Published May 30, 2022 | Version v1
Journal article Open

The culture of visuals and the visuals of culture

Creators

  • 1. "George Enescu" National University of the Arts

Description

This article offers the premises for an analytical reflection on how we look at images today, while questioning the role they have in our understanding of contemporary culture. We will discuss different visual culture aspects based on relevant case studies from advertising, branding, journalism, and art, arguing that the image is prevalent in today’s media culture, with our perception shaped by its structural lecturing rules (in the detriment of other content formats). Since contemporary culture is constantly and arbitrarily build on a subjective and consciousness perspective, we are witnessing on the cultural identity definition of our existence through image-reading patterns, text-looking solutions, and video-lecturing directions, as a multimodal subjective information-processing reaction to the spectacle of this intense digitalization of the society.

Files

art2022-05-01.pdf

Files (210.2 kB)

Name Size Download all
md5:f79e2d3f68496211363862fd55de63bf
210.2 kB Preview Download

Additional details

References

  • Barthes, R. (1985). Rhetoric of the image. New York: Hill & Wang.
  • Bateman, J. (2014). Text and Image. A Critical Introduction to the Visual/Verbal Divide. London, New York: Routledge.
  • Baudrillard, J. (1981). Simulacres et simulation. Paris: Galilée. (in French)
  • Benjamin, W. (1969). The Work of Art in the Age of Mechanical Reproduction. New York: Schocken Books.
  • Berger, J. (1977). Ways of Seeing. New York: Penguin Books.
  • Bouko, C., De Wilde, J., Decock, S., De Clercq, O., Manchia, V., & Garcia, D. (2021, February 1). Reactions to Brexit in images: a multimodal content analysis of shared visual content on Flickr. Visual Communication, 20(1), 4-33.
  • Cooper, B.B. (2013, November 13). How Twitter's Expanded Images Increase Clicks, Retweets and Favorites [New Data]. Retrieved April 23, 2022, from https://buffer.com/resources/the-power-of-twitters-new-expanded-images-and-how-to-make-the-most-of-it/
  • Debord, G. (1983). The Society of the Spectacle. (F. Perlman, Trans.) Black & Red.
  • Eisenberg, H. (2022). Humans Process Visual Data Better. Retrieved April 23, 2022, from https://www.t-sciences.com/news/humans-process-visual-data-better
  • Elkins, J. (2003). Visual Studies: A Skeptical Introduction. London: Routledge.
  • Emison, P. A. (2021). Art, Aura, and Admiration in the Age of Digital Reproduction. Art History & Criticism, 17(1), 5-16.
  • German, L. (2018). The relation between "seeing" and "being seen": a diachronic perspective on photographic view. Comunicarea interpersonală. Arta şi educaţia ca mijloace de comunicare (pp. 187-193). Iaşi: Ars Longa.
  • Jakus, D. (2018). Visual communication in public relations campaigns. Marketing of Scientific and Research Organizations, 27(1), 25-36.
  • Jay, M. (2002). That visual turn. Journal of visual culture, 1(1), 87-92.
  • Lelis, C., Leitão, S., Mealha, Ó., & Dunning, B. (2022, February 1). Typography: the constant vector of dynamic logos. Visual Communication, 21(1), 146-170.
  • Lentz , R., & Levie, W. (1982, December). Effects of text illustrations: A review of research. ECTJ 30, 195-232.
  • Manovich, L. (2001, a). Lev Manovich Analyzes the Post-Media Age. Retrieved 05 15, 2022, from ARTMargins: Central & Eastern European Visual Culture: https://artmargins.com/lev-manovich-analyzes-the-post-media-age/
  • Manovich, L. (2001, b). The Language of New Media. Massachusets: The MIT Press.
  • Mao, T., & Xunxun, J. (2021). The Use of Digital Media Art Using UI and Visual Sensing Image Technology. Journal of Sensors 2021.
  • McLuhan, M. (1964). Understanding Media. UK: Routledge.
  • Medina, J. (2017). Brain rules. Washington: Pear Press.
  • Nielsen, J. (2010, October 31). Photos as Web Content. Retrieved April 23, 2022, from Nielsen Norman Group: https://www.nngroup.com/articles/photos-as-web-content/
  • Painter, A. A. (1993). Japanese Daytime Television, Popular Culture, and Ideology. The Journal of Japanese Studies, 19(2), 295-325.
  • Peraica, A. (2019). The age of total images. Amsterdam: The Institute of Network Cultures.
  • Pflaeging, J., & Stöckl, H. (2021, August 1). The rhetoric of multimodal communication. Visual Communication, 20(3), 319-326.
  • Ponty, M.M. (2013). Phenomenology of Perception. Routledge.
  • Ross, L. ( 2014). Language in the Visual Arts: The Interplay of Text and Imagery. McFarland & Company.
  • Rowley-Jolivet, E. (2000). Image as Text. Aspects of the shared visual language of scientific conference participants. ASp, 133-154.
  • Schuler, R.K. (2016). Seeing Motion. A History of Visual Perception in Art and Science. Berlin, Boston: De Gruyter.
  • Sofron, D. (2015). The Hierarchical Perspective. Anastasis. Research in Medieval Culture and Art, 252-261.
  • Soreanu, C. (2018). Artă şi publicitate. Medii de expresie în publicitatea contemporană. Iaşi: Artes.
  • Soreanu, C. (2020, November). From Media to Mediums of Expression. Visual Art Communication and Meaning. (C.-L. Ioniţă, A.-I. Stoleriu, & A. Stoleriu, Eds.) ANASTASIS – Research in Medieval Culture and Art, 7(2), 261-276.
  • Soreanu, C. (2021). New Media Art: Aligning Artistic Creativity And Technological Media. (E. Pasca, Ed.) Review of Artistic Education, 22, 206-216.
  • Trafton, A. (2014, January 16). Massachusetts Institute of Technology. Retrieved April 23, 2022, from In the blink of an eye: https://news.mit.edu/2014/in-the-blink-of-an-eye-0116
  • Wang, Y., & Song, J. (2020). Image or Text: Which One is More Influential? A Deep Learning Approach for Visual and Textual Data Analysis in the Digital Economy. Communications of the Association for Information Systems, 47.