93 Sentences With "visuality" | Random Sentence Generator

One constant in Bland's work is the interplay between tactility and visuality.

Even if we have to be inventive about the visuality of it.

I was drawn into them by the visuality of them, compared with other algorithms.

They have also, along the way, become powerful elements in any contemporary sense of visuality.

If the disorderly, confused, and indecorous were banned in Protestant Christian art, those styles proliferated in Catholic visuality.

I choose to point directly at the unseen forces at work in visuality, in art history, through the act of appropriation.

Choucair establishes from early on, the late 1940s, this most central concept in her work: the distinction between visibility (optics) and visuality (understanding).

The strength of typographic culture was undermined by subsequent technologies that emphasized immediacy and visuality, starting with the telegraph and photograph and reaching perfection with television.

While studying at Parsons in 2011, Jonathan Gardenhire began research on black history and black visuality, concerned that neither was adequately represented nor accurately discussed in his curriculum.

I'm making it sound like a mess, but it's the strongest piece in this very strong show, because the visuality of its abstruseness grabs you and holds you.

It is easy to be mesmerized by Bowie's powerful visuality in a media saturated world where the role of the ocular is increasingly essential to thinking across a range of motifs.

In some of the notable passages from the 1990s on, Kabakov delivers scornful critiques of the "pure visuality" of the "damned West," which he describes as a different kind of madhouse.

Despite the protestations of those who felt that the party exploited the spiritual seriousness of Catholic art, the Met's carpeted steps played host to a syncretic display of contemporary religious visuality.

Connected Diaspora: U.S. Central American Visuality in the Age of Social Media continues at Duke University's Fredric Jameson Gallery (124 Friedl, East Campus, Durham, North Carolina) through the end of February.

Without the anchor points of visuality, it's far easier to slip around and glide on the surface of a song without truly being able to explore the depths of its emotional or conceptual implications.

He also previously founded two other companies: Visuality — where he is said to have pioneered Virtual Reality, e-commerce and online marketing, selling to ERP software company McGuffie Brunton — and Bite, a digital marketing agency.

This dialogue of materials conflicting, one against another, is fundamental to how this work represents through formal strategy and visuality, the possibility of creating harmony even if all that surrounds pushes the object towards its destruction.

This might sound like a somewhat comprehensive topic that we cannot fully interpret here, but I see all constructive and educative actions for democracy and peace that implemented by a majority as a kind of performative visuality derived from a spirit of togetherness.

You know Hélio was close to the Brazilian Concrete poets and the notion of the visuality of language and how to deal with that was super-current in the '50s and '60s, from the Concrete poets to Brion Gysin to William Burroughs to Carl Andre, Vito Acconci, and Lawrence Weiner.

These artists were all moving away from typography and the letter-form and intent on creating a more open, more accessible from of visuality (the stylistic basic of the period), stripping their work of the menace that Graffiti had been imbued with by the media and anti-graffiti authorities since the early 1980s.

At mid-career, the Dublin-based painter Diana Copperwhite has hit upon a crazily recognizable way of applying paint that both updates (somewhat tongue-in-cheekily) the concept of the "autographic mark" so prized by the analysts of Abstract Expressionism, and simultaneously taps into a leitmotif of contemporary, computer-inflected visuality, the color gradient.

Meanwhile, Umber Majeed's video installation "Hypersurface of the Present" creates a feminist meditation on the color green (haraa), taking its role in Islamic culture, and shaping a fabulist motif incorporating technological visuality through green screens, light therapy, and phallic conical shapes in physics, the body, and technical diagrams, critiquing patriarchal nationalism and commemorations of the dawning of Pakistan's nuclear age.

DURHAM, North Carolina — At Duke University's Fredric Jameson Gallery, the exhibition Connected Diaspora: U.S. Central American Visuality in the Age of Social Media offers a platform for Central American artists to share intimate perspectives on coming of age in the US. The group show, curated by Veronica Melendez, features 16 artists who use their work to reflect on migration, memory, and the cultural bonds that unite the children of Central Americans who have fled civil wars, violence, and natural disasters.

