The article reviews the developing studies of visuality with respect to their own focus on cultural and political fields in which visual communication unfolds. I found that that some of the academic interests related to visuality can be located within the broader or intersecting field of cultural and political studies and provide successful tools of analysing and describing the communicational interactions within local communities situated in broader contexts of mobility. Some light is shed on the visualisations of the (...) current condition of the nation-state with respect to globalizing or Europeanising tendencies. Also, I discuss a more general impact of mobility and novel visualisations of the public and cultural sphere. (shrink)

This article explores how racist propaganda works in visual communication and how such propaganda can be resisted. The article analyzes how photography has created new possibilities for the insidious dissemination of racist messages and discusses ways of resisting these visually transmitted propagandistic messages. The two sections of the article focus on examples of racist propaganda in visual culture: in section 1, the focus is on the propagandistic use of photography in the early twentieth century by the pro‐lynching (...) movement; and in section 2, the focus is on racist subtexts in communication that is both visual and verbal in mass media in recent decades. In both sections, the paper discusses how to neutralize and counter propaganda in visual culture by means of what the author terms “epistemic activism,” which consists in practices of interrogation and resistance that unmask, disrupt, and uproot biases and insensitivity. The article discusses different instances of epistemic activism that make explicit and effectively criticize racist subtexts in visual communication. The instances of epistemic activism discussed include the pamphlets of the anti‐lynching movement, critiques of visual artists and scholars, and the critical responses of online activists. The article argues that epistemic activism can produce critical viewership by disrupting the passive reception of visual messages and triggering more active and critical modes of viewing images. The author concludes by emphasizing the urgent need for epistemic activism that promotes critical awareness of the subtexts embedded in visual communication and a sense of critical responsibility in the production, consumption, and recirculation of images. (shrink)

This paper summarises the main claims I have made in a series of publications on depiction. Having described six features of depiction that any account should explain, I sketch an account that does this. The account understands depiction in terms of the experience to which it gives rise, and construes that experience as one of resemblance. The property in respect of which resemblance is experienced was identified by Thomas Reid, in his account of ‘visible figure’. I defend the account against (...) certain criticisms, and compare it to some of its main rivals, in particular the views offered by Goodman, Wollheim and Dominic Lopes. (shrink)

The spirit of religious art has played an important role in different ideological and cultural changes, and has also made great contributions to the study of art and social history and culture. On the basis of sorting out the cultural and constitutive characteristics of religious art, this paper further explores the presentation form of the symbolic expression of visual communication design in religious art, with a view to clarifying the intertwined value and significance between the two. In addition, (...) combining the graphic context of visual communication design with the symbolic expression of religious art symbols, the specific ideas of visual design expression of religious art are proposed, the color network is established by extracting the visual colors of religious art, and the visual communication design process of religious art is constructed. From the visual color expression of religious art works, the RGB color peaks are mainly concentrated between 200°~240°, and the brightness and saturation in the HSV color model get peaks in low frequency and high frequency respectively. The color network established through the primary and secondary characteristic colors provides a visual color basis for the design of religious art cultural and creative products, and more than 90% of the audience is satisfied with the religious art cultural and creative products. It is feasible to use visual communication design to show the cultural connotation of religious art, and it also provides a new way to revitalize the cultural communication of religious art. (shrink)

Apin's cabinet of printed curiosities -- Thinking through plural images of logic -- The visible order of student lecture notebooks -- Visual thinking in logic notebooks and Alba amicorum -- The generation of art as the generation of philosophy.

In this paper I distinguish between illustrative and performative uses of artworks in the teaching and communication of philosophy, drawing examples from the history of art and my own practice. The former are where works are used merely to illustrate and communicate a philosophical idea or argument, the latter are where the artist or teacher philosophizes through the creation of art. I hope to promote future collaboration between philosophers, art historians and artists, with artworks becoming catalysts for artistic-philosophical investigation, (...) thus revitalizing the idea of universities embodying ongoing and open-ended conversations. (shrink)

This is a report on a philosophy performance that happened as part of the 2024 Long Night of Research in Austria. Maria Kronfeldner staged the content of her book “What’s left of Human Nature: A Post-Essentialist, Pluralist and Interactive Account of a Contested Concept,” (2018, MIT Press) by filling the wall in the gallery of CEU’s Library Café with pictures and text, performatively communicating the process of philosophical inquiry – the ordering of the material that one has found, the creation (...) of a coherent and complexly structured whole – to make philosophical research visible and graspable beyond the written text. The visual essay documents the event. (shrink)

The present paper deals with the problem of the digital-culture-public-philosophy as a possible response of those philosophers who see the need to face the challenges of the Internet and the visual culture that constitutes an important part of the Internet cultural space. It claims that this type of philosophy would have to, among many other things, modify and broaden philosophers’ traditional mode of communication. It would have to expand its textual, or mainly text-related, communication mode into the (...) aesthetic and visual communication mode. More precisely, philosophers would have to learn how to aestheticize and visualize their ethical narratives by using some digital tools – YouTube clips for example. (shrink)

