Relevant bibliographies by topics / Visual and digital culture

Academic literature on the topic 'Visual and digital culture'

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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Journal articles on the topic "Visual and digital culture"

Fedorova, K. G. "DIGITAL CULTURE AS A VISUAL PRACTICE." Perspectives. Socio-political journal, no. 1 (2022): 109–14. http://dx.doi.org/10.24195/spj1561-1264.2022.1.15.

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Bastari, Rendy Pandita, Wahyu Lukito, and Fauzi Arif Adhika. "Internet Meme: A Virtual Visual Artefact of Digital Visual Culture." JURNAL RUPA 6, no. 1 (August 31, 2021): 16. http://dx.doi.org/10.25124/rupa.v6i1.2928.

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The internet is one of information, business and entertainment source to date. It’s also the apparatus for communication. Thus, the internet become one virtual world, it possessed almost the same mechanism as the real world, and subsequently rising new culture. One of the internet cultures is internet meme. Recent study conducted on internet meme conclude that the internet meme is another way of communication and the sample of the study is fairly obsolete. This study is an endeavor of new approach on internet meme, seeing it as a visual culture and phenomenon rather than mere communication phenomenon. This research also seeks to provide a novelty of understanding about internet memes. Three samples of internet meme were taken, ranging from 2018 to 2020. Samples is analyzed using visual methodology by looking at 3 sites of the sample image: production, image, and audience. Each of the sites contain 3 modalities: technology, compositionality, and social which will be elaborated through this study. The result of the study is that the internet meme can be a visual representation of important events from the history presented in more amusing way by people, although the communication aspect is still attached. The internet meme is also an attempt to respond an important historical event of their time in an amusing way.

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Karen T. Keifer-Boyd and Deborah L. Smith-Shank. "Born Digital: Visual Culture & Gender." Visual Arts Research 43, no. 1 (2017): 17. http://dx.doi.org/10.5406/visuartsrese.43.1.0017.

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Sweeny, Robert. "Digital Visual Culture: Of Possibilities and Power-Ups." Art Education 67, no. 2 (March 2014): 4–5. http://dx.doi.org/10.1080/00043125.2014.11519258.

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Agung, Lingga, and Novian Denny Nugraha. "Digital Culture and Instagram: "Aesthetics for All?"." IMOVICCON Conference Proceeding 1, no. 1 (July 3, 2019): 93–98. http://dx.doi.org/10.37312/imoviccon.v1i1.7.

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Aesthetics is the study of beauty but in a cultural discourse is a representation of cultural expressions that mark its position in social reality. Thus, aesthetics is not a subjective expression of culture but rather a mechanism by which beauty is produced and distributed. The mechanism continues to operate even in a wider landscape such as in multidimensional technological space. This has resulted the aesthetic deconstruction because the norm operates differently. Instagram, which attracted latest generation, has birth a digital culture oriented to the new aesthetic visual forms. The aesthetic visual on Instagram constructed through visual production that is continuously interwoven with one another. The mechanism of cultural production in Instagram tends to deconstruct aesthetics as a norm. The public is more oriented to actions rather than philosophical contemplation. However, the mechanism of culture produces the discourse of aesthetics in Instagram still needs to explore. This research is important because we facing ‘loss of ideological and historical awareness’ of the aesthetics and aesthetics are the alternative to explore the nature of humanity. This research tries to explain how the aesthetics mechanism works on Instagram by virtual ethnography method and Bourdieu's ‘Capital Culture’ theory.

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Frankel, Susy. "Digital Copyright and Culture." Journal of Arts Management, Law, and Society 40, no. 2 (June 10, 2010): 140–56. http://dx.doi.org/10.1080/10632921.2010.486294.

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Blazhev, Boyan. "Visual Arts and Digital Technologies." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 7, no. 2 (2021): 191–207. http://dx.doi.org/10.26615/issn.2367-8038.2021_2_018.

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With the advent and dissemination of digital technologies, devices and means in the middle of the twentieth century, dramatic changes occurred in all spheres of life. The data reporting environment is changing and the era of new media is approaching. Digital technologies and the global network have a fundamental impact on culture, traditions and art. In this context, in terms of visual art, digital technologies allow for the emergence of new artistic practices that take their place next to classical art activities. Leading the way is the idea that digital technology is not just a tool, but rather a creation process, thus focusing on the concept inspired by the digital context rather than on the means expressed. In modernity, visual art and scientific achievements live in harmony. Keywords: Digital Art; Art; Virtual Reality (VR); Technological Innovations; Net Art; Artificial Intelligence (AI); New Media Art

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ONG, Patricia A. L. "Visual Research Methods: Qualifying and Quantifying the Visual." Beijing International Review of Education 2, no. 1 (April 3, 2020): 35–53. http://dx.doi.org/10.1163/25902539-00201004.