VISION AND TECHNOLOGY: toward a more just future is a free symposium tackling contemporary issues around representation and new media practices VISION AND TECHNOLOGY: toward a more just future Monday, May 1993, 9:30am–5:30pm Presented by the International Center of Photography and Eyebeam, hosted at the Knockdown Center (52-19 Flushing Ave, Maspeth, NY 11378) VISION AND TECHNOLOGY: toward a more just future, a free day-long symposium, addresses the implications of visuality, representation, and privacy in the age of surveillance and big data.

Miles, Robert. "Introduction: Gothic Romance as Visual Technology." Gothic Technologies: Visuality in the Romantic Era. Ed. Robert Miles. 2005.

"The Visuality of Catastrophe in Ernst Jünger's Der gefährliche Augenblick and Die veränderte Welt". KulturPoetik. 10 (1): 62–84.

The Division is thus concerned with visual forms and visuality, including images, visual media, image technologies, surveillance, theories of spectatorship, visual experience, and visual literacy.

Gwendolyn Galsworth is president and founder of Visual Thinking, Inc. and an author, researcher, teacher, consultant, publisher and thought leader in the field of "visuality" in the workplace. Her books, which have won multiple Shingo Prize awards in the Research and Professional Publication category, focus on conceptualizing and codifying workplace visuality into a single framework called the "visual workplace". She was one of the ten original members of the Productivity Inc.

Zsófia Bán’s writing often addresses topics related to visuality, visual arts, photography, personal and cultural memory, historical trauma, as well as gender. She has written a number of essays related to the topic of literature and visuality, including those on W.G. Sebald, Susan Sontag, Imre Kertész and Péter Nádas. Her short stories and essays have been widely anthologized, and translated to a number of languages, including German, English, Spanish, Portuguese, Czech, Slovakian and Slovenian.

Do you hear what I see? Analyzing visuality and audibility through alternative methods in the rock art landscape of the Alicante mountains. Journal of Anthropological Research 73: 181-213.Mattioli, T. and Díaz-Andreu, M. 2017.

The issue of good and evil in the human visuality, often associated with morality, is regarded by some biologists (notably Edward O. Wilson, Jeremy Griffith, David Sloan Wilson and Frans de Waal) as an important question to be addressed by the field of biology.

In ASA Niikuni presented his most notable works, such as Kawa mata wa Shū () and Ame (). He would place characters as if they were a surface, bringing forth the visuality of both the complete surface and individual characters at the same time.新国誠一 works（2008）p.

Critics have voiced concerns about screen reading, though some have taken a more positive stance. Kevin Kelly believes that we are transitioning from "book fluency to screen fluency, from literacy to visuality".Christine Rosen. "People of the Screen", The New Atlantis, Number 22, Fall 2008, pp. 20–32.

Weiss believed that by using different visual strategies a new role could be ascribed to the audience such that they become active participants.Aceves Sepúlveda, Gabriela. 2014. Mujeres que se visualizan: (En)gendering Regimes of Media and Visuality in Post-1968 Mexico. PhD dissertation, University of British Columbia. pp. 12-13.

She uses photography and video to archive, document and perform. She has shown her works both in India and many international shows. Surekha, a visual artist from India , is exploring artistic forms through installations, video & photography since last two decades. Her works investigates how visuality can engage with gender/ ecology/socio-political aesthetics, negotiating public and private spaces.

Lynn Thomas, "The Modern Girl, Cosmetics and Racial Respectability in 1930s South Africa", Paper presented to the Gender and Visuality Conference, University of the Western Cape, South Africa, 2004. The caption for an image from historian Luli Callinicos' Working Life (1987) suggests that The Bantu World operated out of the western Johannesburg suburb of Westdene.See caption.

"Embracing tender beauty, awful violence". Edmonton Journal, July 24, 1994. His second novel, The Winter Gardeners, was published in 2003, and in 2004 he published The Broadview Anthology of Victorian Short Stories. His academic publications include Erin Mouré and Her Works (1995), Aestheticism and Sexual Parody: 1840-1940 (2001), and Sexual Visuality from Literature to film: 1850-1950 (2004).