The Necker cube and the productive class of related stimuli involving multiple depth interpretations driven by corner-like line junctions are often taken to be ambiguous. This idea is normally taken to be as little in need of defense as the claim that the Necker cube gives rise to multiple distinct percepts. In the philosophy of language, it is taken to be a substantive question whether a stimulus that affords multiple interpretations is a case of ambiguity. If we take into account (...) what have been identified as hallmark features of ambiguity and look at the empirical record, it appears that the Necker cube and related stimuli are not ambiguous. I argue that this raises problems for extant models of multistable perception in cognitive neuroscience insofar as they are purported to apply to these stimuli. Helpfully, similar considerations also yield reasons to suggest that the relevant models are well motivated for other instances of multistable perception. However, a different breed of model seems to be required for the Necker cube and related stimuli. I end with a sketch how one may go about designing such a model relying on oscillatory patters in neural firing. I suggest that distinctions normally confined to the philosophy of language are important for the study of perception, a perspective with a growing number of adherents. (shrink)

Dans ces conditions, n'est-il pas urgent de s'interroger à nouveau sur ce qui fait la ligne de partage entre des images maîtresses d'erreur et d'errance et des images susceptibles d'éclairer le monde et donc de participer au mieux à l ...

This article elucidates and expands on María Lugones's account of complex communication across liminal sites as the basis for deep coalitions among oppressed groups. The analysis underscores the crucial role that emotions and resistant imaginations play in complex communication and world-traveling across liminal sites. In particular, it focuses on the role of emotional echoing and epistemic activism in complex forms of communication among oppressed subjects. It elucidates Gloria Anzaldúa's storytelling and Doris Salcedo's visual art as exemplary (...) forms of epistemic activism that issue coalitional gestures and critical provocations that can wake people up from their epistemic slumbers and instigate forms of complex communication that can create new possibilities for coalitional politics. (shrink)

This volume unites various contributions reflecting the intellectual interests exhibited by Professor Herman Parret (Institute of Philosophy, Leuven), who has continued to observe, and often critically assess, ongoing developments in pragmatics throughout his career. In fact, Parret's contributions to philosophical and empirical/linguistic pragmatics present substantive proposals in the epistemics of communication, while simultaneously offering meta-comments on the ideological premises of extant pragmatic analyses. In a lengthy introduction, an overview is provided of his achievements in promoting an integrated, "maximalist" pragmatics, (...) as well as of the links between his own work in philosophy of language and in semiotics and aesthetics. The remaining 12 essays address relevant pragmatic themes or look into the relation between pragmatics and neighboring disciplines. They deal with grammatical deixis (Brisard, Ikegami) and mood (van der Auwera & Schalley), performativity (Harnish, Holdcroft), speech-act types and their praxeological dimensions (Roulet, Van Overbeke), Wittgensteinian language games (Marques, Parisi), cultural and intercultural identities (Vandenabeele, Verschueren), and the visual arts (Wildgen). (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in (...) the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

Visual turn and replacement of linear sequential communication with visual analogues cause growing variety of scopic regimes and interest in the topic of visuality. This interest is particularly apparent in Lithuanian academic magazines Santalka and Creativity Studies, which are devoted to the topics of philosophy, creative industries and communication within the creative society. The role of images in mass medias, creative industries, advertisement, urban planning, social mapping, various scopic regimes are often analyzed in Lithuanian academic discourse. (...) Traditional university disciplines are replaced by new, unconventional study programs, such as Creative Industries, Entertainment Industries, New Media Art, Visual Communication etc. Students are learning how to generate images and to understand how they function in mass media, advertising, public relations, public show organization, creative project coordination and other creative industries. (shrink)

In _Reading the Figural, or, Philosophy after the New Media_ D. N. Rodowick applies the concept of “the figural” to a variety of philosophical and aesthetic issues. Inspired by the aesthetic philosophy of Jean-François Lyotard, the figural defines a semiotic regime where the distinction between linguistic and plastic representation breaks down. This opposition, which has been the philosophical foundation of aesthetics since the eighteenth century, has been explicitly challenged by the new electronic, televisual, and digital media. Rodowick—one of the foremost (...) film theorists writing today—contemplates this challenge, describing and critiquing the new regime of signs and new ways of thinking that such media have inaugurated. To fully comprehend the emergence of the figural requires a genealogical critique of the aesthetic, Rodowick claims. Seeking allies in this effort to deconstruct the opposition of word and image and to create new concepts for comprehending the figural, he journeys through a range of philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on film theory; Jacques Derrida on the deconstruction of the aesthetic; Siegfried Kracauer and Walter Benjamin on the historical image as a utopian force in photography and film; and Gilles Deleuze and Michel Foucault on the emergence of the figural as both a semiotic regime and a new stratagem of power coincident with the appearance of digital phenomena and of societies of control. Scholars of philosophy, film theory, cultural criticism, new media, and art history will be interested in the original and sophisticated insights found in this book. _ _. (shrink)