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The role of visual research methods in ethnographic research has been significant, particularly in place-making and representing visual culture and environments in ways that are not easily substituted by text. Digital media has extended into mundane, everyday existences and routines through most noticeably the modern smartphone, social media and digital artefacts that have created new forms of ethnographic enquiry. Ethnographers have engaged in this relatively new possibility of exploring how social media and new technologies transform the way we view social realities through the digital experience. The paper discusses the possible role of visual research methods in multimethod research and the theoretical underpinning of interpreting visual data. In the process of interpreting and analysing visual data, there is a need to acknowledge the possible ambiguity and polysemic quality of visual representation. It presents selectively the use of visual methods in an ethnographic exploration of early childhood settings through the use of internet-based visual data, researcher and participant-generated visual materials and media, together with visual-elicited (e.g. drawings, still images, video clips) information data through several examples. This approach in ‘visualizing’ the curriculum also unveils some aspects of the visual culture or the ‘hidden curriculum’ in the learning environment.

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Harwood, Tracy. "Cocurated Digital Culture: Machinima." Leonardo 52, no. 2 (April 2019): 123–27. http://dx.doi.org/10.1162/leon_a_01328.

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This article explores hybrid curatorial practices that have developed around digital “socio-techno-cultural” practices such as machinima. Machinima is a creative cultural movement that has evolved considerably since its emergence in 1996. The article highlights interrelated themes of curatorial practice: coevolving sense-making and social consumption; creative cognition and exploratory visualization; technologies as cultural intermediaries; social products, materialized expression and collective memory; capturing contexts through cocuration; and sustainability and stability of cultural capital. The article concludes that curation is a process of continually evolving interpretation of the artifact, representing shifts in the technology landscape, network of community members and audience interactions.

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Kumar, Sudhir. "IMAGE, BRAND AND THE SACRED (INDIA)." International Journal of Research -GRANTHAALAYAH 3, no. 11 (November 30, 2015): 106–21. http://dx.doi.org/10.29121/granthaalayah.v3.i11.2015.2920.

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In the age of global digital revolution the ways of seeing things, the concept of visuality, frequency of images, their interplay and the multiplicity of their meaning have tended to become the culture of the day. Proliferation of screen culture, plethora of print images and the abundance of commercial visuals all around have caused an unprecedented changes in the methods of consuming images within the cultures. In India, where it is difficult to imagine a culture without images and visuals, ‘seeing’ consists more than what is commonly considered mere as ocular sight. ‘Seeing’ cannot be without ethics in India and images here always need a positive symbolism, and a sense of sacredness is always attached to the most of them. Branding in an age of visual proliferation has more to depend on the dynamics of images and the visual symbols which situate themselves at the liminal zones between consumers’ own real world and the virtual worlds of the brands projected by corporate sectors. This paper taking ethico-spiritual stance attempts at rethinking on the present approaches of branding in Indian context where consideration for dominant and diverse visual cultures appear to be pertinent.

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Dissertations / Theses on the topic "Visual and digital culture"

Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.

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Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.

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Musa, Moh'd Jamil Moh'd. "Advertising design: the unappealing nature of digital & printed advertising design in Jordan." Doctoral thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31059.

