Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.
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Previous investigations of consumer subcultures in the CCT tradition focused primarily on consumer behaviours, feelings, experiences and meanings of consumption. This paper advocates that in order to deeply understand and interpret a particular subculture, researchers in consumer culture should consider more thoroughly the interaction between consumers and producers in consumption markets. This argument is illustrated with a research project on lifestyle sports. From the results of this study it appears that producers play a vital and interdependent role in meaning and interpretation processes. It is argued that processes in which consumers give meaning to activities can not be isolated from the processes in which producers ascribe meanings to activities, settings and markets. In this 'circuit of culture', production and consumption are not completely separate spheres of existence but rather are mutually constitutive of one another (Du Gay, Hall, Janes, Mackay, & Negus, 1997).
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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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Older adults experience visual problems owing to biological ageing or eye disease. In the Netherlands, the prevalence of visual impairments is the highest in the subgroup of nursing home residents (41.3%). These impairments influence quality of life in terms of limiting daily activities and participation in social activities. Furthermore, 63% of visual problems are defined as ‘avoidable blindness’. For this reason, screening of visual functioning in the nursing home is of major importance. Moreover, visual functioning should also be taken into account to prevent the incidence of falls.
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This paper will discuss the process of the MA program ePedagogy / Visual Knowledge Building during the first semester of the academic year 2005 – 2006. This MA program is a joint venture between the Universities of Helsinki, Hamburg and INHOLLAND. This publication will discuss and evaluate the concrete steps (in terms of learning process) during this first semester. In particular the role of the eTutor will get special attention. This publication is based on the principle of action research. Hart & Bond defines action research as “it is a form of reflective inquiry which enables practitioners to better realise such qualities in their practice. The tests for good action research are very pragmatic ones. Does it improve the professional quality of the transactions between practitioners and clients/colleagues? This action research approach is being realised upon three main sources. As an eTutor and member of the staff of this program I weekly filled in an “Evaluation Log” in which the following questions are centralized: 1. What happened (this week) 2. Significant experience 3. Reflection 4. Actions Secondly I used a little survey which was being used by the staff to evaluate the first semester. All the three Universities filled in a form with the following questions concerning the education and organisation: Education 1. What do you consider most hindering in your teaching? 2. What do you consider most beneficial in your teaching? 3. What kind of teaching methods do you prefer in this program? 4. Do you think the course offers are attractive for the target group? 5. How do you evaluate student’s engagements and motivation in your courses? 6. What can / should be improved in terms of collaborative learning activities and processes? Organisation 1. In what specific context do you spot organisational constraints? 2. Does your organisation recognise and support the MA program? 3. What is your short-, mid- and long term vision on this program? Thirdly an important source for this action research approach was the International Seminar which was hold in the middle of February 2006. In this seminar the changes based on the questions of the questionnaire were discussed and implemented. The theoretical framework in this publication is based on the dissertation of Karel Kreijns (Sociable CSCL Environments). In this dissertation he discussed the collaborative cognitiveand epistemic performance in a CSCLE. The social presence theory takes a central position in this dissertation. In this paper the pitfalls and barriers concerning a sociable CSCLE are being discussed and evaluated. This paper describes, the interventions the staff took, in order to improve the educational context of the program. From this perspective we looked very carefully to the barriers and pitfalls in our Virtual Learning Environment (VLE). We found evidence for the fact that a good CSCLE consists at least a good balance between Content, Community and Pedagogy. In the program we emphasised our focus (too much) on content and (too) little on community and pedagogy. The community was poor because of the fact that we used three content learning systems, which didn’t stimulate the group processes. Pedagogy was too much based on individual eTutor behaviour. In January 2006, after the courses were ended, the Universities organised a little survey. In this survey was shown that we have to some interventions to improve the learning process. At the International Seminar in February 2006 eTutors and students discussed the problems. The following interventions are being considered and implemented: 1. The use of three Virtual Learning Environments should be decreased. Especially the INHOLLAND / Blackboard system doesn’t reflect the open source philosophy. Besides this the accessibility of this system is not very easy for foreign students 2. The collaborative aspect should be increased, by emphasising the interdisciplinaryand international co-operation. The formation of international subgroups is implemented.
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In an image-saturated society, methods for visual analysis gain urgency. This special issue explores visual ways to study online images, focusing on their collection and circulation. The proposition we make is to stay as close to the material as possible. How to approach the visual with the visual? What type of images may one design to make sense of, reshape, and reanimate online image collections? How may arrangements of online images promote various analytical procedures, participatory actions, and design interventions? Furthermore, we focus on the role that algorithmic tools, including machine vision, can play in such research efforts while being sensitive to their flaws and shortcomings. Which kinds of collaborations between humans and machines can we envision to better grasp and critically interrogate the dynamics of today’s digital visual culture? The different practices and formats discussed in this special issue (including data feminism, visual scores, machine vision, image networks, field guides) offer a range of approaches that seek to understand, reanimate, and change perspectives on our digital visual culture.
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Studying images on social media introduces several challenges that relate to the size of datasets and the different meaning-making grammars of social visuality; or as aptly pointed out by others in the field, it means ‘studying the qualitative on a quantitative scale’. Although cultural analytics provides an automated process through which patterns can be detected in large numbers of images, this methodology doesn’t account for other modalities of the image than the image itself. However, images circulating social media can (and should) be analyzed on the level of their audience as the latter is co-creating the meaning of images. Bridging the study of platform affordances and affect theory, this paper presents a novel methodology that repurposes Facebook Reactions to infer collective attitudes and performative emotional expressions vis á vis images shared on the large Syrian Revolution Network public page (+2M). We found visual patterns that co-occur with certain collective combinations of buttons, displaying how socio-technical features shape the discursive frameworks of online publics.
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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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Abstract: This study sought to provide insight into how art activities influence the well-being of long-term care residents, and how artists and caregivers collaborate in offering these activities. In two long-term care facilities for people with dementia and one for older people with chronic psychiatric disorders, an uncontrolled pre- and post-test study was conducted using a mixed-method design. Forty-six residents participated in the study. Three art activities—(a) dance, (b) music and movement, and (c) visual arts—were studied and co-created with the residents and executed by artists and caregivers together in eight to ten weeks. The Face expression scale (FACE) was used to examine the extent to which participating in the art activity influenced resident mood. Qualitative data were collected via group discussions with artists, caregivers, residents, and an informal caregiver. The results indicated that participating in an art activity positively influenced resident mood (p < 0.000). p-values for the three art activities were: p < 0.000 for dance, p = 0.048 for music and movement, and p = 0.023 for visual arts. The qualitative data revealed that joining an art activity provided a positive effect, increased social relationships, and improved self-esteem for residents. The collaboration between artists and caregivers stimulated creativity, beauty, and learning from each other, as well as evoking emotions.
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