Visual Culture: Developments, Definitions, and Directions for Art Education

Duncum, Paul

doi:10.2307/1321027

Cited by 108 publications

(56 citation statements)

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“…Si bien, mientras el campo de la cultura visual está preocupado principalmente por los aspectos de los artefactos visuales que son percibidos mediante la visión (Duncum, 2001;Mirzoeff 2012), investigadores que trabajan con memoria gráfica, en particular aquellos con formación en diseño gráfico, también están interesados en los aspectos técnicos envueltos en la producción de tales artefactos.…”

Section: Memoria Gráfica Y Cultura Visualunclassified

Acerca del concepto de memoria gráfica

Farias

2017

Bitácora Urbano Territorial

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1Este artículo es producto de una investigación realizada gracias al apoyo del Consejo Nacional de Desarrollo Científico y Tecnológico de Brasil (CNPq). Una versión anterior del mismo fue presentada en el III Congreso de Historia Intelectual de América Latina, en 2016 (Ciudad de México). ResumenEn Brasil, desde principios del siglo XXI, la expresión memoria gráfica ha sido usada, cada vez con más frecuencia, para denominar una línea de estudios que busca comprender la importancia y el valor de los artefactos visuales, en particular, los impresos efímeros, para la creación de un sentido de identidad local a través del diseño. Tales artefactos han sido invisibilizados por mucho tiempo por las corrientes dominantes sobre lo que sería el diseño y, en consecuencia, de lo que debe hacer parte de la historia del diseño. Otras historias del diseño que incluyan tales artefactos aún deben ser descubiertas y narradas.Este artículo propone una reflexión acerca de los contextos en los que ha sido utilizada la memoria gráfica en el campo de la investigación de los artefactos visuales en Brasil, partiendo de una discusión sobre las conexiones posibles con conceptos más conocidos, como los de cultura de la impresión, cultura visual y cultura material, dando ejemplos de investigaciones realizadas, y llegando a una propuesta de cómo la idea de memoria gráfica puede ser adoptada como una estrategia para abordar el descubrimiento o la construcción de historias de diseño gráfico y visual en países no hegemónicos.Palabras clave: diseño gráfico, historia del diseño, cultura, Brasil. AbstractIn Brazil, since the early 21st century, the expression graphic memory has been used, more and more frequently, in order to refer to a line of studies that aims to understand the significance and value of visual artefacts, in particular of printed ephemera, in the establishment of a sense of local identity through design.Such artefacts have been, for a long time, ignored by the dominant currents of thought on what design is, and, as a consequence, on what should be part of design history. Other design histories, which include such artefacts, are still to be uncovered and narrated. This paper proposes a reflection on the contexts in which this expression has been used within the field of research on visual artefacts in Brazil, departing from a discussion on the possible connections between the concept with better known concepts, like those of print culture, visual culture, and material culture, setting up a proposal of how the idea of graphic memory can be applied as a strategy to the discovery or construction of histories of graphic and visual design in non-hegemonic countries.Keywords: graphic design, design history, culture, Brazil. ResumoNo Brasil desde princípios do século XXI, a expressão memória gráfica tem sido utilizada, cada vez com mais freqüência, para denominar uma linha de estudos que busca compreender a importância e o valor de artefatos visuais, em particular impressos efêmeros, na criação de um sentido de identidade local através do...

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Section: Memoria Gráfica Y Cultura Visualunclassified

Acerca del concepto de memoria gráfica

Farias

2017

Bitácora Urbano Territorial

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“…Cilt 2, Sayı 1, 2014 bağlamında olabilir (Duncum, 2001). Kültürün sanat ve tasarım süreçlerini etkilemesi kaçınılmaz bir gerekliliktir.…”

Section: Journal Of Qualitative Research In Education -Joqreunclassified

“…Sanat kültür ile beslenen, kültürel farkındalığı somutlaştıran ve kültürlemeye katkı sağlayan bir alandır. Birçok kültürel sistemde kendini ifadeye dönük anlatımlarda sanat, kültürel kimliklerin yapılandırılmasında ve farklı kültürlerin ilişkilendirilmesinde etkili bir ortam olarak kullanılmaktadır (Duncum, 2001;McFee, 1991). Sanat alanı bireyin gözlemlerini, imgelerini, duygularını, düşüncelerini nesnel gerçekler halinde aktarımını içeren bir süreçtir.…”

Section: Introductionunclassified

Anadolu Üniversitesi Endüstriyel Sanatlar Yüksekokulu Moda Tasarımı Bölümü Öğrencileri Örneğinde Sanatsal Tasarım Sürecine Dayalı Kültür Algısı

Erişti¹,

Akbulut²

2014

JQRE

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Activities aiming at creating cultural perception are quite important in the design education. Design education is a process in which students can discover, interpret and define their own creativity through own cultures. For this reason, it is possible to mention the design education as a rich resource which is used effectively in order to enable students to explain their cultures and to gain cultural awareness in terms of cultural values and cultural identity. This research aims to defining fashion design students perception of culture, fashion design students view through the relation between culture and creativity and the reflection of culture with regard to their artistic design process. The data of the study were gathered from 43 students from Anadolu University Fashion Design Department in Eskisehir, Turkey. The data of the research was restricted with the qualitative research method. The findings were analysed and interpreted in terms of thematic analysis. According to the results of the present study the fashion design students reported that there was a direct relationship between culture and creativity and that cultural values constituted an important source in the process of development of creativity. Based on the research findings, it could be stated that in design-related courses, activities allowing reflection of cultural values into creative processes helped design students develop a different and original viewpoint.

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“…Third, if knowledge from each of the four areas of aesthetics, art criticism, art history, and art production are valued in visual art education (Darts, 2004;Duncum, 1999Duncum, , 2001Duncum, , 2002Freedman, 1997Freedman, , 2002Freedman, , 2003Garoian and Gaudelius, 2004;Stuhr, 2003;Tavin, 2000Tavin, , 2002Tavin, , 2003, online curricula needs to be developed that reflect contents from each that facilitates the building of knowledge in a constructivist format. With the usual focus of online learning communities on the dialogic nature of learning, coupled with the challenging nature of hands-on skill development in virtual spaces, a balanced curriculum can be difficult to develop in online learning communities.…”

Section: Implications For Curriculummentioning

confidence: 99%

IRRODL Volume 5, Number 3

Authors¹

2004

IRRODL

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Visual Culture: Developments, Definitions, and Directions for Art Education

Cited by 108 publications

References 0 publications

Acerca del concepto de memoria gráfica

Acerca del concepto de memoria gráfica

Anadolu Üniversitesi Endüstriyel Sanatlar Yüksekokulu Moda Tasarımı Bölümü Öğrencileri Örneğinde Sanatsal Tasarım Sürecine Dayalı Kültür Algısı

IRRODL Volume 5, Number 3

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