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This Thesis focuses on the analysis of the situation of the Jordanian advertising industry, with regard to the way it is perceived by the local public. The identification of problems related to the effectiveness and quality of Jordanian advertising is a reality perceived at different levels, namely that can be verified either on social networks by professionals and academics in the area and the target audience, as well as articles and other specialized communications. This issue, therefore, constitutes the central theme of the investigation, which questions, investigates, analyzes and summarizes the reasons that lead the Jordanian people not to identify themselves with the advertising material produced locally, at the same time that it has as reference other ads from other cultures and countries, whether neighbouring Arab countries or from around the world. Thus, a review of the literature on the subject is carried out, considering its current state of the art in advertising itself, and the domain in which it operates. The main research questions focus on what are the reasons that cause dissatisfaction of the local public with current advertising, reflecting and pointing proposals that contribute to these problems can be solved. The aim of the research is to create the basis for a local advertising culture that raises the quality of Jordanian advertising for more engaging, creative and empathic experiences. In this universe, several obstacles were defined and categorized as cultural, cognitive, environmental and educational. The process that this thesis followed to answer this question, involves the development of a social action of a pedagogical nature, promoting tools of awareness, analysis and responsive diagnosis of advertising activity, aimed at practitioners of advertising communication in Jordan, in order to introduce a critical analysis criterion that takes into account visual and conceptual strategies, with regard to Jordanian cultural specificities. The research methodology is mixed qualitative, non-interventionist at first, dedicated to literature review, analysis of case studies or indirect observation, and, secondly, interventionist, namely through the use of surveys, interviews, active observation, involved in the project component validation process. It is concluded that presenting sufficient knowledge about the practice of advertising design, combined with critical thinking and the definition of Jordanian cultural boundaries, constitutes a determining point for raising the quality of local advertising; RESUMO: Design de publicidade: a natureza desagradável do design de publi- cidade digital e impressa na Jordânia A presente Tese tem como foco a análise da situação da indústria publicitária jordaniana, no que diz respeito à forma como a mesma é percebida pelo público local. A identificação de problemas relacionados com a eficácia e com a qualidade da publicidade jordaniana é uma realidade percepcionada em diferentes níveis, nomeadamente passível de ser verificada quer em redes sociais por parte de profissionais e acadêmicos da área e do público a que se destina, assim como em artigos e outras comunicações especializadas. Essa problemática, constituise assim o tema central da investigação, a qual questiona, investiga, analisa e sintetiza sobre os motivos que levam o povo jordaniano a não se identificar com o material publicitário produzido localmente, ao mesmo tempo que tem como referência outros anúncios de outras culturas e países, sejam países árabes vizinhos ou de todo o mundo. É, desse modo, realizada uma revisão da literatura sobre o tema, considerando o seu atual estado da arte da publicidade em si, e do domínio em que a mesma opera. As principais questões da investigação incidem sobre quais são os motivos que causam a insatisfação do público local com a publicidade vigente, refletindo e apontando propostas que contribuam para que esses problemas possam ser resolvidos. O objetivo da pesquisa é criar a base de uma cultura publicitária local que eleve a qualidade da publicidade jordaniana para experiências mais envolventes, criativas e empáticas. Nesse universo, vários obstáculos foram definidos e categorizados como culturais, cognitivos, ambientais e educacionais. O processo que esta tese seguiu para responder a esta questão, passa pelo desenvolvimento de uma ação social de carácter pedagógico, promotora de ferramentas de sensibilização, análise e diagnóstico responsivo da atividade publicitária, dirigida a praticantes do design publicitário na Jordânia, a fim de lhes introduzir um critério de análise crítica que leva em consideração estratégias visuais e conceituais, no que diz respeito às especificidades culturais jordanianas. A metodologia da investigação é qualitativa mista, não intervencionista num primeiro momento dedicado à revisão da literatura, análise de casos de estudo ou observação indireta, e, num segundo momento, intervencionista, nomeadamente por recurso a aplicação de inquéritos, entrevistas, observação ativa, implicados no processo de validação da componente de projeto. Conclui-se que apresentar conhecimento suficiente sobre a prática do design publicitário, combinado com o pensamento crítico e a definição das fronteiras culturais jordanianas, constitui um ponto determinante para a elevação da qualidade da publicidade local.

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FARIAS, Romerita Silva. "Olhar digital: a mensagem dos jovens na produção de vídeos do Proi-Digital." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/18003.