Lässt sich in Bildern philosophieren, nicht nur über sie oder mit ihnen? Trotz ihrer enormen erkenntnistheoretischen Aufwertung in den letzten Jahren bleiben Bilder in der akademisch dominierten Philosophie lediglich auf Untersuchungsobjekte oder didaktische Hilfsmittel beschränkt. Dieser Bildgebrauch wird unter dem noch nicht festgelegten Begriff einer 'Visuellen Philosophie' hinterfragt. Der vorliegende Band stellt verschiedene Konzepte visuellen Philosophierens mit vielfältigem, teils ganz neuem Anschauungsmaterial vor. Er konzentriert sich dabei auf die Beziehungen zwischen Gestaltung, Didaktik und Erkenntnistheorie."--Back cover.

An original sociology of art and artistic practice, based on the theories of Emile Durkheim and contemporary models of complex social systems. The book offers a critique of current history, philosophy and sociology of art and stands in a constructive and informative relation to much contemporary art historical theory.

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and the digital (...) image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

Le motif du langage visuel, qui traverse l'ensemble de l'oeuvre de Berkeley, n'est pas seulement le noyau de sa philosophie de la perception. Il est aussi le préréquisit d'une preuve originale de l'existence de Dieu, une évaluation spécifique de la nature de l'expérience commune et de la portée de l'explication scientifique, et il a des conséquences singulières quant à la doctrine de la création du monde. La première conclusion de l'article est qu'en dépit du rejet berkeleyen du mécanisme, on peut (...) avec raison comparer sa pensée avec la conception cybernétique des machines à information; le langage visuel est, dans une certaine mesure, la source d'un réseau global de communication. Mais rien n'est plus important pour Berkeley que la question de la mort, et c'est pourquoi il doit rejeter toute forme d'objectivisme. L'immatérialiste est celui qui affirme que le monde ne peut pas survivre à son propre anéantissement sans l'aide d'un autre esprit, dont la vision est la substance même de toute chose. The design of visual language, which pervades the entire work of Berkeley, is not only the core of his philosophy of perception. It is also the prerequisite of an original proof of God's existence, a specific understanding of both the nature of common experience and the scope of scientific explanation, and it involves unusual consequences upon the doctrine of the creation of the world. The first conclusion of the paper is that, despite Berkeley's rejection of mechanicism, we have a right to confront his views with the cybernetic perspective on information processing machines : visual language is, to a certain extent, the source of a global communication network. But there is nothing more important to Berkeley than the topical question of death, and this is why he is compelled to rejecting whatever kind of objectivism. The immaterialist is he who acknowledges that the world cannot survive his own annihilation without the help of another spirit, whose vision is the very substance of all things. (shrink)