Shingo, Shigeo (1986) Zero Quality Control Productivity Press It was the synthesis of all these factors and influences that lead Dr. Galsworth to develop and codify the many threads of visuality into a coherent methodology of the visual workplace. The visual workplace, then, is an overall operational strategy and philosophy, geared to help organizations continually achieve their goals through visual devices and systems. Galsworth continues to be the main driving force behind the practice and articulation of workplace visuality, along with a network of individuals and companies loosely coupled as visual workplace practitioners around the world. The visual workplace is a large body of knowledge and know- how, with a strong guiding philosophy of continuous improvement with an emphasis on the centrality of the individual in the prosperity of the enterprise.

Hayes guest edited journal issues on visuality and gender in African history, such as Kronos in 2000 and Gender & History in 2006. Her recent research has dealt with photography and history in South Africa, especially under the apartheid period. She is currently running the Visual History research project at the University of Western Cape. This project focuses on Southern African documentary photography.

Catherine Warren Wilson (born 28 March 1951) is a British/American/Canadian philosopher. She was formerly Anniversary Professor at the University of York and from 2009-2012 the Regius Professor of Moral Philosophy at the University of Aberdeen. She is known for her interdisciplinary studies of visuality, moral psychology and aesthetics, and especially early microscopy and Epicurean atomism and materialism.

Goodrich has been at Cardozo Law School since 2000 and teaches courses in Contracts, Jurisprudence, Film and Law, and Gender and Law. He obtained his LL.B. in 1975 from the University of Sheffield and his Ph.D. in 1984 from the University of Edinburgh. His scholarly work is wide ranging in its engagement with questions of law, interpretation, history, institution, rhetoric, visuality, and aesthetics.

NQ is a family of portable SMB client and server implementations developed by Visuality Systems, an Israel-based company established in 1998 by Sam Widerman, formerly the CEO of Siemens Data Communications. The NQ family comprises an embedded SMB stack (written in C), a Pure Java SMB Client, and a storage SMB Server implementation. All solutions support the latest SMB 3.1.1 dialect.

Sussan Babaie (, born 1954) is an Iranian-American art historian and curator. She is best known for her work on Persian art and Islamic art of the early modern period. She has written extensively on the art and architecture of the Safavid dynasty. Her research takes a multidisciplinary approach and explores topics such as urbanism, empire studies, transcultural visuality and notions of exoticism.

48 Gunning considers that Lecoq is the first instance of a detective meticulously scouring a crime scene.Gunning, T.: Lynx-Eyed Detectives and Shadow Bandits: Visuality and Eclipse in French Detective Stories, Yale French Studies 108, 2005, p.75 He also states that Gaboriau, with Lecoq, 'introduces detailed visual scrutiny to the genre,’ eliciting an account of past events from inanimate objects. Lecoq does not merely look at objects, he reads them.

Mathieson completed her BMus (hons) in composition and analysis from the University of Otago in 2001. She earned an MMus in orchestral conducting from the University of Melbourne Conservatorium. She received a PhD in Music in the subject of Iconography "Embodying Music: The Visuality of Three Iconic Conductors in London, 1840-1940" in 2010. In 2004, Mathieson conducted the world premiere in 2004 of Anthony Ritchie's The God Boy.

Standard encyclopaedia of Southern Africa, Volume 10, NASOU, 1974, page 202 Following the country's independence as Namibia in 1990, it was renamed Hosea Kutako International Airport.in Action: Visuality in the Making of an African Nation, Giorgio Miescher, Lorena Rizzo, Jeremy Silvester Basler Afrika Bibliographien, 2009, page 133 And next to Hoedspruit there is a tunnel named after him called J.G Strijdom Tunnel next to the village called Leboeng.

Art historian and curator Ugochukwu-Smooth Nzewi described Ogboh's work as capturing "the maddening hyper-visuality of Lagos". Ogboh was among Nzewi's most anticipated artists at the 2014 contemporary African art festival 1:54. In 2013, Ogboh reported reception of his Lagos Soundscapes as mixed: annoying some and intriguing others. Quiet European cities have considered the work "noisy and obtrusive", in one case destroying a speaker and calling the police on the installation.

'' The visual workplace is a continuous improvement paradigm that is closely related to Lean, the Toyota Production System (TPS), and operational excellence yet offers its own comprehensive methodology for significant financial and cultural improvement gains. Introduced by Gwendolyn Galsworth in her 1997 book Visual Systems,.,Galsworth, Gwendolyn (1997) Visual Systems: Harnessing the Power of a Visual Workplace AMACOM this system integrates and codifies the many iterations of visuality in the world of continuous improvement.

