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Download Visual Culture: The Study of the Visual after the Cultural Turn (MIT Press) fb2, epub

by Margaret Dikovitskaya

Download Visual Culture: The Study of the Visual after the Cultural Turn (MIT Press) fb2, epub

ISBN: 026204224X
Author: Margaret Dikovitskaya
Language: English
Publisher: The MIT Press (February 4, 2005)
Pages: 326
Category: Humanities
Subcategory: Other
Rating: 4.6
Votes: 532
Size Fb2: 1606 kb
Size ePub: 1735 kb
Size Djvu: 1147 kb
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Visual Culture offers a rich archaeology of the histories, disciplines, texts, people, and university programs that .

Visual Culture offers a rich archaeology of the histories, disciplines, texts, people, and university programs that have shaped the emergence of visual culture in the US academy. Dikovitskaya's micro-history of the emergence of the new interdiscipline of visual studies is an essential read for anyone who wants to understand a key development of Western intellectual life during the late twentieth century. Grounded in lively interviews with the field's major proponents, this book illuminates the relationship in which art, history, culture, and visuality are increasingly understood to stand to each other.

Established in 1962, the MIT Press is one of the largest and most distinguished university presses in the world and a leading publisher of books and journals at the intersection of science, technology, art, social science, and design.

The Study of the Visual after the Cultural Turn. Margaret Dikovitskaya 2005. Dikovitskaya gives us an archaeology of visual culture, examining the "cultural turn" away from art history and the emergence of visual studies. The history, theoretical frameworks, methodology, and pedagogy of the new field of visual culture; current debates and the possibility for future consensus. In recent years, visual culture has emerged as a growing and important interdisciplinary field of study. Visual culture regards images as central to the representation of meaning in the world. It encompasses "high" art without an assumption of its higher status.

Margaret Dikovitskaya. Article in Journal of popular culture 39(4) · August 2006 with 109 Reads. How we measure 'reads'.

Visual Culture book Dikovitskaya gives us an archaeology of visual culture, examining the "cultural turn" away from art history and the emergence of visual studies.

Dikovitskaya gives us an archaeology of visual culture, examining the "cultural turn" away from art history and the emergence of visual studies.

Recently, the visual secret sharing (VSS) technique by random grids (RG), proposed by Kafri and Keren in 1987 . In every structural study it is important to estimate the reliability of the structure found from the experimental data.

Recently, the visual secret sharing (VSS) technique by random grids (RG), proposed by Kafri and Keren in 1987, has drawn attention in academia again to remove the abovementioned drawbacks. However, Kafri and Keren's scheme is a 2-out-of-2 VSS scheme but neither n-out-of-n nor 2-out-of-n(n 2). In this paper, novel n-out-of-n (Method 1) and 2-out-of-n (Method 2) secret image sharing schemes based. on RG are proposed to encrypt the secret into n cipher-grids without pixel expansion and additional codebook required.

Her aim is to show how visual culture can avoid what she defines as the Scylla and Charybdis that threaten it: the lack of a specific object of study (given its departure from the traditional hierarchies of art history) and the expansion of the field to the point of incoherence as it seems to subsume everything related to the cultural and the visual.

In Visual Culture, Margaret Dikovitskaya offers an overview of this new area of. .Book Description MIT Press Ltd, United States, 2006.

Many academic fields study this subject, including cultural studies, art history, critical theory, philosophy, media studies, Deaf Studies and anthropology.

The history, theoretical frameworks, methodology, and pedagogy of the new field of visual culture; current debates and the possibility for future consensus.

In recent years, visual culture has emerged as a growing and important interdisciplinary field of study. Visual culture regards images as central to the representation of meaning in the world. It encompasses "high" art without an assumption of its higher status. But despite the current proliferation of studies and programs in visual culture, there seems to be no consensus within the field itself as to its scope and objectives, definitions, and methods. In Visual Culture, Margaret Dikovitskaya offers an overview of this new area of study in order to reconcile its diverse theoretical positions and understand its potential for further research. Her aim is to show how visual culture can avoid what she defines as the Scylla and Charybdis that threaten it: the lack of a specific object of study (given its departure from the traditional hierarchies of art history) and the expansion of the field to the point of incoherence as it seems to subsume everything related to the cultural and the visual.

Dikovitskaya gives us an archaeology of visual culture, examining the "cultural turn" away from art history and the emergence of visual studies. Drawing on responses to questionnaires, oral histories, and interviews with the field's leading scholars, she discusses first the field's history, theoretical frameworks, and methods, and then examines four programs and courses in visual culture -- those at the University of Rochester, the University of Chicago, the University of California at Irvine, and the State University of New York at Stony Brook. Bringing together considerations of theory and practice, Dikovitskaya charts the future of visual culture programs in the twenty-first century.

Comments:

one life
Everyone recognizes that this is a time of visual culture, extraordinarily and in many ways excessively so. The phrase is routinely, and casually, used by many in the media, arts, and even academia. However, there is little comprehension, understanding, or agreement on what this visual culture really is either in terms of a concept or an experience. Dikovitsky steps back from this common use of the term visual culture to try to define and comprehend it by exploring "the history, theoretical frameworks, methodology, and pedagogy of visual culture in the United States." She does this mostly by interviews with college professors in fields ranging from art, film studies, and cultural studies to literature which in one way or another take into account the pronounced and often dominating or suppressive nature of the visual in modern culture. The word "study" in the subtitle connotes not so much Dikovitskaya's study of visual culture--although this is inevitably inherent--as it does the author's chosen task to report how visual culture is being studied mostly in the universities; and along with this answer the question of how it is to be studied so it is understood properly. Without a proper understanding of visual culture, contemporary society cannot be understood properly; contemporary society is a mystery. While not defining visual culture definitively, if this can ever be done, Dikovitskaya's exploration, framing of issues, and probing interviews bring the sprawling, elusive, omnipresent presence and idea of visual culture into clearer focus. Dikovitskaya is a research fellow at the Library of Congress.
Jan
Dikovitskaya does a dutiful job describing the merger of art history and culture studies into the field of visual culture theory. Her first two chapters provide a wonderful survey of current trends in visual culture, and the emerging pedagogy of the field. Her appendices are what really make the book worthwhile, however. Interviews with the best known scholars in the field, such as Douglas Crimp and Nicholas Mirzoeff, make this book stand out as a valuable primer to any student of culture theory and/or art history.

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