Unquestionably, the zeitgeist of Web 2.0 is symbolized by the dominance of social networking sites (SNS) and user-created content (UCC). MySpace, Facebook, and Cyworld mini-hompy are but a few examples of SNS that are becoming increasingly part of urban everyday life and interwoven into the historicity of the Internet. Web 2.0 has promised much about new forms of participation, creation, collaboration, and authorship, and yet within each location, we can find examples of both empowerment and exploitation. This is particularly the (...) case in the divergent region of the Asia-Pacific. Rather than the region being a sum of “imagined communities” (Anderson 1983), this paper argues that the distributed social networks of Web 2.0 UCC is formed, informed, and maintained through the perpetual process of “imaging communities.” These imaging communities can be seen in the visual, textual, and aural modes of UCC and can be seen to reflect the region’s new technocultural cartographies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical ExperienceDavid BakerHarold E. Fiske, Understanding Musical Understanding: The Philosophy, Psychology and Sociology of the Musical Experience. (Lewiston, New York: Edwin Mellen Press, 2008).Building on several earlier publications on music and the mind (1990, 1993, 1996, 2004), Harold Fiske offers Understanding Musical Understanding. This is a well-referenced piece that outlines the thinking of various authors (for example, Crowder, (...) 19931; Huron, 2006;2 Snyder, 20073). Furthermore, as Fiske meticulously constructs his case, it draws in psychologists such as Carl Seashore and philosophers like Aristotle, Hegel, Kant, and Schopenhauer. All this suggests an author of great expertise and wide appeal.Fiske begins to build his argument by discussing musical cognition in terms of ‘time’ (Chapter 2) and ‘shape’ (Chapter 3) returning to these themes in greater detail in Chapter 6. It may seem axiomatic that music is perceived structurally and through time. Yet, as the author mentions, the capacity for someone to designate musical form is no way in which to illustrate systematically the workings of musical understanding. This happens swiftly and unceasingly in the course of a person’s musical encounter. It is commonplace, too, for musicians and listeners to allude to visual imagery and shape when describing music (for example, ‘high [End Page 204] and low pitches,’ ‘a texture that is dense or thin,’ or ‘an angular melody’). Fiske contributes a plausible explanation of musical shape:... the perceived shape of music can only be the outcome of a construction (not reconstruction or ‘copy’) calculated on the part of the neural network mechanisms… The ‘reality’ of a musical-auditory image is likely a result of imposing a three-dimensioned visual perspective on an inherently unstructured (invisible, tasteless, intangible, and otherwise unknowable) transitory experience. This is the only means the brain has for making sense of a sound event. What it seems to do is: identify relevant cues, piece the cues together into patterns that can be retained (in the echoic memory) long enough for brain mechanisms to examine and create the sense that we can ‘look’ at music by invoking principles borrowed from vision, and then creating the impression of an auditory ‘object.’ The ‘object’ seems complete and multidimensioned but is, however, only remotely related to what we hear during the slit-like limitations of the perceptual ‘now.’(p. 56).Nonetheless, the manner in which we communicate musical perception with terms borrowed from vision does not inconclusively evidence the same mechanisms of human thought on receiving visual or, on the other hand, musical stimuli. Use of such language may only represent an opportune mode of expressing phenomena to which we have no dedicated vocabulary. Fiske argues that musical understanding is part of the human organism’s genetically-inherited capacity to construe (rapidly invent) patterns from sonic stimuli thus making sense of temporal experience. This process, he argues, is part of the brain’s facility to determine quickly the source, kind and meaning of stimuli for the organism’s immediate safety and survival; the mental processes involved are regulated by ‘brain time’ as opposed to ‘clock time.’ Brain time is “... a rapid, micro-temporal, flexible-variable scheme...” (p. 8) in contrast to pre- and externally-determined ‘clock time.’Musical memory is addressed in Chapter 4 in tandem with ‘pattern constructs.’ Pattern constructs, Fiske explains, are ‘chunks’ of learned musical experience encoded in ‘brain time’ as multi-dimensional, unidirectional entities (p. 63). There is evidence of the ‘inner replay’ of learned events such as these.4 Incoming musical information is perceived, though, according to the listener’s cognitive context, and perhaps retroactively linked for ‘best fit’ rather than being ‘measured’ against fixed expectations and pre-established contextual information, say, about genre. The degree of ‘best fit’ either confirms or modifies assumed context. An important point Fiske makes, then, is that “... a misfit... between incoming information and the presumed context” evidences learning (p. 84).5 Since a ‘misfit’ triggers modifications to the cognitive context by which a person discerns music, it enriches his or her musical knowledge and understanding. [End Page 205] Consequently, Fiske sets a challenge for music education: “... how [do we] design teaching... (shrink)

A study of the methods, approaches, prayers, etc to realize the 'unity experience' with THE ONE REAL SELF (Vedanta, Hinduism, ) God (Judaism), Gottheit (Christianity), Buddha mind (Buddhism), The Beloved (Sufism, Islam) of a number of mystics from several religious traditions. I wrote about this in a number of books and articles, for example about methods, techniques, practices and methodology here: as well as exploring and illustrating the subject-matter of philosophizing here: Explorations, questions and searches not put down on paper (...) are probably more important than the ones mentioned above. These were occurrences for almost as long as I can remember. They took many forms, endless questions about everything under the sun, unsatisfied with unexplained socio-cultural institutions, communities, social relationships, social roles, behaviour, values, norms and much more – I had to question them rather than merely submit to them or act in accordance with them. Although I expressed these questions and queries about the status quo in many areas such as sport, art, social sciences, endless reading and marginal groups and relationships I realized that they form part of the philosophical discourse. Not the discourse that has become the expression of the professionalization of philosophy the last few hundred years, but of the not-institutionalized practice of original thinking, of creative philosophical thinking. As examples of the latter, Socrates, of course, the pre-Socratics, Plato, Leibniz, Spinoza, Kant, Hegel, Plotinus, writers on Mysticism such as Meister Eckhart, van Ruysbroeck, John of the Cross, Teresa of Avila, Nietzsche, Kierkegaard, from Advaita, Zen and other Buddhist schools, Wittgenstein, Hume, German Idealists, Rumi, novelists and poets, Paul Klee and other visual artists and many names who form part of the seeking for the unity-experience as explored in History of Mysticism (those who seek the unity experience, to become ONE with THE ONE, Godhead, the one real Self, Buddha mind, Sophos, etc). History of Mysticism *was first published by Atma Books in 1987, now and is a unique compendium of the lives and teachings of the world's best known mystics. They are presented in chronological order, and include representatives of every religious tradition, revealing the broad universality of genuine religious experience. expanded and revised Thirtieth Anniversary edition is available as a free downloadable PDF document on this website at my Downloads page. This book is fundamental for seasoned scholars of philosophy and religion as well as anyone new to the study of Mysticism. (shrink)