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Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-10-18T16:55:06Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) VERSÃO FINAL -DISSERTAÇÃO ROMERITA SILVA FARIAS.pdf: 1922868 bytes, checksum: a778d366ae9d95003f8820548743e636 (MD5)
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O que comunicam e quais as mensagens de jovens anônimos e leigos na linguagem do audiovisual, participantes das oficinas do Programa de Extensão da Universidade Federal de Pernambuco (UFPE), Proi-Digital, em execução desde 2010? Partindo do questionamento acima, esta pesquisa do tipo descritiva busca analisar as produções de vídeo, de jovens participantes de oficinas do Programa de Extensão, que ocorrem no interior de escolas públicas, no que se refere às mensagens que eles comunicam nessas produções e suas expressões de reflexão e crítica. Nesse sentido, o aporte teórico discute o universo juvenil, assim como explora os campos da comunicação, da educação e da cultura visual, utilizando como referências Martin-Barbero (1997), Hernández (2011), Penteado (1998), Belloni (2001) e Orofino (2005). A metodologia de natureza qualitativa é baseada no que preconiza Minayo (2001). Com mais de 18 vídeos produzidos, nesses quatro anos de Programa, para a amostra da pesquisa, foram analisados apenas 04 vídeos, os quais foram produzidos para as pesquisas realizadas nos anos de 2012 e 2013 com metodologias distintas. A análise desse material está contemplada em dois grupos de dados. O primeiro são os vídeos com a análise textual como modalidade fílmica, com ênfase na análise fílmica e a análise textual discursiva. O segundo, as entrevistas com a análise textual discursiva. Na análise dos resultados percebemos a mediação como um elemento forte e colaborador para o desenvolvimento da criticidade dos jovens participantes das oficinas de vídeo. Os vídeos foram um canal para os jovens exporem suas ideias, seus anseios, um meio para falar do seu cotidiano. Uma mensagem com um tom de crítica, de denúncia e de reflexão.
The audio-visual language and messages passed from anonymous, inexperienced and young participants has communicated what in the Officine Pro-digital postgraduate programme from the University Federal of Pernambuco, running since 2010? Taking into consideration what is asked above, this descriptive research aims to analyse all the videos produced which cover youth participants from the postgraduate Officine programme. These recorded videos illustrate what happens inside state schools, by verbalising messages of the chosen students, and express their criticisms and reflections. With this in mind, the theoretical contribution of this project brings into debate the juvenile universe, by exploring the fields of communication, education, and visual culture, based on past authors‘ references: Martin-Barbero (1997), Belloni (2001), Hernández (2011), Orofino (2005) and Penteado (1998). The methodology of qualitative nature is based on what Minayo, (2001) advocates. Having more than 18 videos produced during this four-year programme, as a means of research, only 4 videos were subsequently chosen and recorded for research purposes over the period 2012 to 2013 with distinct methodologies. The analyses of these recording materials are arranged into two data groups. The first is on videos with textual analysis with filmic modality, with an emphasis on filmic analysis and discursive textual analysis. The second data analysis focuses on the interviews with discursive textual analysis. In the analysis of the results, the authors realise the mediation as a strong element and collaborator in the development of the criticality of the young participants of the Officine videos. The videos came as a communication channel for the youths to express their ideas and agonizing, as well as an opportunity to express their daily lives. This paper brings an important message with critical tones, complaints and reflections.

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Figueira, Rodrigo Minelli. "Laboratório de signos: a produção de significações na cultura visual digital." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4997.

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The general objective of this research is to analyze the way as the discursives strategies in what Andrew Darley defined as being the visual digital culture and it s relation with the technological possibilities and medias of communication. In its book Visual Digital Culture he defines that way the cultural forms appeared from dissemination of the graphic computer and considered it while a cultural phenomena. The idea is reach to understand of how semiotics status expressed in languages, speeches, sorts, formats, messages is conformed by the technology/media used to express them. Tries to understand how contemporaries semiotics are codified by the machines and the cultural implications of this codification. The theoretical aproach of the present work is in the studies of Semiotics of Culture. To reach our objectives we intend in basically supporting them in the works of two of these authors, Mikhail Bakthin and Iuri Lotman and in the concepts of dialogism and poliphony of first and the notion of text of the culture and the semiosphere of the second one. We will search to bring the reflection of these authors to dialogue with other authors who have attemped to reflect on the occured transformations from the dissemination of the technologies of communication and information from middle of the XX century, as the proper Darley, Lev Manovich, Paul Miller and Arlindo Machado among others. The object chosen for our research is the work of the group feitoamãos , collective of artists who since 1999 dedicate the research and experimentation to it in electronic art, having carried through single channel videos, web-art, installations and performances. We will search through the analysis of the expressiveness structures of the presentations of the group to understand the flow established between the diverse languages used in its works. Our main hypothesis is of that fragmentation, simultaneness, reiteration, not-linearity and noises they adopted are expressiveness resources inside of the context of the visual digital culture and that they are some of the characteristics and necessities of the urban condition that if they reflect, at the same time that they are expressed through and in the media. We also understand that as well as the technologies open new expressiveness possibilities, the limitations of one specific media determine the signing productions in that media. We analyze what forms they had and which are the current characteristic forms of expression of that culture. if these consolidate from the cultural configurations of determined time we can assume that at the same time that they reflect the technical possibilities, they are for these determined
O objetivo geral desta pesquisa é analisar os modos como as estratégias discursivas presentes naquilo que Andrew Darley definiu como sendo a cultura visual digital se relacionam com as possibilidades técnicas e mídias de comunicação. Em seu livro Cultura Visual Digital o autor define desta maneira as formas culturais surgidas a partir da disseminação da computação gráfica e consideradas enquanto fenômenos culturais. A idéia é buscar entender de que forma os regimes semióticos expressos em linguagens, discursos, gêneros, formatos, mensagens são conformados pela tecnologia/mídia empregada para expressálos. Ou seja, entender como as formas contemporâneas são codificadas pelas máquinas semióticas e as implicações culturais desta codificação. O recorte teórico do presente trabalho se encontra nos estudos da Semiótica da Cultura. Para alcançar nossos objetivos pretendemos nos apoiar fundamentalmente na obra de Mikhail Bakthin e Iuri Lotman e nos conceitos de dialogismo e polifonia do primeiro e da noção de texto da cultura e semiosfera do segundo. Buscaremos trazer a reflexão destes autores para dialogar com outros autores que têm tentado refletir sobre as transformações ocorridas a partir da disseminação das tecnologias de comunicação e de informação a partir de meados do século XX, como o próprio Darley, Lev Manovich, Paul Miller e Arlindo Machado entre outros. O objeto escolhido para nossa pesquisa é o trabalho do grupo feitoamãos , coletivo de artistas que desde 1999 dedica-se à pesquisa e experimentação em arte eletrônica, tendo realizado vídeos single channel , web-arte, instalações e performances. Buscaremos através da análise das estruturas expressivas das apresentações do grupo compreender os fluxos estabelecidos entre as diversas linguagens presentes em seus trabalhos. A nossa hipótese principal é a de que fragmentação, simultaneidade, reiteração, não-linearidade e ruídos são recursos expressivos adotados dentro do contexto da cultura visual digital e que são algumas das características e necessidades da condição urbana que se refletem, ao mesmo tempo que são expressos através e nos mídia. Acreditamos também que, assim como as tecnologias abrem novas possibilidades expressivas, as limitações técnicas de uma dada mídia determinam as produções sígnicas naquela mídia. Analisamos de que forma se dão e quais são as atuais formas de expressão características desta cultura; se estas se consolidam a partir das configurações culturais de determinada época podemos supor que ao mesmo tempo que refletem as possibilidades técnicas, são por estas determinadas

