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El presente trabajo reflexiona sobre el papel de la imagen de consumo durante la formación inicial de educadoras. Rescatamos los resultados de una serie de prácticas de creación visual desarrolladas por el alumnado, y elaboradas a partir de la representación de lo corpóreo en contextos de comunicación publicitaria. Analizamos estas producciones desde el marco teórico de los nuevos materialismos, llevando a cabo una lectura difractiva de sus producciones visuales. Nos valemos de conceptos como el de “desgarro” para leer y seguir ampliando los sentidos sobre la subjetividad de las futuras educadoras, cuestionando el contexto, lo conceptual y la hiperrealidad de la imagen de consumo. Se muestran resultados de producciones visuales que dialogan con dichas imágenes, potenciando así la agencia de las futuras educadoras como productoras de imaginarios críticos con los discursos publicitarios. Entendemos necesario continuar reflexionando durante la formación inicial sobre los regímenes políticos de lo visual, su influencia en la construcción de significados, así como en la propia tarea pedagógica. Favorecer espacios de pensamiento en torno a la imagen que permitan cuestionar aquellas producciones visuales vinculadas al cuerpo, alejándonos así de la posición de consumidores de cultura visual para pasar a convertirnos en productores que representan aquellas realidades aún sin imágenes.

During the pandemic, arts disciplines had to seek new paths for creation to continue visual skills development outside the studio. ICTs offer a natural tool set for individual and collaborative work and sharing online. 3D design and the development of digital creativity can represent new directions for Hungarian art education and its major discipline called Visual Culture. With this tool, visual art education can proceed on the bumpy road to teach the visual language of the 21st century. Certainly, technological focus is not the only option for progress in art education. Nevertheless, if we look for possible directions for renewal, we cannot ignore the use of software products that support visual creativity,and are becoming more and more easily available, simpler and free of charge. This paper focuses on the pedagogical possibilities of 3D printing. We present an experimental program with secondary school students aged 16 years, that started and ended face-to-face and was partly realised online. As the project manifests a creative synergy of Visual Culture and Information Technology disciplines that may be of interest for art and ICT educators as well.

"The aim of this paper is to highlight and briefly discuss some of the most problematic terms and concepts that recur in art historiography: for example, the words Byzantine, post-Byzantine, Eastern, Western and Local. These concepts are used in a misleading way not only by American and Western European authors, but also by Eastern and South-Eastern European ones: in fact, the “Balkan” art historiography based itself on the Western-European one, adopting its periodisation, terminology and interpretative framework, which led to a number of methodological problems that researchers are now trying to identify, discuss and, if possible, solve. Keywords: art historiography, South-Eastern Europe, silverwork, Byzantium. "

/file attached is final published version, needs AAM - researcher contacted 18/11/21 RVO supplied 18/11/21 12m embargo

La cultura visual se compone de un conjunto de imágenes fijas o en movimiento que son utilizadas para generar un adoctrinamiento en quienes las consumen de forma pasiva. Se rescata Disney como productora de animación que perdura posicionamientos de la sociedad heteropatriarcal y se estudian largometrajes de su colección debido a la influencia que generan entre el público que los consumen a lo largo de un siglo de existencia. En esta ocasión se analiza de una manera cualitativa a través de una metodología de IBI o Investigación Basada en Imágenes una muestra de 10 películas clásicas Disney y protagonizadas por princesas. Concretamente, se atiende al concepto de arte y a la manera en la que la productora lo difunde a través de sus secuencias; así como también, interesa discutir la manera en la que recurre al arte de manera tradicional para perdurar los principios de las comunidades occidentales y tradicionales. Como conclusiones más significativas, se advierte un tratamiento clasista de disciplinas como la arquitectura, la escultura y la pintura; estos son medios a través de los que difunde y defiende la monarquía como forma política de gobierno en un territorio. Otras disciplinas como la danza se caracterizan por perdurar roles de género y estereotipos sexuales.

