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Visual Culture
Final
| Term | Definition |
|---|---|
| visual culture | material artifacts, buildings and images, plus time-based media and performances, produced by human labor and imagination, which serve aesthetic, symbolic, ritualistic or ideological-political ends and /or practical functions. |
| multidisciplinary in nature | many academic disciplines are integrated in the study of visual culture |
| Culture | what humans have done or added to nature by their inventiveness and labor |
| base | material resources, means of production (labor, industries, machines, technologies), the economy. |
| superstructure | “spiritual” phenomena: ideology, art, religion, science and philosophy |
| ideology | shared set of societal values and beliefs |
| hegemony | dominant ideologies are always in flux |
| civilization | culture synonym with broader and evaluative connotations; mannered; paradox of civilization increasing potential for destructive power |
| Freud | civilization requires repression of certain instincts and desires |
| high culture | royalty, aristocracy, upper middle class |
| middle-brow | bourgeoisie or middle class & lower middle class |
| low culture | proletariat or working class & underclass |
| kitsch | visual artifacts judged to have little or no aesthetic value |
| camp | recodes Kitsch as valuable, sees value through its status in invoking class standards of bad taste |
| connoisseur | master of "taste" |
| Folk culture | rural societies |
| mass culture | made by professional designers and artists |
| popular culture | made by common people for masses |
| pluralist culture | many cultures; a flexible, dynamic process |
| trans/cross-culture | looking for commonalities |
| intercultural | ways cultures interact |
| cultures in conflict | cultures destroyed, undermined or transformed by violent or other means |
| culture and barbarism | cost of culture often exploitation; critics often wary of "celebratory" approach to history and criticism |
| multiculturalism | need to incorporate values and ideas which do not reflect merely the dominant group ideology. |
| apperception | visual information merges with other sensory information along with existing memories and knowledge |
| Synaesthesia | colors and shapes associated with sounds, smells and feelings |
| ocular centrism | critique says vision complicit in social oppression via surveillance and spectacle |
| "eye of God" | idea of controlling deity |
| panopticon | "all seeing" prison design; humans internalize scrutinizing gaze |
| biopower | state has indirect control over citizens |
| feminist critique | eye objectifies and masters; "gaze". |
| visuality | socialized vision; knowledge, interests, desires and social relations between perceiver and perceived. |
| representation | use of language and images to create meaning about the world |
| mimesis | mirroring the world |
| social construction | making meaning only through specific cultural contexts |
| mediated vision | seeing images vs. seeing the world |
| media visual representations | intentional, encoded communications |
| haptic | touch, texture and contour |
| kinaesthetic | movement in muscles, tendons, joints |
| scopic drive | desire to see |
| invocatory drive | desire to hear |
| hegemony | power relations in constant state of flux |
| habitus | field exists before entry with rite of passage; individual assumes position within it |
| primitivism | cult and appropriation of tribal arts by modern artists |
| orientalism | exotic conceptions of East as European inventions |
| culture studies | broader than visual culture, as it includes all the habits and customs of people |
| ekphrasis | (classical period) detailed description of works of art |
| exchange value | what something costs |
| use value | how useful/necessary something is |
| "presumption of relevance" | insinuates necessity |
| pseudo individuality | consumption will make you unique |
| commodity fetishism | separates goods from context of production for new meanings t be attached |
| reification | abstract ideas given concrete form |
| metacommunication | exchange where topic is act of communication itself; reflexive |
| signifying practice | goal of producing meaning as well as object |
| Resources | capital, facilities required for production |
| materials and tools | raw goods of production; artists/designers can work with or against. |
| external resources | religion, political beliefs, etc. |
| internal resources | functionalism, expressionism, etc. |
| aesthetic resources | enormous bank of object types, images, symbols, techniques and styles accumulated over centuries. |
| distribution | packaging, shipping |
| circulation | through space and over time; can have many "lives" |
| transient cultural objects | finite life; exchange value decreases over time. |
| durable cultural objects | no finite span; exchange value can increase |
| rubbish | zero value; no increase |
| bricolage | taking existing artifacts and recoding them for new subgroup meanings |
| counter-bricolage | mass culture reappropriating the bricolage |
| "breaking frame" | off-stage character (spectator link) |
| "fourth wall" | illusion of direct contact, appeal to viewer |
| "mirror phase" | developmental stage where infant recognizes their image in mirrors as self and yet not- project. |
| cinematic apparatus | traditional cinema space-darkened theater, mirror-like screen-invites regression to childlike state |
| literate | able to read or write, more generally, educated or learned |
| semiotic perspective | language and pictures are two kins of sign |
| rhetoric | type of speech used to persuade an audience; field of study which examines modes of communication |
| visual poetics | examines rhetorical devices in images and language |
| simile | one thing is likened to another |
| metaphor | a stronger connection than a simile (it is something) |
| metonymy | change of name |
| synecdoche | part standing for the whole |
| hyperbole | excessive exaggeration |
| personification | abstract ideas embodies in some person or animal |
| symbols | signs or objects that have, over time, acquired fixed secondary meanings |
| allegory | a treatment of one subject under the guise of another; a presentation of an abstract meaning through concrete forms |
| alliteration, assonance, and rhymes | closest visual parallel would be repetitions of form, color, patter, etc. |
| antithesis | opposition; contrast-visual opposite juxtapositions |
| chiasmus | two phrases are juxtaposed with the key word order reversed in the second |
| quotation and paraphrase | visually, appropriation and influence incorporation |
| intertextuality | references to other works in the genre "quoting" ; game with audience, reflecting their sophistication as knowledgeable viewers |
| form and content | modes of analysis may tend to focus on one more than the other |
| manifest content | what is shown; objects recognized by most |
| laten content | attached secondary meanings; connotation |
| denotational | what is shown |
| connotational | how it is shown/what it means |
| content analysis | quantitative analysis of date-count number of certain images, etc., not indication of qualitative value; precision and verifiability |
| iconography | branch of art history which studies content |
| iconology | "interpretive"; synthetic |
| genre | a classification or grouping of artworks |
| form | color, shape, value, lighting |
| style | handling, manner of expression |
| semiotics | study of signs within society |
| signifier | material dimension of sign |
| signified | conceptual dimension of sign |
| syntagm | collection of signs in linear sequence |
| paradigm | a set where each unit has something in common and is obviously different from the other units |
| analog | paradigm with no easily fixed number of units |
| digital | paradigm with fixed number of units |
| index | record of; a direct, causal connection (footprint) |
| icon | resembles referent in some way |
| symbol | arbitrary, depends on convention |
| motivation | how much the signifier describes the signified |
| semiosis | act of signifying; not one-way, similar to apperception |
| undecidability | impossibility of deciding between competing interpretations |
| dissemination | a new way of considering fragments not as from an original centered whole, but as constituents of a larger, but never completely graspable, entity. |
| hyperreal | reality is fabricated by technology |
| parody | ridicules by exaggeration the distance from "normal" |
| pastiche | no ridicule, no "normal" --blank, radical eclecticism. |
Created by:
meaganmarie
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