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Tornero, Stephen A. "Motivating young adolescents in an inclusion classroom using digital and visual culture experiences: An action research." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429210198.

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Hellström, Sarah K. "More Than Digital Makeup : The Visual Effects Industry as Hollywood Diaspora." Thesis, Stockholms universitet, Filmvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-116054.

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This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.

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Adams, Jonna. "Emojis : Carriers of Culture and Symbols of Identity." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22493.

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The study explored how the use of Emojis – beyond being used just as playful joke markers and tone-setters – shape culture and identity within a community of practice. Through the means of two qualitative Focus Group interviews involving ten members from a local soccer team, the purpose was to examine in-depth participants’ motivations for using Emojis, and their feelings about the Emojis that they receive both within and outside their community. Results showed that Emojis – irrespective of shape – are understood as signs representing an individual’s inner positive energy and good will; when such signs are used regularly within a community, this contributes to that the community culture emerge as positive and friendly. Expanding on these findings, results also illustrated that Emojis are perceived as symbols of likeness towards the group and that they contribute to the shaping of open and permissive culture in which emotions are allowed to flow freely – an effect which seem to be transferred to their offline environment too. Drawing from theories of Cultural Psychology and Cultural Semiotics, the thesis presents an innovative view of Emojis as both products as well as producers of culture; products because they are graphic representations of emotions which become meaningful cultural signs when posted online, and producers because they affect members’ perception of reality within the community of practice. The thesis also conclude that the use of Emojis is closely linked to personality and identity; as identities are continuously shaped through the symbolic association of Emojis, this affect not only how members of a community perceive the individuals using them, but also how we perceive the community in which these identities circulate and operate. This finding paved the way for interesting future studies on personal identity building through Emoji use.

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Christiansen, Lauren. "Redefining exhibition in the digital age /." This body of writing is available online with supplemental images, 2010. http://exhibitioninthedigitalage.tumblr.com/.

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Vosloo, Niel Brink. "Hiding in plain sight : subjectivity, mimetic representation & the digital realm." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20213.