This paper offers a critical biography revealing certain historical intersections and divisions between Western art and science and points to specific moments where they have worked together through an exclusionary version of liberal humanism. This version of liberal humanism was often constructed through the dehumanization of women, people of color, people with disabilities and sexual minorities who were relegated to the non-human, the almost human, the animal or the monstrous. As part of the methods, it offers a critical genealogy, sifting through the cultural vestiges of art, science, philosophy, medicine, atlases, illustrations, colonial and eugenic discourses, feminist, queer, and postcolonial theories, and visual culture in order to recover and reconstruct specific connections between art and science in different historical periods (from the late 1400so the present). By drawing attention to the fact that “the human” has been a shifting and unstable signifier, this paper concludes that both Western art and science have the ability to help co-construct humanity by formulating new more equitable assemblages or the power to magnify already existing power disparities. Resumen Este artículo ofrece una biografía crítica que revela ciertas intersecciones y divisiones históricas entre el arte y la ciencia occidentales y señala momentos específicos en los que han trabajado juntos a través de una versión excluyente del humanismo liberal. Esta versión del humanismo liberal a menudo se construyó a través de la deshumanización de las mujeres, las personas de color, las personas con discapacidades y las minorías sexuales que fueron relegadas a lo no humano, lo casi humano, lo animal o lo monstruoso. Como parte de los métodos, ofrece una genealogía crítica, tamizando los vestigios culturales del arte, la ciencia, la filosofía, la medicina, los atlas, las ilustraciones, los discursos coloniales y eugenésicos, las teorías feministas, queer y poscoloniales, y la cultura visual para recuperar y reconstruir conexiones específicas entre el arte y la ciencia en diferentes períodos históricos (desde finales del siglo XV hasta el presente). Al llamar la atención sobre el hecho de que “lo humano” ha sido un significante cambiante e inestable, este artículo concluye que tanto las artes como las ciencias occidentales tienen la capacidad de ayudar a co-construir la humanidad mediante la formulación de nuevos ensamblajes más equitativos o el poder de magnificar las ya existentes disparidades de poder.

Current research on visual media and the far right creates two expectations: that memes play an increasingly salient role in the far right’s digital visual culture, and that the visual and particip...

Studies of law and visual culture address important aspects of symbols of justice,1 the courtroom venue itself,2 and how representations of harm, justice and violence possess a transformative power...

The subject of the research presented in the article, related to visual literacy, is to determine the scope and quality of the phenomenon of communication in the area of symbolic communication. Individual dispositions of information users were taken into account, creating a set of behaviors and reactions, views and concepts, personal beliefs and inclinations that determine the way of life and thinking – the so-called Habitus by Pierre Bourdieu. The aim was to create the characteristics of the examined representatives of the young generation and to determine their predispositions to symbolize (search for references). The research was carried out on two comparative groups of research participants from Poland and Italy in order to examine the quality of contemporary visual communication and the predisposition of information users to visualization, and their adaptation to the visual form of expression. The research meets the educational demand for a modern form of education, taking into account the modern informational live environment and media immersion in the visual reality of the participants of the education process.

The paper brings together two segments of contemporary humanitarian practice – celebrity advocacy and virtual reality (VR) – in order to more fully comprehend the relationship between emergent technologies and humanitarian advocacy efforts. Numerous VR documentaries intended to immerse audiences into the full experience of “distant suffering” have been crafted for audiences in the global North. Between 2015 and 2019, the United Nations invested in at least 21 VR documentaries covering crisis situations around the world. VR’s popularity is premised on the promise of bringing spectators and “distant sufferers” together through immersive experiences. Performances of humanitarian advocacy use traditional representational tools of Western humanitarian discourse. This leads to the question whether advocacy efforts using immersive VR flatten real and material differences that exist between sufferers and spectators in safe zones through the “illusion of co-suffering”? To what extent do such experiences risk “improper distance” by translating the irreducible alterity of other lives into familiar terms?