Hall et al. 1978. Policing the Crisis: Mugging, the State and Law and Order. In his essay "Reconstruction Work: Images of Postwar Black Settlement", Hall also interrogates questions of historical memory and visuality in relation to photography as a colonial technology. According to Hall, understanding and writing about the history of Black migration and settlement in Britain during the postwar era requires a careful and critical examination of the limited historical archive, and photographic evidence proves itself invaluable.

As part of the book launch in Toronto, Cristiano gave a lecture titled "Modernism and Visuality in Dante's Inferno Journey". Cristiano's other writings include: The Adolescent (2000), The Graviton, The Millenary Man (2002), and "A Self-Conscious Mise-en-scene: Experimenting with Disownment and Appropriation" (2007),Cristiano, A. (2007) A Self-Conscious Mise-en-scène: Experimenting with 'Disownment and Appropriation.' Quaderni d'Italianistica, 28 (1), 151–166. Contemporary Italian Cinema: Images of Italy at the Turn of the Century (2008).

" Moten asks: "What kind of writing is Chinampas? Taylor presents no graphic system — if Chinampas is writing, it is so in the absence of visuality. Under what conditions, then, could Chinampas be called 'writing'? Perhaps within an understanding of writing more broadly conceived as nonverbal, as well as verbal, systems of graphic communication... It's not that Taylor creates visible speech; rather his is an aural writing given an understanding of writing that includes nonverbal graphic resources.

While virtually all major improvement paradigms in use in the West incorporate some element of visuality, the entire codified set of visual principles and practices, from the foundation of 5S through to visual guarantees (poka-yoke), rests on this definition: "The visual workplace is a self-ordering, self-explaining, self-regulating, and self-improving work environment—where what is supposed to happen does happen, on time, every time, day or night—because of visual devices."Galsworth, Gwendolyn (2005) Visual Workplace, Visual Thinking, Visual-Lean Enterprise Press A visual workplace is defined by devices designed to visually share information about organizational operations in order to make human and machine performance safer, more exact, more repeatable, and more reliable. The more the process becomes visual, the more production velocity increases.Galsworth, Gwendolyn (2011) Work that Makes Sense: Operator-Led Visuality Visual-Lean Press This is accomplished in parallel with generating new levels of employee engagement and contribution, which in turn lead to improved alignment within the enterprise and significant bottom line benefits.

Ferrari's reasoning for using this medium has also been said to "question the distinction between art and language—between pure visuality and codified information, and between graphic gesture and calligraphy." Ferrari did not always use language in intelligible ways. For instance, he would sometimes just use lines and letters to create the image of text, as in his piece Reflections from 1963-64. Another famous example of his unintelligible writing is Ferrari's famous piece Carta a un general (Letter to a General).

Leaving Productivity in 1990, Galsworth formed Quality Methods International (QMI) in order to specialize in the research, articulation, and deployment of workplace visuality as single, sustainable improvement framework. Since then, she has focused on codifying a range of principles and practices, resulting in an array of methods called the technologies of the visual workplace. During this same decade, Galsworth became a Malcolm Baldrige Award Examiner and an examiner for The Shingo Prize for Operational Excellence. She remained a Shingo Examiner through 2009.

Due to the head-shaving in public spaces being used to punish women thought to be collaborators, and the presence of many foreign photographers in post-war France, thousand of photos exist of women being subjected to this punishment.Alison Moore, History, Memory and Trauma in Photography of the Tondues: visuality of the Vichy past through the silent image of women. Gender and History 17 (3), November 2005, 657-681. "Collaboration horizontale" is believed to have produced 200,000 French babies with German fathers.

She published articles related to visuality on theater- stage. Her book about Theater Design at the Turn of the Century was published by the Hungarian Theater Institute (OSZMI) in 1990. In line with her theoretical work got involved in underground theater, dance-theater, rock- scene and multimedia experiments, cooperating as actor, dancer, designer and artist with various Hungarian and foreign groups. As one of the founders of the Pankrator Balett Action Group, created art-performances and happenings in the turn of the 80s-90s.

