Popular and visual culture
ID: Muzna u112796 / Mazin u106324
Popular and Visual Culture: Design, Circulation and Consumption.
Edited by: Clara Sarmento, Ricardo Campos, Rúben Pinho and Nuno Duarte
This book first published in 2014
Cambridge Scholars Publishing
Popular & Visual Culture: Design, Circulation and Consumption is a transnational project by authors from Portugal, the United States of America, United Kingdom, France, India and Italy, a project that fosters a multicultural dialogue with multiple origins, both in geographical and academic terms, and covers an unexpected collection of areas, often ignored by mainstream academia.
For many, visual culture is taken to be a relatively recent area of study derived from a range of disciplinary contributions and academic curricula. The notion of visual culture also refers to a specific terrain of human cultural production, namely to the universe of visual languages and objects, like graffiti, photography, cinema, advertising, boat-decoration or mural painting.
Towards a Definition of Visual Culture:
We may even speak of a dominant visual culture and admit, for instance, the existence of diverse visual micro- or sub-cultures that correspond to different social groups, aesthetic and ideological proposals, or interests and intentions, which present alternative, though not necessarily antagonistic, ways of seeing and representing the world.
When we speak of visual culture, we are referring to a system made up from a combination of universes and sub-universes, with their agents, objects and specific processes of production, dissemination, and reception of visual goods.
We may even speak of a dominant visual culture and admit, for instance, the existence of diverse visual micro- or sub-cultures that correspond to different social groups, aesthetic and ideological proposals, or interests and intentions, which present alternative, though not necessarily antagonistic, ways of seeing and representing the world.
The Many Shades of Popular Culture:
The idea of a ‘pure popular culture’ that portrayed everyday life from the naive, non-critical viewpoint of 19th century ethnographers, matched the regime’s ideal of a nation rich in folklore and picturesque customs; a self-celebrating popular culture, created by ‘good people’, mostly deeply religious peasants or fishermen who led austere, humble lives.
Firstly, popular culture as folklore, as a regional and traditional cultural expression, whose manifestations are produced by the community and for the community, without primordial profit, related to the subsistence economy in the rural and maritime world, and to the primary sectors of economy.
Secondly, popular culture as mass culture, a global culture whose manifestations are produced by corporations and industries, with the use of technologies and the sole purpose of making a profit, regardless of the participation of the community or the individual (consumer) that is targeted.
Visual texts of popular culture are also signs with principles of organization and processes of particular significance that require a contextual interpretation, whether they are figurative icons or symbols based on conventional relations.
Their interrelation produces the meaning that one learns to decipher, but the Popular and Visual Culture: Design, Circulation and Consumption xix interplay with the context can be a way to disappoint the expectations of the reader, by surprising, shocking or amusing him/her.
This interpretation depends on the viewer’s cultural awareness and may thus vary, distinguishing itself from the pure and simple recognition of themes and motifs, thus understanding better the message that is constructed beyond the image, and not only with the image.
Visual representations stage characters, objects, places and manners and part of the interpretation of the message is determined by culturally encoded attitudes.
The authors guided by the principles of- Umberto Eco – for whom all culture processes are communication processes crossed by a multitude of sub-codes, decodable through extra – and Inter-semiotic conditions and occasions.
The book we show many points that we can understand what this is about like status, designation, characteristics, and history of visual and popular art from around the world. From huge countries that are important to do like this project.
In addition, visual culture is recurrently used as an epithet to describe our contemporary conditions, viewed by many as being deeply immersed in the world of worlds. Another definition of visual culture is that refers to a specific terrain of human culture productions, namely to the universes of visual languages and project. Like graffiti, photography, cinema, advertising, etc. Dwight Macdonald stated peremptorily he was the means in his article that he wants to achieve some aims of this project.
In 20th century Portuguese popular culture and traditions, either genuine ideologically directed or even invented, were imposed and manipulated by the ruling (political and ideological) powers in order to instill values and norms of behavior through repetition. Example and instruction.
As a means of facing the threat of a world in evolution. These practices exploited an artificial by selecting a convenient historical past or reorganizing Portuguese society.
Visual figurations of popular culture should be studied as the support of a deeply motivated symbolic discourse on the values shared by a community. According to Erwin Panofsky, within a culture, visual motifs and their composition become carries of a secondary, conventional meaning, conveying both abstract and concrete, personal and collective both massages. In popular & visual culture: Design, Circulation and Consumption, artistic practices of popular culture are seen as paradigmatic acts, as archetypes that enable the analysis of an entire cultural territory.
They are related to their status within the community’s performativity context and patterns of inter-individual communication. The popular and visual culture: Design, circulation and consumption ultimate goal of a background study of visual and popular culture _like this one _ will always be the construction of a text based upon the multiple texts that sustain life in society.
1-The aspiration to the visual domination of the world is present in numberless tools, such as the telescope, the microscope, the chronophotograph, x-rays, the photographic and filming camera, television, digital devices or the computer, all of which play an important role in our story.
2-However, as Rose (2001) points out, authors who, amongst other examples, point out the importance that the image has assumed in some medieval and pre-modern models of spirituality contest the idea of the hegemony of vision.
3-Likewise, Mitchell (2002) indicates a series of fallacies in the common discourse that are responsible for some exaggeration when it comes to establishing the hegemony of vision and the image in contemporary times.
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