Japanese visual aesthetics as represented in traditional arts such as flower arranging, calligraphy and tea ceremony have long been celebrated or even emulated as exemplary expressions of beauty. The Japanese term utsukushii (beautiful) can be used to describe a wide variety of pleasing aspects of daily life, ranging from the human form to nature and even the gustatory experience. This article outlines traditional notions of beauty in the Japanese language, sketching forward to more contemporary expressions of visual culture that cluster around the term kawaii. This word is often translated as “cute” in English, but we maintain that kawaii extends well beyond its denotative sense to encompass a more complex spectrum of meanings. For example, it can be used to describe objects and practices which have both sentimental charm as well as dark humour. We argue that the kawaii aesthetic has been successful because it serves important emotional and social functions. Finally, the differences between the terms utsukushii and kawaii are gendered and class based, with kawaii often providing a democratic expression of resistance to gendered processes of aging, ideas of class and taste, and attractiveness in Japan’s postmodern society. This essay begins with an overview of the semantic meanings of the concepts of beauty and cuteness in Japanese, followed by a discussion focused on the historical antecedents of the Japanese notion of cuteness. The third section shifts to an analysis of the expansion of the kawaii concept in post-war society and its socio-cultural functions. The essay closes with exploration of a few of the hybrid offshoots derived from kawaii, demonstrating that concepts of beauty in Japan are constantly changing and reacting to social and historical trends.

Since ancient times, there was a close relationship between the human being and the external space. As he is an important part of it that affect on it and affected and interacts with it. Any one whoever contemplates the arts of previous civilizations, finds that they derived their features and philosophy from the surrounding environment. This was reflected on the level of the visual culture of society at the time. Within the constant desire to increase urban spaces, aiming of material gain, the manifestations of urban visual pollution spread, accompanied with lack of awareness and interest in the sub-spaces surrounding the architectural buildings,As a result, one can find that site coordination has lost its importance and role in raising the efficiency of spatial spaces and their aesthetic and functional value. Therefore this research study aims to clarify the importance of site coordination in spatial spaces with their aesthetic and functional values, as an important point. ​Secondly, how they can affect the creation of the aesthetic image and improve the efficiency of urban spaces generally, to form a mental image with a distinct personality to achieve the visual goals for the site coordination process.

Teacher opinions and discussions about Visual Culture Theory and Material Culture in art education are examined in this paper. Both approaches were compared and evaluated within their contents and fundamentals. Visual Culture Art Education (VCAE) in art education, specifically, has been criticized as having a Neo-Marxist or Cultural Marxist agenda stemming from Critical Theory, nonetheless, it is also viewed as being just another recent Postmodernist approach. Being a controversial theoretical account, VCAE seems widely unknown and not understood in its conceptual frame among art teachers in Turkey. Its name also may have caused confusion. In this study, art teacher opinions of VCAE content, principles, applications and practices were collected through a survey questionnaire; and examined. Participants were 71 art teachers. A purposeful, convenient, random sampling method was employed to represent a population of art teachers from various backgrounds, with various experience levels, with educational experience from various universities, working at various geographical regions and towns in Turkey. The study was designed and structured as descriptive survey research. Analyses revealed that art teachers usually are not aware of the typical discussions about VCAE. Having been criticized as an ideologically rooted theory, the applicability of VCAE in Turkey seems controversial in many aspects. Keywords: visual culture, Modernism, DBAE, VCAE, critical pedagogy, Postmodernism, neo-marxism