Her motivations are more often narrated by Wilson, who thinks very little of her, except for her beauty, choosing a man she can control and her sexuality when she is quiet. Her spoken dialogue is often condescending and minimized by both Macomber and Wilson. Like the trophy prey they hunt, Margot's expressiveness is cast by her audibility and visuality. Margot’s characterization centers on the “femme-fatale” paradigm—the beautiful, sexual, adulterous and murdering wife. Ironic, as she is Francis’ trophy wife and married Francis for his wealth.

During the summer of 1995, Vuokola spent five weeks in remote Palsinoja in the Finnish Lapland digging for gold. The 4 grams of gold that he collected were stretched into a thin thread only 0,12 mm thick and approximately 7 m long. The work deals with time just as much as with the precious material, and also with the concepts of sculpture and visuality in art. The thread can hardly be seen when stretched across a wall, while it represents a considerable amount of physical work.

Detroit: Detroit Institute of the Arts, 1999. 15-16. Mining graphics and functional analytical tools, diagrams and schema like the architectural grid appear abstracted and occupied by ambiguous forms analogous to the outside world (Dumb Compass, 1985). A centerpiece of the exhibition, Spine Series (1980) simultaneously demonstrates Winters’ interest in the construction of the painting and his investigations into visuality. Later work in the exhibition features complex but singular forms emerging from fields and grounds to take on emotional dimension, evoking consciousness and sensuality (Tone, 1989).

In 2012, the University of Cape Town instituted a merger process which split the AGI's public project work from its gender studies teaching, creating a new section of Gender Studies. This had challenging impacts, but the AGI continued to stabilize itself with new programmes in young women's leadership in sexuality. In 2017, under new directorship again, with Yaliwe Clarke, the AGI ran programmes in queer visuality, with film festivals in different locations, and initiated work on a symposium entitled "Dreaming the Future," to celebrate the work of acclaimed South African feminist, Pumla Gqola.

A common interpretation by cinema scholars is that the film is a commentary on the bourgeois society and emergence of consumerism through the very beginning of the film. The reporter asks a worker at Paolo's factory if he thinks there will be no bourgeois in the future. In The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film, Angelo Restivo assumes that Pasolini suggests that even documentary images, which depict facts, fail to show the truth. News can tell the audience only the surface of the events they broadcast.

Photo: Guy Veloso. Brazilian Pop art didn't come without its share of criticism, sometimes adopting an outright rejection of consumer culture instead of the ambivalent, distant criticism of American pop. Waldemar Cordeiro is one of the most expressive artists that began exploring digital art and robotics in its work around the 60s and 70s, while Antonio Dias, Carlos Vergara brought the aesthetics of comic books, playing cards and other popular forms of visuality into his work. Hélio Oiticica's "Tropicália", a colorful immersive installation piece, incorporated references to the slums of Rio de Janeiro.

Throughout this period (1983–1991), Gwendolyn Galsworth was head of training and development at Productivity Inc. in Cambridge, Massachusetts, a publishing, training, and consulting firm known for bringing the work of Japan's manufacturing leaders to the United StatesGalsworth headed study missions to Japan and observed visuality in Japan first-hand. She also had the opportunity of working one-on-one with many of Japan's seminal thinkers, including Taiichi Ohno, Ryuji Fukuda, and Shigeo Shingo. Dr. Shingo personally tasked Galsworth with developing his mistake proofing/poka-yoke methodology for western companies.

In sociology of science, the graphism thesis is a proposition of Bruno Latour that graphs are important in science. Research has shown that one can distinguish between hard science and soft science disciplines based on the level of graph use, so it can be argued that there is a correlation between scientificity and visuality. Furthermore, natural sciences publications appear to make heavier use of graphs than mathematical and social sciences. It has been claimed that an example of a discipline that uses graphs heavily but is not at all scientific is technical analysis.

Originating in experiments with images of streaming water (Tammerkoski, 2012), Vuokola started exploring the very fundaments of digital photography. In Flora (sharpen), a large diptych of a Norwegian waterfall from the same year, a small selection of pixels from the center of each of the two digital files were enlarged to form a new diptych of their own. The connection in this case to landscape imagery is essential, as the work approaches the basics of the construction of visuality as well as digital images.Jyrki Siukonen, ”Chasing Falling Water” in Marko Vuokola.