Knowledge does not float free of the technologies available for its production and presentation. The intimate connection between ideas and praxis - embodied, technological, social - exemplified in any knowledge practice is, in the terms of Ihde & Selinger (2004), an 'epistemology engine'. This refers to the material-semiotic connections that obtain for any specific rendering of an idea. Often this material-semiotic connection is easier to recognise in the case of art than in that of knowledge, where it appears more-or-less obvious (...) that the rendering of an idea in poetic rather than prose form, in musical rather than linguistic form, in plastic rather than digital form, makes a difference to the idea. However, it is also recognisable (if not always actually recognised) in science, where there is a keen awareness of visual media alongside or instead of discursive media. -/- Ideas on the Internet shift and change as they pass through different networks of meaning production and communication, in different media and modalities. Different disciplines and modes of knowledge have either embraced these possibilities of transmogrification or remained aloof. Philosophy is one of the latter, and seems still steadily rooted to the discursive world. However, as a discipline, it overlaps in interesting ways both with science and with art. What are the epistemology-engines that apply to philosophy, and are there specific philosophy-engines? This is the background against which the applications to e-learning in philosophy will be considered. -/- In previous work, I claimed that the nature of philosophical argument cannot simply be assumed to remain constant even in the use of relatively simple discursive technologies such as discussion boards (Carusi 2006). In the present paper I consider a range of other technologies that form the technological culture of philosophy, or which mediate it. The paper aims to open a line of enquiry into these underlying technologies and the kinds of philosophy-engine that emerge from them, individually or by way of a convergence of a set of technologies. In particular, I focus on text-mining techniques, visualisations, and modeling showing what potential they have for disturbing, derailing, re-shaping or transforming the mode, form or substance of philosophy. -/- . (shrink)

Archaeology's Visual Culture explores archaeology through the lens of visual culture theory. The insistent visuality of archaeology is a key stimulus for the imaginative and creative interpretation of our encounters with the past, acknowledging the multiplicity of meanings that cohere around artifacts, archaeological sites and museum displays. Archaeology's Visual Culture investigates the nature of this projection, revealing an embedded subjectivity in the imagery of archaeology. Using a wide range of case studies the book highlights the way archaeologists (...) view objects and the consequences that ensue from ways of seeing"--Provided by publisher. (shrink)

Semiotic construction has an enormous influence on the latest studies in promoting intercultural communication. Understanding all symbols of traditional rites and fostering mutual respect, compassion, sympathy and empathy for other cultures is understood as a new angle. Moreover, semiotic construction is a contact tool for cultural qualities. This research aims to explore and reveal the multicultural values that are contained in the tiba meka rite. The analysis examines 50 custom spokespersons over the period of February to December 2019 and (...) uses interviews, stationery collection, field notes and audio-visual recordings. Three research results concerning the tiba meka rite were found. First, semiotic meanings used in tiba meka rites are semiotic expressions that invite national or international outsiders, government guests, religious leaders and community leaders. Second, the philosophy relates to the theory, personality and morality of economics behind semiotic spoken words. This philosophy is influenced by the following main philosophies: pragmatism and indoctrism. Third, the tiba meka rite's multicultural values include respect, gender, politics, solidarity, faith, tolerance, political, social, economic, authority and familiarity, and these values promote intercultural communication. The six steps used by the Manggarai people to welcome outsiders include these concepts. (shrink)

This study examines the contemporary status and cultural preservation of Salar vocal folk music within the Salar Muslim community in Qinghai Province, China, highlighting its role in sustaining cultural and spiritual identity. The research aims to understand the impact of modernization and cultural integration on these traditions and explore strategies for their preservation. Using a qualitative approach, data were gathered through fieldwork in Xunhua Salar Autonomous County, including participant observations, semi-structured interviews with local musicians and cultural practitioners, and document analysis (...) of preservation policies. Audio-visual recordings of performances further supported the thematic analysis of challenges and strategies for preserving this music. Findings reveal that while government initiatives contribute significantly to preservation, greater community engagement, educational initiatives, and the use of modern technology are essential to bridge generational gaps in cultural appreciation. The study underscores the need to integrate cultural preservation into educational and religious frameworks aligned with community-centered approaches. Recommendations include targeted educational programs, innovation in media to engage younger generations, and the establishment of legal protections for intangible cultural heritage. These findings offer implications for ethnomusicologists, policymakers, and educators, supporting broader cultural preservation efforts in multi-ethnic contexts. (shrink)

In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics. -/- Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video (...) art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. -/- The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. (shrink)

Essays drawing upon a range of disciplines to present arguments that help unravel the complex nature of aesthetic understanding and its relevance to contemporary education.

