This article focuses on the role of the artistic process in connecting to the natural environment. In my research I have explored what participants experience and learn when they engage in different types of arts-based environmental education (AEE) practices that I have facilitated. The premise of AEE is that efforts to learn about our (natural) environment can effectively take their starting point in an artistic activity, usually conducted in groups. I found that, on the whole, two major orientations can be distinguished. One starts from the point of aesthetic sensibility: the tuning in with the senses, or with ‘a new organ of perception’ (Goethe), in order to perceive ‘the more than human’ with fresh new eyes. This tradition can be traced back (but is by no means limited) to the Romantic Movement. Art in this context may help to amplify the receptivity of the senses and strengthen a sense of connectedness to the natural world. The other major orientation in seeking bridges between nature and art builds on a view of artistic process as leading to unexpected outcomes and ‘emergent properties’. The fundamentally singular experience of making a work of art may evoke an aesthetic object that becomes a ‘self-sufficient, spiritually breathing subject’ (Kandinsky). The artwork can be spontaneously generative and multilayered with meanings, some of which may even be ambiguous and paradoxical. But perhaps more importantly: it can catch the participant of an AEE activity by surprise, overwhelm him or her as ‘coming from behind one’s back’. The element of improvisation, of taking in the new and unanticipated and accommodating for it, is the core quality here. These two orientations, when practiced as part of AEE, have implications on how we relate to nature through art. In the closing of this article I address the question of whether it is possible to bridge the dualism between the two orientations.
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Studying images in social media poses specific methodological challenges, which in turn have directed scholarly attention towards the computational interpretation of visual data. When analyzing large numbers of images, both traditional content analysis as well as cultural analytics have proven valuable. However, these techniques do not take into account the circulation and contextualization of images within a socio-technical environment. As the meaning of social media images is co-created by networked publics, bound through networked practices, these visuals should be analyzed on the level of their networked contextualization. Although machine vision is increasingly adept at recognizing faces and features, its performance in grasping the meaning of social media images is limited. However, combining automated analyses of images - broken down by their compositional elements - with repurposing platform data opens up the possibility to study images in the context of their resonance within and across online discursive spaces. This paper explores the capacities of platform data - hashtag modularity and retweet counts - to complement the automated assessment of social media images; doing justice to both the visual elements of an image and the contextual elements encoded by networked publics that co-create meaning.
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Purpose - The purpose of this paper is to develop a research model to investigate corporate visual identity (CVI) management from an organisational perspective. It is assumed that characteristics of the organisation and of the way a CVI is managed will affect consistency of CVI. Design/methodology/approach - The model was tested in a survey carried out among employees in 20 Dutch organisations. Structural equation modelling with AMOS was conducted to get insight into the various influences and relationships. Findings - CVI management characteristics - socialisation processes related to CVI, knowledge of CVI strategy, and CVI tools and support - have a strong impact on the consistency of CVI, and organisational characteristics affect the way CVI is managed. With the exception of the openness and dynamics of an organisation, no supporting evidence was found for a direct relationship between organisational characteristics and CVI consistency. Research limitations/implications - CVI has been measured by the judgement of the respondents, all employees of the organisation concerned. Therefore the measure was the perceived consistency of CVI. Further research could include a visual audit and the perception of external stakeholders towards the visual identity. There was no distinction examined among the main corporate visual identity and sub- or product brands. The study was conducted in the Netherlands, where the Dutch term huisstijl is unambiguous and clearly related to the corporate brand or identity. Future research can take different brands into account or can broaden the concept of CVI (including cultural aspects, language, rituals, myths, etc.). Practical implications - The results indicate that CVI management matters, that CVI management is related to more general organisational characteristics, but that communication managers nevertheless have a considerable amount of freedom in determining the way they manage their CVI. Originality/value - Corporate visual identity has received little attention in research and hardly been studied at all from the perspective of this paper. This paper has value to both researchers in the fields of corporate identity and organisational identity, as well as professionals involved in managing the corporate identity. © Emerald Group Publishing Limited.
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"Speak the Future" presents a novel test case at the intersection of scientific innovation and public engagement. Leveraging the power of real-time AI image generation, the project empowers festival participants to verbally describe their visions for a sustainable and regenerative future. These descriptions are instantly transformed into captivating imagery using SDXL Turbo, fostering collective engagement and tangible visualisation of abstract sustainability concepts. This unique interplay of speech recognition, AI, and projection technology breaks new ground in public engagement methods. The project offers valuable insights into public perceptions and aspirations for sustainability, as well as understanding the effectiveness of AI-powered visualisation and regenerative applications of AI. Ultimately, this will serve as a springboard for PhD research that will aim to understand How AI can serve as a vehicle for crafting regenerative futures? By employing real-time AI image generation, the project directly tests its effectiveness in fostering public engagement with sustainable futures. Analysing participant interaction and feedback sheds light on how AI-powered visualisation tools can enhance comprehension and engagement. Furthermore, the project fosters public understanding and appreciation of research. The interactive and accessible nature of "Speak the Future" demystifies the research process, showcasing its relevance and impact on everyday life. Moreover, by directly involving the public in co-creating visual representations of their aspirations, the project builds an emotional connection and sense of ownership, potentially leading to continued engagement and action beyond the festival setting. "Speak the Future" promises to be a groundbreaking initiative, bridging the gap between scientific innovation and public engagement in sustainability discourse. By harnessing the power of AI for collective visualisation, the project not only gathers valuable data for researchers but also empowers the public to envision and work towards a brighter, more sustainable future.