Valencia, Spain: La Imprenta, Comunicación Gráfica, 1998. 17-18. Terry Winters has since exhibited widely, joining a group of contemporaries – such as Tony Cragg, Bill Jensen, and Stephen Mueller – engaging with organic abstraction and constantly changing thought on visuality impacted by evolving technology. Throughout the 1990s and onward the scale of Winters’ work and its visual complexity has grown considerably. Continuing to take from the natural sciences and information systems, amongst other subject matters, the construction of his compositions has transitioned from occupied fields to plaited grids and networks that offer unpredictable images.

Wu Jianren wrote novels for an audience who did not receive a classical education, and he used everyday vernacular speech in his works.Doleželová-Velingerová, p. 724. Wu Jianren recorded stories from newspapers that he could use as a source in his work within a notebook. Bao Tianxiao, the editor of early Republican journal Funu Shibao 妇女时报Joan Judge, Republican Lens: Gender, Visuality and Experience in Early Chinese Periodical Press, University of California 2015, P6 and another novelist who wrote an account of Wu Jianren's notebook, used this technique to write Shanghai Chunqiu (上海春秋; Shanghai records).

Gopinath serves on the editorial board of the journal South Asian Diaspora and on the advisory board of the feminist journal Signs. Her first book, Impossible Desires: Queer Diasporas and South Asian Public Cultures, came out in 2005. In 2018, Gopinath published Unruly Visions: The Aesthetic Practices of Queer Diaspora, which "brings queer studies to bear on studies of diaspora and visuality, tracing the interrelation of affect, archive, region, and aesthetics through an examination of a wide range of contemporary queer visual culture." The book explores the queer diasporic art practices of interdisciplinary artists Tracey Moffatt, Akram Zaatari, and Allan deSouza.

Makhijani's work spans a variety of media. Although her drawings have been said to be her "primary engagement," she has works regularly in a range of materials, including painting, gouache, mixed-media, collage, and sculpture.Roobina Karode, "The Secret Life of Sheila Makhijani," Art India, October–December 1999"Complex Visuality", Art India, August 2003. Makhijani's artistic practice, in fact, blurs the lines between media; she seems to carve space onto her canvases and within her paintings, which result from a process of accretion and erasure, while her sculptures often read as three-dimensional drawings.Valerie Gladstone, "Sheila Makhijani", Art News, February 2006.

Other statements in this video are descriptions such as "Robin is weaving in the studio downstairs," and "the phone is ringing." The straightforward nature of these statements stands in contrast to the confusion created by the recursive screens. The viewer has no way of knowing if the phone is ringing while the artist is filming the final video, or when she was filming Morriss in the very bottom layer, or the layer in between. The warped sense of time and space works to question the privilege of visuality in such a strongly visual culture, offering a critique of television as a medium as well as the potential truthfulness of any image.

Discussing music streaming services, music critic Chris Richards wrote in The Washington Post that YouTube, "a site that never really intended to become a music platform(,) accidentally became our most visited, most variegated music platform". In Richards' view, it achieved this viewership by "situat(ing) a piece of music, and the listening experience, in the greater context of all media, all experience"—referring to the variety of content encountered through its "Up Next" algorithm. Crediting YouTube's mobile accessibility, vast library size, visuality, portability, on-demand convenience, and engagement through comments, Richards called the website's billion+ music visitors per month "a bizarre triumph for a company so eager to obsolesce our televisions".

Silvano LevySilvano Levy is an academic and art critic specialising in surrealism. He has published on Belgian surrealism with studies on René Magritte, E.L.T. Mesens and Paul Nougé. His research on The Surrealist Group in England began with a film on Conroy Maddox and the book Conroy Maddox: Surreal Enigmas (1995), while a wider interest in the movement led to the publication of Surrealism: Surrealist Visuality (1997) and Surrealism (2000). Levy has curated national touring exhibitions of the work of Maddox and Desmond Morris, and has published a monograph on the latter entitled Desmond Morris: 50 Years of Surrealism (1997), which was followed by the enlarged re- edition Desmond Morris: Naked Surrealism (1999).