O artigo apresenta uma proposta de prática pedagógica para o ensino de arte com jogos digitais (games). Inicia com contextualização sobre o uso de mídias digitais na escola atual, já considerando o contexto da pandemia do COVID-19. Depois, apresenta os fundamentos teórico-metodológicos da proposta: como a BNCC incluiu os jogos digitais; a perspectiva da Cultura Visual; singularidades da mídia jogos digitais. Por fim, apresenta a proposta de prática de ensino de arte com games, voltada a alunos dos Anos Finais do Ensino Fundamental, enfocando objetos de conhecimento e habilidades das unidades Artes Visuais e Artes Integradas. A proposta abrange seis semanas letivas e inclui: objetivos e temas a serem trabalhados; procedimentos metodológicos e materiais da sequência didática; instrumentos e critérios de avaliação. Destaca-se que a proposta é um ponto de partida, não uma prescrição, e deve ser adaptada pelo/a docente tendo em vista cada contexto de ensino.

Histories of visual culture continue to argue that slaveholders envisioned themselves as planter-cavaliers, set apart from modern values and identities. In light of recent scholarship demonstrating...

Este artículo, pretende presentar los resultados de investigación sobre la situación actual de la educación artística como disciplina en España, además de valorar la importancia de las artes en el proceso educativo, así como el conocimiento de los lenguajes visuales que permiten realizar investigación educativa no únicamente en esta rama del conocimiento. Tras los avances que se habían producido en las últimas décadas, a pesar del desarrollo de diferentes leyes de educativas en ocasiones adversas, el momento actual es de incertidumbre pues se cuestiona la presencia de las artes en la educación, y no se entiende que entronca con otras áreas científicas a las que ayuda a resolver problemas didácticos, mediante el desarrollo de distintos lenguajes audiovisuales. La no promoción de una especialización educativa del área, puede repercutir en los discentes que no tendrán como desarrollar un aprendizaje de la cultura visual, a través de experiencias artísticas organizadas desde la enseñanza, así como el los docentes, al relegar la asignatura artística a una optativa sin contenido específico, la que podría ser desarrollada por cualquier educador que no siempre busque solucionar problemas expresivos, estéticos o creativos.

Artykuł został napisany w celu znalezienia odpowiedzi na pytanie o uniwersalność koncepcji mindfulness, o możliwość odejścia od filozofii i religii Wschodu oraz poszukiwanie nowych inspiracji w myśli zachodniej. Fascynacja Orientem bez pogłębionego zrozumienia doprowadziła do utowarowienia koncepcji mindfulness. Hipoteza badawcza zakłada, że mindfulness nie musi odnosić się wyłącznie do praktyk religijnych. W poszukiwaniu nowych kierunków uważności analizą zostały objęte inspiracje i twórczość Olafura Eliassona, duńskiego artysty islandzkiego pochodzenia. W swoich projektach łączy on fascynację naturą z filozofią somaestetyki. Wnioski badawcze potwierdzają postawioną hipotezę i wykazują obecność nowych kierunków w kulturze wizualnej Zachodu

In the early years of the twentieth century, Life magazine had only approximately one hundred thousand subscribers, yet its illustrated images (like the Gibson Girl) significantly influenced fashion trends and social behaviors nationally. Its outsized influence can be explained by examining the magazine’s business practices, particularly the novel ways in which it treated and conceptualized its images as intellectual property. While other magazines relied on their circulation and advertising revenue to attain profitability, Life used its page space to sell not only ads, but also its own creative components—principally illustrations—to manufacturers of consumer goods, advertisers, and consumers themselves. In so doing, Life’s publishers relied on a developing legal conception of intellectual property and copyright, one that was not always amenable to their designs. By looking at a quasi-litigious disagreement in which a candy manufacturing company attempted to copy one of the magazine’s images, this article explores the mechanisms behind the commodification and distribution of mass-circulated images.