Batik industry, Indonesia’s traditional practice of dying cloth through wax resist methods, is considered an important source of intangible cultural heritage andprotected under UNESCO. The industry is very diverse and many different colors and motives are used. Research in this article focuses on Batik in Yogyakarta,Surakarta, Lasem, Tuban and Garut regions. This paper studies the connotative implications of Batik’s cultural significations that pass on from older to youngergenerations revealing the importance of visuality and touch in constructing meaning within certain cultures.

From fields as art history, semiotics and communication theories, a dozen researchers attempt to provide new and compelling approaches about the genesis of the images, their functions in relation to our existence and how we establish and construct our social and power relations, through the book.

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.

How can pictorial and narrative arts be compared? What in principle can or cannot be communicated in such different media? Why does it seem that, at its best, artistic communication goes beyond the limitations of its own medium - seeming to think and to communicate the uncommunicatable? In Philosophy and the Arts Andrew Harrison explores these questions. He finds that an understanding of art leads to a richer understanding of what it is to be human. Much of what misleads (...) or baffles us in the arts is what puzzles us about ourselves - the issues raised by art are thus central to philosophy. (shrink)

The philosophically rich David Bowie is an artist of wide and continuing influence. The theatrical antics of Bowie ushered in a new rock aesthetic, but there is much more to Bowie than mere spectacle. The visual belies the increasing depths of his concerns, even at his lowest personal moments. We never know what lies in store in a Bowie song, for there is no point in his nearly 30 albums at which one can say, "That's typical Bowie!" Who else (...) has combined techno and hard rock, switched to R&B love songs (with accompanying gospel) to funk to jazz-rock fusion and back again? Among the topics explored inDavid Bowie and Philosophy are the nature of Bowie as an institution and a cult; Bowie's work in many platforms, including movies and TV; Bowie's spanning of low and high art; his relation to Andy Warhol; the influence of Buddhism and Kabuki theater; the recurring theme of Bowie as a space alien; the dystopian element in Bowie's thinking; the role of fashion in Bowie's creativity; the aesthetics of theatrical rock and glam rock; and Bowie's public identification with bisexuality and hisinfluence within the LGBTQ community. (shrink)

This book positions itself at the intersection of the key areas of the modern humanities. Different authors from a variety of countries take innovative approaches to investigating multimodal communication, adapting pedagogical design to digital environments and enhancing cognitive skills through transformations in teaching and learning practices. The eclectic forms under study require eclectic approaches and methodologies, and the authors cross disciplinary boundaries drawing on philosophy, linguistics, semiotics, computational linguistics, mathematics, cognitive studies and neuroaesthetics. Part I presents methods of analysing (...) multimodal communication in its different displays, covering promotional video in crowdfunding project presentations, multimodal public signs of prohibition and visuals as arguments. Part II explores varied teaching methodologies that have emerged as a result of and in response to modern technological changes and contains some practical hints for educators. It demonstrates the pedagogical potential of video games, virtual worlds, linguistic corpora and online dictionaries. Part III focuses on psychological and cognitive factors influencing success in the classroom, primarily, ways of developing students’ and teachers’ personalities. The volume sits at the intersection between Communication Studies, Digital Humanities, Discourse Analysis, Education Theory and Cognitive Studies and is useful to scholars and students of communication, languages, education and other areas of the humanities. This book should trigger scholarly discussions as well as stimulating practitioners’ interest in these fields. (shrink)

Nine essays on the problem of communication in its various settings. They are, in the main, tentative and exploratory and include treatments of communication in such fields as biology, economics, and the visual arts. The one strictly philosophical piece is A. J. Ayer's solidly presented article "What is Communication?"--J. P.

" This collection of classic essays in the study of visual culture fills a major gap in this new and expanding intellectual field. Its major strength is its insistence on the importance of three central aspects of the study of visual culture: the sign, the institution and the viewing subject. It will provide readers, teachers and students with an essential text in visual and cultural studies." - "Janet Wolff, University of Rochester""" Visual Culture: The Reader provides (...) an invaluable resource of over 30 key statements from a wide range of disciplines. Although underpinned by a focus on contemporary cultural theory, this reader puts issues of visual culture and the rhetoric of the image at centre stage. Divided into three parts, The Culture of the Visual, Regulating Photographic Meaning, Looking and Subjectivity, this reader enables students to make hitherto unmade connections across art, film and photography history and theory, semiotics, history, semiotics and communications, media studies, and cultural theory. The key statements are from the work of: Visual Culture: The Reader sets the agenda for the study of Visual Culture and will be an essential sourcebook for researchers and students alike.This is the reader for the module "The Image and Visual Culture" (D850) - part of The Open University Masters in Social Sciences Programme. (shrink)

