Visual Cultural (COCU108)
Professor: Brian Goldfarb | Winter 2005, UCSD
Week 1: Defining Visual Culture Studies
Lisa Cartwright and Marita Sturken, "Introduction,"
Practices of Looking
Visual Cultural Studies is more than the study of images or
objects: it is the study of vision and the visual world.
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Visual modes of communication have proliferated and become
increasingly significant in the twentieth century augmenting and displacing written/oral forms.
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A tendency toward visualizing existence has progressed throughout
modernity. This trajectory toward more elaborate forms of visualizaton has been characterized as part of a rational/scientific quest for increasing control over the
world through techniques for recording, documenting, and codifying knowledge.
(Power)
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Nicolas
Mirzoeff and others have noted that the modern world is characterized by the drive to visualize
things which are not visible or visual: the diagram, the map, the cartiogram, the microscope, the x-ray, etc...
What is meant by "Practices of looking"?
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What
are the implications of constituting a field of inquiry around looking as
a practice as opposed to a field of object?
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Looking
(unlike vision) is a language. It is a form of communication that is learned
and culturally specific. Visual Literacy
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Is
it possible to study diverse forms of visual culture together? And is it
useful?
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Meaning
isn't confined to one discipline: scientific images are interpreted based
on experiences in popular film and popular culture.
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Practices of looking can be bridges between specialized discourses
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Memory has a strong role in visual experience. We understand
a visual image within a stream or network of other images and experiences--relationally
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Images are understoood historically
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Raymond
Williams: Culture is a set of shared practices for making meaning.
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The
anthropological definition of culture as a "way of life".
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Seeing
and believing--the relationship of seeing to belief systems.
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"Meaning is shared, but not uniformly." There are
always multiple potential meanings for an image or text. The same text or image suggests
different meanings for different viewers or for the same viewer at different
times. How can we explain this? What factors affect interpretation?
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Meaning is contextual.
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Making meaning is an active process--it is not purely a matter
of perception or reception.
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Meanings are produced not in the heads of viewers so much
as through a process of negotiation--the play of interpretations.
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Culture is a fluid and interactive process--not a set of images
or objects.
"Chapter 1: Image, Power and Politics," Practices
of Looking
Looking is active. Looking involves relationships of power
Images are embedded in subjective relations
Documentary and "photographic truth"
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Photograph's
"aura of machine objectivity"
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Do
all images created through a camera lens involve some form/degree of subjective
intervention?
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Is there a truly objective or non-subjective photography?
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Are some photographs more truthful?
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What can we say of painterly truth or the truth of writing?
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What is a document? A record?
The coincidence of the historical record and the emotional
vehicle:
What photographic film records is
a segment of the field of vision
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Certain
images become iconic (they become a type)--they carry an influential interpretive
weight
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Iconic
images are those that becomes symbolic and suggest a universal meaning.
But all icons can be read for their particular historical meanings.
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The iconic image of the Madonna and child may affect our reading of contemporary images. Rahael, The
Small Cowper Modanna (c 1505),
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Finally, one could argue that all images have an iconic register.
Value, Taste and Economies of Images:
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While the fine art object often is valued because
it is unique, it also can be valued because it can be reproduced for popular
consumption.
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Museums and institutions such as universities
affirm value.
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Example:
Van
Gogh, Irises
(1889) Irises
(1888)(poster of
the painting, costers,
jar). Value and taste as
a product of history, rarification, the interplay of interpretive, legal
and economic factors. For example, the laws surrounding the establishment
of museums as tax exempt institutions. Or the policies regarding rights
to publicity, copyright and privacy. (industry, mobility, color and images
of the landscape)
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- How do popular and expert tastes or preferences relate to economic value of cultural artifacts?
- In what ways does meaning relate to value?