This study seeks to enable sophomore-level students in the Department of Art Teaching to make inquiries about their environment and to critically interpret some visuals through a/r/tographic practices. Therefore, it draws on a/r/tographic inquiry, which is one of the art-based research methods. The participants of the study are 13 sophomore-level students (6 female, 7 male students). The data were obtained from reflective diaries, semi-structured interviews and document analysis, and analysed through content analysis. The researcher organized 5 different travel plans for the students in Erzincan, a city located in the Eastern Anatolia of Turkey. The focus trips were made to a shopping mall, a market, a local bazaar, a modern street and an old settlement. The students completed their trips within a period of 10 weeks. The findings of this study showed that the students were able to make critical inquiries about the environment they live in, gained awareness about social issues thanks to the auditory or visual experiences they had in daily life and reflected this awareness to their artistic works.

Contemporary society is characterized by intense mobility and the prevalence of visual culture, where representations are more important than experience. In that context, images are central to the ...

This article presents some fundamental matters in visual culture. Philosophy has been grappling with important issues of image and ocularcentrism. These matters have shaped and brought impacts on the world’s visual culture. On the one hand, an image with all its possible interpretations today tends to be captured as an object and not so much as something that is at the same time plural and moving. On the other hand, people’s way of seeing tends to be blurred by the ocularcentrism. This might be a crucial problem that brings significant implications on one of the most important aspects of human life, that is, art activity, and particularly on cinema. The author of this article invites the readers to be aware of the negative inclinations around the issues of image and ocularcentrism. Some of the important challenges in the cinematic world are how people continually reformulate their experience of an image and how the ocularcentrism character in our visual culture can be positioned in the heart of the matter. In an effort to respond to these challenges, one can approach philosophy in a different way in order to refresh his or her way of seeing that might have been tiresome and cloudy.

Este artículo propone una mirada renovada sobre la Exposición Internacional de Barcelona 1929 a través de su cultura material y visual, los pabellones comerciales, sus atracciones y la configuración de su espacio para analizar cómo el diseño del evento se interrelaciona con varias dinámicas inscritas en la cultura urbana y a la experiencia de modernidad. Veremos así la centralidad que cobran las experiencias sensitivas, cómo el régimen visual del evento se relaciona con la circulación de saberes en el siglo XIX o que vínculos establece el consumo con la creación de nuevos espacios urbanos, nuevas formas de entretenimiento y estilos modernos como el Art Déco. El objetivo será visualizar el alcance del evento de 1929 en la concreción de culturas urbanas asociadas a la irrupción de la sociedad de consumo que se intuyeron en 1888. This article looks anew at The 1929 Barcelona International Exposition, focusing on its material and visual culture, its commercial pavilions, its attractions, and its configuration of space in order to demonstrate how the design of this event connects with the dynamics of urban culture and the experience of modernity. Through it, we will see the centrality of sensory experience, the visual regime of the fair as related to the circulation of knowledge in the 19th century, and the participation of consumerism in the creation of new urban spaces, new forms of entertainment, and modern styles such as Art Deco. The objective will be to demonstrate the extent to which the 1929 event made urban culture and the emergence of consumer society more concrete, as first suggested in the Exposition of 1888.

In recent years, scholars of North Africa have turned their attention to the region’s complex ethnoracial interactions, hierarchies, and enduring inequalities. Such attention has been motivated by ...