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Thesis (MA (VA))--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This study offers a critical exploration of the ways in which Jean Baudrillard’s theory of the simulacrum is ‘true’ or viable as a theory of representation in contemporary visual culture, with particular reference to digital imaging technologies. Using a selection of images and texts dating from the Renaissance to present day, I trace issues of subjectivity and self-reflexivity in modern image culture, questioning the extent to which digital imaging technology and information substantially departs from the early modern devotion to naturalistic representation (verisimilitude) as a reflection of knowledge and truth in the modern world. I offer a critique of the simulacrum theory that concerns two principle issues: firstly that simulacrum is a strictly self-reflexive operation and not an effect of digital imaging technology as Baudrillard claims; and secondly, that simulacrum necessitates an underlying dualist worldview in order to exist. With reference to the use of metaphor in magical realist texts and visual art, I draw the argument together with a discussion of my own art practice, particularly a body of work that takes Etienne van Heerden’s novel Toorberg (1986) as a starting point. The examples I refer to serve as visual evidence in support of my speculative philosophical argument against hyperreality; that is, how the simulacral nature of metaphor (as operating within a poststructuralist model of the sign) functions a critical aspect of a self-reflexive individual consciousness; and argues for subjectivity itself as inherently bound up in the operation of simulacrum.
AFRIKAANSE OPSOMMING: Hierdie studie is ’n kritiese ondersoek na die wyse waarop Jean Baudrillard se teorie van die simulacrum ‘waar’ of grondig is as ’n teorie van representasie in visuele kultuur, met spesifieke verwysing na digitale beeldtegnologie. ‘n Verskeidenheid beelde en tekste (van die Renaissance tot die moderne era) word betrek ten einde kwessies rondom subjektiwiteit en selfrefleksiwiteit in moderne beeldkultuur te ondersoek. Die mate waarin digitale beeldtegnologie en inligting merkbaar afwyk van ‘n vroeë moderne toegewydheid aan naturalistiese representasie (verisimilitude) as ‘n refleksie van kennis en waarheid in die moderne wêreld, word vervolgens krities ondersoek. Baudrillard se simulacrum-teorie word krities beoordeel: in die eerste plek is die simulacrum ‘n streng selfrefleksiewe proses en nie ‘n effek van digitale beeldtegnologie, soos Baudrillard beweer nie; en tweedens veronderstel, of noodsaak die simulacrum ‘n onderliggende dualistiese wêreldbeeld ten einde geldig verklaar te kan word. Met verwysing na die gebruik van metafoor in magies realistiese tekste en visuele kuns, word die argument saamgevat deur ’n bespreking van my persoonlike kunsprojek, vernaam ’n versameling werk wat Etienne van Heerden se roman Toorberg (1986) as verwysingspunt gebruik. Die voorbeelde waarna ek verwys ondersteun my spekulatiewe filosofiese argument teen hiperrealiteit (hyperreality); hoe die simulakrale (simulacral) aard van metafoor (soos werksaam binne ’n poststrukturalistiese model van die ‘teken’) as ’n kritiese aspek van selfrefleksiewe individuele bewussyn funksioneer. Ek argumenteer vervolgens dat subjektiwiteit sigself inherent deel is van die werking van simulacrum.

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Knochel, Aaron D. "Seeing Non-humans: A Social Ontology of the Visual Technology Photoshop." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316451835.

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Books on the topic "Visual and digital culture"

Digital visual culture: Theory and practice. Bristol, UK: Intellect, 2009.

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Timothy, Druckrey, ed. Electronic culture: Technology and visual representation. New York: Aperture, 1996.

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Into the image: Culture and politics in the field of vision. London: Routledge, 1996.

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Krista, Harper, ed. Participatory visual and digital methods. Walnut Creek, California: Left Coast Press, 2013.

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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2019 Florence. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-869-3.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Science and Culture Developments & Applications; New Technical Developments & Applications; Cultural Activities – Real and Virtual Galleries and Related Initiatives, Access to the Culture Information. One Workshop regards Innovation and Enterprise. The more recent results of the Researches at national and international level are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.

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Cappellini, Vito, and Enrico Del Re, eds. Electronic Imaging & the Visual Arts. EVA 2016 Florence. Florence: Firenze University Press, 2016. http://dx.doi.org/10.36253/978-88-6655-974-0.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Science and Culture Developments & Applications; New Technical Developments and Applications; Museums - Virtual Galleries and Related Initiatives; Access to the Culture Information. An International Forum on “Culture & Technology” is enclosed. One Workshop regards: Innovation and Enterprise.

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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2017 Florence. Florence: Firenze University Press, 2017. http://dx.doi.org/10.36253/978-88-6453-502-9.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.

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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2018 Florence. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.

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The Publication is following the yearly Editions of EVA FLORENCE. The State of Art is presented regarding the Application of Technologies (in particular of digital type) to Cultural Heritage. The more recent results of the Researches in the considered Area are presented. Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace - Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Sciences and Culture Developments and Applications; New Technical Developments & Applications; Museums - Virtual Galleries and Related Initiatives; Art and Humanities Ecosystem & Applications; Access to the Culture Information. Two Workshops regard: Innovation and Enterprise; the Cloud Systems connected to the Culture (eCulture Cloud) in the Smart Cities context. The more recent results of the Researches at national and international are reported in the Area of Technologies and Culture Heritage, also with experimental demonstrations of developed Activities.

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Kirschenmann, Johannes, and Wagner Ernst. Bilder, die die Welt bedeuten: "Ikonen" des Bildgedächtnisses und ihre Vermittlung über Datenbanken. München: Kopaed, 2006.

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Cappellini, Vito, ed. Electronic Imaging & the Visual Arts. EVA 2015 Florence. Florence: Firenze University Press, 2015. http://dx.doi.org/10.36253/978-88-6655-759-3.