Since the fourteenth century, Eastern Woodlands tribes have used delicate purple and white shells called “wampum” to form intricately woven belts. These wampum belts depict significant moments in the lives of the people who make up the tribes, portraying everything from weddings to treaties. Wampum belts can be used as a form of currency, but they are primarily used as a means to record significant oral narratives for future generations. In Reading the Wampum, Kelsey provides the first academic consideration of (...) the ways in which these sacred belts are reinterpreted into current Haudenosaunee tradition. While Kelsey explores the aesthetic appeal of the belts, she also provides insightful analysis of how readings of wampum belts can change our understanding of specific treaty rights and land exchanges. Kelsey shows how contemporary Iroquois intellectuals and artists adapt and reconsider these traditional belts in new and innovative ways. Reading the Wampum conveys the vitality and continuance of wampum traditions in Iroquois art, literature, and community, suggesting that wampum narratives pervade and reappear in new guises with each new generation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetoric and Capitalism:Rhetorical Agency as Communicative LaborRonald Walter GreeneIt is a commonplace to describe rhetorical agency as political action. From such a starting point, rhetorical agency describes a communicative process of inquiry and advocacy on issues of public importance. As political action, rhetorical agency often takes on the characteristics of a normative theory of citizenship; a good citizen persuades and is persuaded by the gentle force of the better (...) argument. More radical visions of argument might include strikes, sit-ins, and boycotts in the rhetorical arsenal of good citizenship, and some might even flirt with violence as rhetorical action. This model of rhetorical agency requires a translation of the conceptual apparatus of rhetoric and its alignment with the problematics of democratic theory and actually existing democratic regimes. Classical models that hoped to harness rhetorical agency to the making of the "orator-statesman" (sic) must reimagine political participation in terms of publics and counterpublics, social movements, electoral campaigns, communication media and technologies, as well as supra- and sub-national institutional settings. As the classical norms of citizenship rub against (post) modern realities, a permanent anxiety over the meaning and potential of rhetorical agency seems destined to be lodged in the critical imagination of rhetorical studies. If politics today is, in Jodi Dean's words, "a domain of financially mediated and professionalized practices centered on advertising, public relations, and the means of mass communication," then actually existing rhetorical agency manifests itself in efforts to "raise the money, buy the television time, register the domain names, build the website, and craft the accessible, user-friendly, spectacular message" (2003, 96).If we recognize Dean's description of the political as an accurate description of the rhetorical situation today, rhetorical studies is left with three strategies: It can refashion a deliberative vision of rhetorical agency into a normative ideal for critiquing the structural conditions (capital, media [End Page 188] concentration) of political participation. Second, it can enlarge the field of normatively acceptable ways and means of political participation, for example, by embracing the more spectacular politics associated with visual and body rhetorics. Finally, rhetorical studies can work on the "demand" side and design new strategies and tactics for activating the rhetorical participation of citizens, for example, by encouraging the creation of communicative norms necessary for reinvigorating voluntary and civic organizations. However, while each of these approaches provides a research agenda, none of them gets at the root cause of the anxiety over agency: the attachment of rhetorical agency to a vision of political change. The anxiety over agency pushes rhetorical critics and theorists into becoming moral entrepreneurs scolding, correcting, and encouraging the body politic to improve the quality and quantity of political participation.The purpose of this paper is to offer an escape route from theorizing rhetorical agency as a model of political communication.1 In opposition to a political-communicative vision of rhetorical agency, this paper suggests a different materialist ontology, one that imagines rhetorical agency as a form of living labor. I will argue that rhetorical agency belongs to the domain of communicative labor, a form of labor increasingly necessary to the workings of contemporary capitalist production. In other words, I want to replace a political-communicative model of rhetorical agency with a materialist-communicative model. To highlight the similarities and differences between the two models, I will focus on how the interface between politics, communication, and economics plays out in the Marxist tradition of rhetorical studies. I will organize this tradition into two sections: the first, represented by James Aune, advocates a hermeneutic approach to rhetorical agency, and the second, represented by Dana Cloud, argues for imagining rhetorical agency as a class-based social movement. By focusing on the work of my comrades, the paper risks being received as a "left sectarian" polemic.2 As I will demonstrate in each section, the problem with these two approaches has less to do with Marxism and more to do with how they turn to hermeneutics and social movements to imagine rhetorical agency in the idiom of communication theory. In the third section of the paper I will resituate rhetorical agency into a materialist ontology of labor and capitalist production. In so... (shrink)

Thanks to its brilliant melding of film noir, science fiction, and cyberpunk motifs, not to mention its stirring music and unprecedented visual density, Ridley Scott’s Blade Runner (1982/2007) has become an influential cultural icon. What really sets the film apart from most movies, however, are the ways in which it encourages philosophical questions. Virtually all commentators agree that “What does it mean to be human?” – understood as asking something like “What characterizes the real (or authentic) human being?” – (...) is the central philosophical question the film raises. Attempting to answer that question can be a fertile approach to the film, with moral implications for how to think about the qualifications for inclusion in the human community. That is not, however, the only way to appreciate the philosophical significance of Blade Runner. The film also encourages viewers to ponder the question, “What fundamental experiences constitute the uniquely human mode of self-consciousness?” Showing how the latter question leads to a richer appreciation of Blade Runner as philosophy is the aim of this chapter. (shrink)

