paintings that were the extension of the mind, architecture has always been a scaled representation of the perceived and experienced earth world and universe. The aim of the present study was to determine parallel developments between imaging technologies that have made the living inner worlds in medicine seen just like the eye's extension television glasses which made it possible to watch the conquest of the Moon live and their natural extension, visual culture and the architecture, which have been made visible to distant geographies by the same technological developments. Buildings such as the TWA Flight Center, the Space Needle, Centre Georges Pompidou, AT&T, and 1111 Lincoln Road were investigated through purposive sampling in the present study. The starting point was 1962, when relevant imaging technologies came to the fore. The aforementioned buildings, along with the Tours Aillaud and Les Espaces d'Abraxas, all reflecting different architectural styles from Expressionism, International Style and Brutalism towards Postmodernism came to the fore. And, via the relevant mass media archeological site's finding context, the stratification processes of the shift from alphabet culture towards the image culture, which is synchronously transforming the architecture, thanks to the imaging technologies, are to be fixed.

Copyright of Erzincan University Journal of Education Faculty / Erzincan Üniversitesi Egitim Fakültesi Dergisi is the property of Erzincan University Faculty of Education Journal 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.)

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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.)

This article mentions 1939 Erzincan Earthquake, the largest earthquake in the history of Turkey, with reference to archival documents and the news in the press. The article handles Erzincan Earthquake in three ways: firstly, social dimensions of the earthquake are discussed in consideration of the interviews given by the disaster victims, the information and reports given from the area by the journalists and government officials. Secondly, the decisions and the developments on reducing the damages of the earthquake are conveyed. Finally, how disaster, visual culture and power relations developed and how the earthquake monument and social memory were constructed in visual culture are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Social Research / Turkiye Sosyal Arastirmalar Dergisi is the property of Turkish Journal of Social Research 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.)

In this research, on the basis of the educational experiences of the candidate teachers who had art teaching, the evaluation of their observations in terms of visual culture related to the city where they live in is carried out. The research is limited with the views of candidate teachers of Art Teaching at Ömer Halisdemir (Niğde) University Faculty of Education, Department of Fine Arts Education. 25 people, consisting of fourth-year students who had art teaching and aware of visual culture consciousness, comprising the 2014-2015 academic year, constitute the working group. The study is a case study, which is one of the qualitative research methods. An interview form consisting of open-ended questions is applied. The obtained data are classified according to their themes and codes by content analysis and tabulated. As a result, positive and negative examples of visual culture are identified with the viewpoint of students who have aesthetic sensitivity and it is submitted as a suggestion that they can be done to correct the elements, which are considered as negative. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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.)

Recently visual literacy gains importance in the context of understanding the rising visual culture products, thinking about them and producing these products. The purpose of this article examines the concept of visual literacy that is the relationship with visual culture depending on the literature. Visual literacy is one of the multiple literatures that emerge from the development of information and information dissemination forms. Visual literacy is an interdisciplinary concept and associated with some areas, such as graphic design, visual arts, architectural engineering, industrial product design, visual communication and media literacy. Visual culture covers every human product, so visual products that we face in everyday life and visual realities with abundant alternatives constitute our daily life itself. Sometimes, this confusing visual understanding creates a gap between contemporary cultural richness and what can be observed. [ABSTRACT FROM AUTHOR]