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Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Technologies & Applications; New 2D-3D Technical Developments & Applications; Virtual Galleries – Museums and Related Initiatives; Access to the Culture Information. Two Workshops regard: International Cooperation; Innovation and Enterprise.

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Book chapters on the topic "Visual and digital culture"

Gotti, Maurizio, and Larissa D’Angelo. "Mediating Disputes with Digital Media." In Law, Culture and Visual Studies, 631–48. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-9322-6_28.

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Rizvic, Selma, Vensada Okanovic, and Dusanka Boskovic. "Digital Storytelling." In Visual Computing for Cultural Heritage, 347–67. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37191-3_18.

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Parry, Kyle. "How Selfies Think: The Cognitive Dimensions of Digital Photography." In Visual Culture Approaches to the Selfie, 124–38. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780367206109-5.

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Pink, Sarah, Vaike Fors, and Martin Berg. "Sensory, digital and visual methodologies." In Routledge Handbook of Physical Cultural Studies, 528–36. Abingdon, Oxon; New York, NY: Routledge, 2017. | Series:: Routledge, 2017. http://dx.doi.org/10.4324/9781315745664-53.

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Hinkson, Melinda. "At the Edges of the Visual Culture of Exile: A Glimpse from South Australia." In Refiguring Techniques in Digital Visual Research, 93–104. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61222-5_8.

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Tsiang, Katherine R. "Digital Imaging Projects for Asian Art and Visual Culture." In The Routledge Companion to Digital Humanities and Art History, 191–202. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-18.

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Fedorova, Ksenia. "Neurointerfaces, Mental Imagery and Sensory Translation in Art and Science in the Digital Age." In Invisibility in Visual and Material Culture, 91–109. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16291-7_5.

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Björk, Helena. "Post-internet Verfremdung." In Post-Digital, Post-Internet Art and Education, 285–98. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_17.

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AbstractThe ease of uploading images on Instagram has meant that a whole generation grows up paying closer attention to visual language. At the same time, Instagram and other social media have come to dominate visual culture to the extent that we need to make an effort to unlearn what they have taught us. Here the internet is seen not only as a vital part of visual culture but also as a site of learning. This chapter presents a school assignment as a possible approach to online visual culture. By creating Instagram fiction, we can understand how social media operate both visually and socially. Parody and estrangement, or the Brechtian Verfremdungseffekt, are examples offered to examine a phenomenon and activate critical thinking.

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Partarakis, Nikolaos, Xenophon Zabulis, Margherita Antona, and Constantine Stephanidis. "Transforming Heritage Crafts to Engaging Digital Experiences." In Visual Computing for Cultural Heritage, 245–62. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37191-3_13.

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Abu Bakar, Muhammad Ramzul, Noor Afiza Mat Razali, Muslihah Wook, Mohd Nazri Ismail, and Tengku Mohd Tengku Sembok. "The Mediating Role of Cloud Computing and Moderating Influence of Digital Organizational Culture Towards Enhancing SMEs Performance." In Advances in Visual Informatics, 447–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-90235-3_39.

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Conference papers on the topic "Visual and digital culture"

Uçak, Olcay. "Towards a Single Culture in Cross-Cultural Communication: Digital Culture." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.007.

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Culture is a multifaceted, complex process which consists of knowledge, art, morals, customs, skills and habits. Based on this point of view of Tylor, we can say that the culture is the human in the society, his learning styles and the technical or artistic products that originate from these learning styles, in other words, the content. In antropology it is argued that when the concept of culture is considered as a component in a social system, the combination of the social and cultural areas form the socio-cultural system. Approaches that handle culture within the socio-cultural system are functionalism (Malinowski), structural-functionalism (Radliffe-Brown), historical-extensionist (Kluckhohn, Krober), environmental adaptive (White), while the approaches that treat culture as a system of thought are cognitive (Goodenough), structural (Levi Strauss) and symbolic (Geertz) approaches. In addition to these approaches that evaluate cultures specific to communities, another definition is made according to the learning time: Margeret Mead, Cofigurative Culture. In order to evaluate today’s societies in terms of culture, we are observing a new culture which has cofigurative features under the influence of convergent technologies (mobile, cloud technology, robots, virtual reality): Digital Culture. This study aims to discuss the characteristics of the digital culture, which is observed after the theoretic approaches that define different cultures in cross-cultural communication (Hofstede’s Cultural Dimension and Cofigurative Culture) and called as network society by Manual Castells and accelerated during the Covid19 pandemic, in other words the common communication culture. Common cultural features will be studied through methods of semiology and text analysis upon digital contents which are starting to take hold of cross-cultural communication, a comparison between cross-cultural communication and communicative ecology will be made, the alteration in the cultural features of the society will be examined via visual and written findings obtained.