This article deals with the nature of the visual representation of knowledge with historical and contemporary examples of the analysis of its defining characteristics as epistemic, heuristic and communicative representation. With this aim along the text we explain the visual material features and their relationship with the elaboration of scientific knowledge. And, finally, we must take into account the status of scientific representation in the complex of contemporary visual culture claiming the urgent need to address this type (...) of particular representation of visuals with greater intensity from its epistemic, heuristic and communicative nature. (shrink)

This paper initiates a phenomenological study of the aesthetics of forest and wood in three main phases. First, we consider the modalities of wood’s sensuousness and argue against the formalist tradition that restricts aesthetic appreciation to visual forms. Second, we examine the structural, eidetic features of hand-made wooden objects in the “second life” of trees. Third, we engage in reflections on the communities gathered by the first and second lives of trees. These themes outline an aesthetics of the beautiful, (...) the given, and the gathering. We take philosophical inspiration from Merleau-Ponty throughout, and in the end, also Thoreau. (shrink)

Visual culture can be considered from semiotic point of view as a system of visual codes. Several of them have natural routs. So the perceptual code is formed already on biological level mediating translation of sensory data into perceptual images of the spatial world. The means of natural perceptual code are transformed in culture, where they are involved in communication by depictions. The depiction on the flat performs the function of a “perceptogram”, which, on one hand, is (...) an external record of an internal perceptual image or an idea, and, on the other hand, serves as a program for a spectator’s visual perception. The means of this “perceptography” form an artificial code, which is, on the contrary to the perceptual code, communicative, deliberately used and transformed in various ways at different periods of time in diverse kinds of practical and artistic activity. Not all perceptograms become pieces of art, but all history of pictorial arts can be considered as a process of development and mastering with the different versions of this perceptographic code. The changes of this code in visual culture are connected with the intrinsic development of “vision forms” as well with invention of external means of communication. (shrink)

The article discusses the forms and ways of the impact of modern digital media on people, groups, and society as a whole. The unilateral communication effect on a person is emphasized. The accent is made on the transmission model of information dissemination, taking into account the formation of its ritualized form. The author pays his particular attention to the status and role of an individual in interaction with mass media; provides arguments about the exclusion of a person from the (...) communication dimension. The activity of modern digital media structures is substantiated as social constructors of reality. The researcher shows the technological and visual possibilities of mass media in the creation of artificial, illusory simulated models of the world perceived by a person as objective, authentic, and real. Mass media are presented as an integral social institution of modern society, operating autonomously, based on its own rules and norms, technological and content principles, conditions of network communication, digitalization, and mediatization of society. The article presents the concepts of theoretical comprehension of mass media as a self-sufficient autopoietic system of N. Luhmann, and consideration of media communication implementation as a non-communication of J. Baudrillard. The author stresses the role of spectacle and visuality in the process of TV influence on the subjects, in the construction of images and models of the world, comparable with the already available information consumers pictures of the world. The contradictory and ambiguous conceptual assessments of the activity and influence of mass media on the modern man are emphasized. (shrink)

This dissertation explains Audre Lorde's theoretical work as a pedagogical model, and particularly as foundational for an exploration of photomontage or image/text. Lorde's poetry enacts her theory; she uses her fascination with difference formally, structurally, and rhetorically. My conjecture is that Lorde's practice posits an epistemology based on her thoroughgoing investigation of difference on many levels. She is fascinated by difference, contradiction, dialectic. Her method significantly involves constant comparison and juxtaposition or repositioning of images; processes which tend to be associated (...) with allegorical procedures and montage practice. ;Lorde's work helps illuminate the following questions central to the pedagogy, of image/text or photomontage, toward which I speculate. How can we find forms that move us from our emotions and or something that is internal, powerfully and meaningfully out among others and back and how can we use forms or representation to intervene in our communities and society toward more complex understandings and just practices? ;How can we move students from production to analysis; from developing their own idea, even as a collective, to broader analysis. How do we ask the questions that move us forward and that keep us productive and critical, as part of a dialogue or dialectical practice allowing us to see differently? How do we resist "closure" without committing to aimless relativism? How do we open improvisational space where things can happen, but where we also make meaning of and judgments about what happens or what doesn't; and about where we need to move and why? ;The work here is toward a pedagogy which holds images in conversation, realizing that images and conversations move so we need to make a practice of scrutiny. The pedagogy toward which I speculate examines how our culture/society works in us through images, too often unexamined. My conjecture is that there are methods of dialogue which produce questions out of difference, comparison, and contradiction; and by way of production of imagery, and forms. Specifically, production of visual imagery can be used powerfully in this process. (shrink)