O artigo discute a leitura de produções audiovisuais em contextos educativos a partir dosreferenciais da semiótica discursiva, da cultura visual e do ensino da arte, enfocando ossentidos criados pelas estratégias de montagem ao instaurarem o discurso audiovisual.O trabalho analisa os ritmos visual e sonoro e como eles se articulam para constituir oefeito audiovisual. O corpus de análise é a videoarte Anima2, uma produção com imagenssobrepostas e sons que não homologam o que está sendo mostrado. Para realizar a leiturado objeto, foi organizado um grupo focal com estudantes de um curso de formação deprofessores, a fim de conhecer os significados que eles atribuem a essa produção.As conclusões apresentam aportes para a leitura de narrativas audiovisuais na educação. The article discusses the reading of audiovisual productions in educational contexts basedon the references of discursive semiotics, visual culture and art education, focusing on themeanings created by editing strategies when establishing audiovisual discourse. The workanalyzes the visual and sound rhythms and how they are articulated to constitute theaudiovisual effect. The corpus of analysis is the video art Anima2, a production withsuperimposed images and sounds that do not represent what is being shown. To carry outthe reading of the object, a focus group was organized with students from a teachertraining course, in order to know the meanings they attribute to this production.The conclusions present contributions to the reading of audiovisual narratives ineducation. El artículo discute la lectura de producciones audiovisuales en contextos educativos apartir de los referenciales de la semiótica discursiva, de la cultura visual y de la enseñanzadel arte, dirigiendo la atención hacia los sentidos creados por las estrategias de montaje alinstaurar el discurso audiovisual. El trabajo analiza los ritmos visual y sonoro y cómo ellosse articulan para establecer el efecto audiovisual. El objeto de análisis es el videoarteAnima2, una producción con imágenes superpuestas y sonoridades que no representanaquello que se muestra en la pantalla. Para la lectura del objeto, se organizó un grupo focalcon estudiantes universitarios de un curso de formación de profesores, con el objetivo deconocer los significados que ellos atribuyen a esa producción. Las conclusiones del estudiopresentan aportes para la lectura de narrativas audiovisuales en la educación.

Magazines represent a site for cultural contestation, reconciliation, and alienation in visual culture. Adopting social semiotics and cultural discourse perspectives, this study examines the visual...

(2021). Post-Apartheid Same-Sex Sexualities: Restless Identities in Literary and Visual Culture. Communicatio: Vol. 47, No. 1, pp. 143-147.

Folk motifs are considered one of the areas of heritage worthy of attention, as they are distinguished by their simple expressive and symbolic language, which made them a true mirror of the society's culture and life philosophy, and its transmission between generations, as well as its connection clearly with the practical aspect, motivated by adding the aesthetic dimension and attractiveness of things. The Kingdom of Saudi Arabia has its own art that defines the features of each region and distinguishes it from others, as the Asiri motifs are distinguished by their richness and beautiful decorative units stemming from the environment, and it is considered one of the heritage areas worthy of attention because it contains meanings related to the lives of the population, their traditions and beliefs, and the aesthetic values ​​they carry that require study and benefit It is a source for the development of artistic culture and the promotion of the national values ​​of the Saudi child, as children are greatly attracted to works that take a heritage character. Therefore, the current research aims to study the plastic and aesthetic capabilities of Asiri motifs as one of the Saudi folklore arts, and revive the Saudi folklore arts by shedding light on Asiri art and its role as an artistic cultural influence in promoting the cultural and artistic identity of the child in the Kingdom of Saudi Arabia. In order to achieve the objectives of the research, it relied in its methodology on both the descriptive and analytical approaches and the experimental method, and the research reached a set of results, the most important of which is that by studying the plastic ornamentation potentials of Asir, it can contribute to the development of visual culture and the strengthening of the national values ​​of the Saudi child, and the research reached a set of recommendations from The most important of which is the need to spread awareness of the culture and heritage of the Saudi society, especially for children, by addressing traditional arts, including the vocabulary, elements, symbols and aesthetic values ​​they contain in artistic works.

Between 1907 and 1914, approximately one hundred cinemas opened their doors in Sao Paulo. Many cinema producers—the men who financed, managed, or owned cinemas—competed for spectators by reframing moving pictures as an art form, movie theaters as highbrow theaters, and moviegoing as an elite refinement. The article explains this triple process of cinemas’ legitimization, arguing that its consequence was the dissemination of an aesthetic of aspiration. The aesthetic of aspiration was part of the spectacularization of Sao Paulo, made possible by new technologies for visual and textual reproduction. Cinema producers saturated Sao Paulo’s press with the lexicon of beauty, marketing art, luxury, and elegance at affordable prices. Reconciling traditional notions of aesthetic pleasure with novel practices of consumption, they repurposed the forms of legitimate theater to broaden beauty’s reach and desirability. At the same time, cinema producers constructed a hierarchy of cinemas that mapped onto existing social hierarchies. They linked beauty to classed and racialized exclusivity and implied that both were constant universals. The aesthetic of aspiration thus promised simultaneous social mobility and stability through cultural refinement, a promise that spoke to the desires of an urbanizing upper class but also an incipient middle class. If modernity in republican Brazil was an elite “project,” Sao Paulo’s cinema producers show that, in a globally integrating city, modernity was also a commercial enterprise.