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Legrady, George, Katherine Scott, and R. J. Duran. "The James Bay Cree Visual Ethnographic Digital Online Cultural Atlas." In 2013 International Conference on Culture and Computing (Culture Computing). IEEE, 2013. http://dx.doi.org/10.1109/culturecomputing.2013.30.

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Cunha, Sara, and Adriano Rangel. "Visual Poetry. Illustration in digital publishing." In 2nd International Conference of Art, Illustration and Visual Culture in Infant and Primary Education. São Paulo: Editora Edgard Blücher, 2012. http://dx.doi.org/10.5151/edupro-aivcipe-45.

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Shortt, Marie Therese. "Patterning culture: Developing a system for the visual notation of greetings." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743768.

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Skender, Lana. "Visual culture as new educational socio-technological paradigm." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.12149s.

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Digital technology has enabled the predominance of visual communication and rapid and simultaneous image transmission beyond the original context. In the “culture of the image,” communication, identity formation, and social patterns are transmitted by image. Under such conditions, visual literacy is considered as elementary literacy and goes towards the critical reading of visual content messages. This situation has also prompted a reflection on the art education paradigm turn towards the broader concept of visual culture as a new socio-technological paradigm. The Croatian results of the Delphi method survey showed that most experts see the paradigm turn, from fine art to visual culture, because of technological changes in society. Technological developments manifested through the Internet, mass media, and social networks affect new generations testing and understanding the world in new ways, most often through technology. It is essential to change the content, practices, and teaching methods.

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Yan, Yang, Sha Chunfa, and Dong Jiali. "Visual analysis of tourism image research from the perspective of culture." In 2020 International Conference on Innovation Design and Digital Technology (ICIDDT). IEEE, 2020. http://dx.doi.org/10.1109/iciddt52279.2020.00034.

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Cha, MyoungHee. "Design of Memory Model for Autonomous Virtual Agent using Visual Attention and Quad-tree." In Art, Culture, Game, Graphics, Broadcasting and digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.87.22.

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Paxoumaki, Sofia Alexandra, and Nikos Antonopoulos. "Professional Photographers of Instagram: The Meaning of Visual Communication Through Modern Photography in Digital Society." In – The Barcelona Conference on Arts, Media & Culture 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2435-9475.2020.3.

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Lee, Yunjung, and Su-jeung Kim. "Integrated Government Identity Design Methodology Based on Visual Thinking: Focusing on Gestalt Theory of “Figure and Ground” and CMF." In Art, Culture, Game, Graphics, Broadcasting and Digital Contents 2015. Science & Engineering Research Support soCiety, 2015. http://dx.doi.org/10.14257/astl.2015.113.14.

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Barricelli, Barbara Rita, Gerhard Fischer, Daniela Fogli, Anders Mørch, Antonio Piccinno, and Stefano Valtolina. "Cultures of participation in the digital age." In AVI '18: 2018 International Conference on Advanced Visual Interfaces. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3206505.3206599.

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Reports on the topic "Visual and digital culture"

Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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Giorcelli, Michela, Nicola Lacetera, and Astrid Marinoni. Does Scientific Progress Affect Culture? A Digital Text Analysis. Cambridge, MA: National Bureau of Economic Research, January 2019. http://dx.doi.org/10.3386/w25429.

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Byron, B. D. ,. Westinghouse Hanford. Visual Image Digital Object Network (VIDON) operations test report. Office of Scientific and Technical Information (OSTI), July 1996. http://dx.doi.org/10.2172/296584.

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Byron, B. D. ,. Westinghouse Hanford. Visual Image Digital Object Network (VIDON) operations test plan. Office of Scientific and Technical Information (OSTI), July 1996. http://dx.doi.org/10.2172/325146.

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Byron, B. D. ,. Westinghouse Hanford. Visual Image Digital Object Network (VIDON) software project management plan. Office of Scientific and Technical Information (OSTI), July 1996. http://dx.doi.org/10.2172/296586.

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McGaughey, R. J., and R. H. Twito. VISUAL and SLOPE: perspective and quantitative representation of digital terrain models. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station, 1988. http://dx.doi.org/10.2737/pnw-gtr-214.

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Island Ark Project Team, Island Ark Project Team. Digital preservation of immaterial island culture in the face of climate change. Experiment, April 2014. http://dx.doi.org/10.18258/2415.

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Ibanez Bueno, J., G. Chabert, A. Lamboux-Durand, and N. Wanono. Applying visual methods to digital communication / Los métodos visuales aplicadas a la comunicación digital / Les méthodes visuelles appliquées à la communication numérique. Revista Latina de Comunicación Social, November 2017. http://dx.doi.org/10.4185/cac136.

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