The Spectacle of Visual Culture

Garoian, Charles R.; Gaudelius, Yvonne

doi:10.1080/00393541.2004.11651777

Cited by 38 publications

(15 citation statements)

References 12 publications

(8 reference statements)

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“…by these bureaucratic agencies as 'authentic,' either because of its historical or aesthetic importance. They are presented with a 'spectacle,' as described by Debord (1998), which distracts them from the daily bombardment of stimulation (Garoian and Gaudelius 2004) and, at the same time, provides a type of empowerment in the form of a historically and geographically situated identity (Friedman 1992).…”

Section: Figure 2: Historic Preservation Zone Kurayoshi Tottori Prementioning

confidence: 99%

Covert Actions, Military

2013

Encyclopedia of Military Science

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Section: Figure 2: Historic Preservation Zone Kurayoshi Tottori Prementioning

confidence: 99%

Covert Actions, Military

2013

Encyclopedia of Military Science

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“…While art education has had a longer history looking at technologies in the art classroom, only recently has the field of art education undergone a reconceptualization from disciplined-based art education to a field focusing on visual culture (Duncum, 2001(Duncum, , 2009Freedman & Stuhr, 2004). Within visual culture art education there is more emphasis on semiotics (Smith-Shank, 1995;Smith-Shank, 2004), critical theory and cultural studies (Chalmers, 2002;Darts, 2004;Freedman, 1994;Garoian & Gaudelius, 2004;Tavin, 2003), popular culture (Duncum, 1987;Manifold, 2009;Tavin, 2002;Tavin & Anderson, 2004), and digital visual technologies (Eisenhauer, 2006;Keifer-Boyd, 1997;Sweeny, 2004;Sweeny, 2005;Taylor & Carpenter, 2002). The focus on visual culture within art education has paralleled and drawn from broader scholarship in visual studies that has positioned the visual as an important site of socio-cultural meaning to communication in the 21 st century (Mirzoeff, 1999;Sturken & Cartwright, 2009).…”

Section: Seeing Innovations In the Art Classroommentioning

confidence: 99%

Art Education In a Network Ontology: Seeing Non-Humans

Knochel

2011

Marilyn Zurmuehlen Working Papers in Art Education

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A proliferation of objects populate classroom spaces, the newest include a long list of innovative technologies, but their presence is characterized by their instrumentality. This paper presents a shift in this thinking to one where objects are seen as heterogeneous contributors to learning and teaching. Student practices within networked computing are changing how they form connections with peers, perceive boundaries, and negotiate diverse modalities as creators. The overwhelming visual nature of these various technologies provides opportunities for a visual culture pedagogy of art education to build critical foundations in investigations of visuality and may provide insights to participation through these multimedia platforms. In trying to understand these opportunities, this paper focuses on developing an analysis of the network ontology of art education through the methodology of actor-network theory (ANT). This analysis repositions visual technologies, particularly Adobe Photoshop, beyond their instrumentality to a reconceptualization as collaborators within humantechnology interactions to more fully comprehend their affordances, gaps, and hegemonies. It is an investigation of a network ontology focusing on bringing symmetry to human and non-human actors in social formations, following the effects of translation, and working through the assemblage of social ontologies to better understand their contributions to human-technology collaborations. Art classrooms are increasingly crowded spaces, and one of the newer objects to find a corner is the computer. At first just a standalone machine running software to let you manipulate pixels in a drawing work space or retouch a digital photograph, but now a network station that has access to all sorts of visual resources from video collections to online visual communities such as Flickr. The art classroom could be connected to live video conferencing events, software demonstrations recorded to digital video, or curating online gallery spaces. Or the network connection could be too slow for live conferencing, the local administration of your firewall may not allow streaming video, or

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“…During the past four decades, as Kellner (2003) explained in the book Media Spectacle, Debord's concept of the spectacle "has had a major impact on a variety of contemporary theories of society and culture," adding that "Debord's conception, first developed in the 1960s, continues to circulate through the Internet and other academic and subcultural sites today" (p. 2). For example, Debord's ideas have been taken up in academic disciplines such as art (Garoian & Gaudelius, 2004;Kauffman, 1979), film studies (Levin, 1989), communication arts (Erickson, 1998), geography (Bassett, 2004;Pinder, 2005), architecture (Swyngedouw, 2002), theater (Puchner, 2004), and anthropology (Smith, 2005). Debord's ideas have also been foundational in the work of a few academics in the field of education who have written about the necessity of engaging students in developing critical media literacy skills, such as Kellner (2003Kellner ( , 2005 and Giroux (2006).…”

Section: E D I a L I T E R A C Ymentioning

confidence: 99%

Guy Debord's The Society of the Spectacle

Trier

2007

J Adolescent & Adult Lit

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This column discusses the 40th anniversary of Guy Debord's The Society of the Spectacle and the Situationist International group. The author juxtaposes a few brief historical snapshots with definitions of key terms and paraphrases some important ideas and events. The author also refers to selected texts and Internet sources by and about Debord and the situationists. Readers who subsequently engage with these texts and Internet sources should be able to discover the relevance of Debord and the SI to current discourses of critical media literacy.

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The Spectacle of Visual Culture

Cited by 38 publications

References 12 publications

Covert Actions, Military

Covert Actions, Military

Art Education In a Network Ontology: Seeing Non-Humans

Guy Debord's The Society of the Spectacle

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