Although the city of Sao Paulo has the largest number of Black people in Brazil, it is not commonly associated with Blackness or Black aesthetics. Yet, the city has historically and currently been the home of Black collective action, culturalproduction, and Black life. This article focuses on the “I Africanize Sao Paulo”T-shirt, its designer, and photo campaign. Rather than consider Sao Paulo antithetical to Black aesthetic and cultural production, I find that the “I Africanize Sao Paulo” T-shirt demonstrates a form of Afro-aesthetics that emerges from Sao Paulo’s tradition of Black politics and culture. I focus on the history of Black political and cultural activity that preceded the T-shirt production as well as the factors that contribute to the obfuscation of Black culture in the city.

In recent years, game-related scholars have claimed that the study of videogames can reveal important insights for understanding and challenging the concept of realism advocated by previous theories of visual culture. In fact, videogames have increasingly been acknowledged as a valuable site for opening up new ways of interrogating traditional theories of realism. Drawing upon Alexander Galloway’s seminal work Social realism in gaming, the argument we seek to advance here is that: his theorizations of social realism in gaming alongside the notion of “congruence requirement” are largely grounded on indirect realist assumptions. In order to provide support to our claim, we assumed that his theory of realism is suggestive of an indirect form of correspondence between the fidelity of gamers’ ordinary world, their derivative actions within the gaming-world and the modes of representation of objective reality depicted in videogames Nos últimos anos, alguns acadêmicos alegaram que o estudo dos videogames é importante para entender e desafiar o conceito de realismo preconizado pelas antigas teorias da cultura visual. De fato, os videogames têm sido reconhecidos como uma mídia capaz de oferecer novas maneiras de interrogar as teorias tradicionais do realismo. Com base no trabalho seminal de Alexander Galloway, intitulado de Social realism in gaming, o argumento que procuramos avançar aqui é o seguinte: as teorizações desse autor acerca do realismo social nos videogames, juntamente com sua noção de "requisito de congruência", são amplamente baseadas em suposições realistas indiretas. Para tal, assumimos que teoria de social realismo de Galloway é sugestiva de uma forma indireta de correspondência entre: a fidelidade do mundo comum dos jogadores, suas ações derivativas no mundo dos jogos e os modos de representação da realidade objetiva descritos nos videogames.

En este artículo partiremos del concepto de género y su relación con la definición y construcción cultural que se da de este a partir de lo comunicativo y expresivo que implica. En este sentido el problema de la comunicación nos interesa no solo porque nuestras fuentes están principalmente en los medios, sino porque la representación y el género se construyen desde lo comunicativo. Nuestra pregunta guía es cómo se han constituido las adscripciones sobre la construcción de lo femenino durante el período de 1886 a 1945, a través de la historia cultural y la cultura visual como ejes centrales del análisis de las imágenes de los avisos publicitarios y los artículos de las revistas de la época. Por consiguiente, este artículo tiene el propósito de exponer cómo a las mujeres se le imponían modas, desde vestidos, perfumes, peinados hasta maquillajes. Detrás de estos elementos estaban estilos de vida y comportamientos en los que la sociedad centraba lo que se pensaba significaba ser mujer, enfocándola principalmente en agradar y complacer al hombre.

Este artigo problematiza as imagens corporais que foram publicadas na revista Junior (2007-2015) durante o seu período de circulação no Brasil. Inicialmente são abordadas as imagens corporais na revista, fazendo uma articulação com o campo da cultura visual. Em seguida é problematizada a questão das imagens do corpo de classe média endereçadas aos leitores, dialogando, sobretudo, com a teoria dos modos de endereçamento estudada por Elisabeth Ellsworth (2001). Para tanto, a revista foi explorada enquanto um documento em que foram analisadas as 66 edições publicadas, tendo como foco de investigação as imagens que diziam dos modos de ser homem, jovem e homossexual. A partir de tal pesquisa foi possível problematizar a potencialidade das imagens na revista Junior e o seu caráter educativo, levando-nos a pensar nos usos que fazemos das imagens, como elas nos afetam e subjetivam, de que forma entram em nossas vidas e como nos relacionamos com elas.

No presente artigo expomos uma reflexão sobre as práticas educativas da cultura visual ou educação da cultura visual (Dias, 2012) sob o questionamento “o quê as (pessoas que ensinam com) imagens realmente querem?”, adaptado da pergunta que Mitchell (2017) faz quando disse: o que as imagens realmente querem? Compreendemos que as imagens, quando utilizadas nas práticas educativas, tornam-se tanto recursos pedagógicos quanto ferramentas metodológicas cujos caminhos e possibilidades se desdobram à medida que os sujeitos se envolvem na produção de conhecimento. Assim, nossa discussão pauta-se em compreender o quê realmente desejam as pessoas que realizam trabalhos pedagógicos com imagens, pensando as imagens a partir do viés dos estudos da cultura visual.

This paper asks to ground the scholarly knowledge about the role and reception of the X (or cross) as a visual cue for elections in Canadian political visual culture. While the character X (or the symbol of a cross as it is often referred to) is one of the most prominent visual cues used in visual voting encouragement materials in Canadian visual culture, little, if at all, is known about its reception by audiences. This paper asks to contribute to the understanding of the symbol and its reception by citizens. The paper is divided into three sections: 1) establishing the status of the character X as a symbol of elections in Canada, 2) examining ideal uses and occasional misuses of the X, 3) exploring the possibility of replacing the X with an alternative - the checkmark (✔). In conclusion, this work suggests that there is a growing need to reconsider the use of the X in Get Out the Vote posters, and it offers alternatives to it.

Esta investigación estudia la necesidad de combinar la educación estética y la adquisición de cultura visual como aptitudes técnicas para el diseño gráfico. Se establece una metodología doble: recuperación y exploración bibliográfica que analiza la vinculación de los conocimientos de carácter técnico de ambas disciplinas, así como del análisis práctico de los resultados obtenidos mediante su aplicación en la experiencia docente y el cuestionario como técnica de investigación cualitativa realizado a estudiantes del Grado en Publicidad y Relaciones Públicas en Educación Superior. Los resultados muestran que el método de enseñanza transversal y una formación de carácter histórico y teórico sobre los medios visuales es adecuado para la aplicación de técnicas digitales y el desarrollo de proyectos de creación de branding, identidad visual e imagen de marca.

Interdisciplinary Two-Spirit, Métis/Saulteaux/Polish artist, Dayna Danger establishes Indigenous protocol through their artistic practice, which translates through their Mask series and their digital film Bebeschendaam, as they demonstrate the ways in which community is generated, upheld and maintained through their art works. In particular, these collaborative projects exemplify methodologies that revolve around building and nurturing community, which generates a Communities of Care methodology, formed by feminist theorist and scholar, bell hooks. Through this concept, Danger advocated for the term, CoC Methodology at their keynote at Concordia University’s Art History Graduate Student Association’s (AHGSA) 13th annual symposium on the theme of Communities of Care, held in February 2019. CoC Methodology relates to the stability and growth of Two-Spirit, Indigiqueer, trans, female and gender-variant Indigenous folks. By advocating for CoC Methodology, Danger’s artistic practice not only concentrates on the creative output, but also on the facilitation of community building and safe-keeping.