"An examination of Black action films produced both independently by African Americans and by major Hollywood studios during the Black film explosion of the 1960s and 1970s raises important questions about the African American film experience of visuality and identity formation, and the ways in which the look and the gaze of the African American are inextricably linked to a culture of oppression".Ongiri, Amy Abugo, "Spectacular Blackness: the Cultural Politics of the Black Power Movement and the Search for a Black Aesthetic" pg.164 Experts claimed that films could link the fantasies of youth with the visual depiction on film because the lack of nationalistic culture in society. The African American audience often had trouble separating their existence from the visual imagination shown by Hollywood's films.

The airport was opened in 1965 during the era of South African administration, and was then named J.G. Strijdom Airport, after the Nationalist Prime Minister of South Africa.Standard encyclopaedia of Southern Africa, Volume 10, NASOU, 1974, page 202 It was renamed Hosea Kutako International Airport following independence in 1990.Posters in Action: Visuality in the Making of an African Nation, Giorgio Miescher, Lorena Rizzo, Jeremy Silvester Basler Afrika Bibliographien, 2009, page 133 Hosea Kutako International Airport is the main hub for Air Namibia. Until recently, the absence of limited, direct international flights to Windhoek has forced passengers to fly via Johannesburg's OR Tambo International Airport, or Cape Town International Airport, resulting in additional transit visa costs, visa processing time taken by respective embassies and longer travel time.

His collaborations with former asylum patients were shown in London, Birmingham, Penryth and Glasgow in 2007 as part of the Mental Health Media project Testimony. He has collaborated with artist Caspar Below as Black Park, in 2005 when they launched their online project as part of the A2 Arts Ephemeral Cities project for Deptford. There are numerous references in Francis’s work to post-colonial visuality as it is manifested in architecture, landscape, museums and plant collecting. This critical questioning of empire and difference and its meaning for contemporary Britain have repeatedly led him to Greenwich, a place he has identified as historically crucial and representative for the British national identity, which he explored in his (2009) Space time and Englishness.

In the physics inherited from PlatoPlato, Timaeus 45. (although rejected by AristotleAristotle understood sight correctly, as depending on light: On Sense and the Sensible 1.3; On the Soul 418b-419a.), an eye beam generated in the eye was thought to be responsible for the sense of sight. The eye beam darted by the imagined basilisk, for instance, was the agent of its lethal power, given the technical term extramission. Constantine the Great (Capitoline Museums) The exaggerated eyes of fourth-century Roman emperors like Constantine the Great (illustration) reflect this character.L. Safran, "What Constantine saw: reflections on the Capitoline Colossus, visuality and early Christian studies" Millennium 3' (2006:43-73), noted in Paul Stephenson, Constantine, Roman Emperor, Christian Victor, 2010: notes 333.

Holocaust Memories: Visuality and the Sacred in Museums and Exhibits Doctoral dissertation, UMI Dissertation Publishing, Ann Arbor While a powerful technique, Hansen- Glucklick points out that when used en masse the metonym suffers as the memory and suffering of the individual is lost in the chorus of the whole. While at times juxtaposed, the alternative technique of the use of authentic objects is seen the same exhibit mentioned above. The use of authentic artifacts is employed by most, if not all, museums but the degree to which and the intention can vary greatly. The basic idea behind exhibiting authentic artifacts is to provide not only legitimacy to the exhibit's historical narrative but, at times, to help create the narrative as well.

It is for this reason that many Austen scholars dislike the 1995 version of Sense and Sensibility because the absence of a narrator 'glorifies the romantic conventions that Austen deflates'. Likewise, for this reason, many Austen scholars approve of Clueless, an adaptation of Emma set in a high school in Beverly Hills circa 1995, as the character of Cher Horowitz (the film's version of Emma Woodhouse) narrates several scenes. This is seen as the closest approximation of Austen's style in cinema yet done. Irvine commented that because cinema and books are different media, the best way of resolving this problem was and is for filmmakers to concentrate on the main strength of cinema, namely its visuality, as cinema can depict what the books can only ask the reader to imagine.

During 2005–2006, she was a fellow at USC's Annenberg Center as a member of the Networked Publics research group. Friedberg's research and teaching interests included: film and media histories and theories, old media/new media historiographies, critical theory/ feminist theory, nineteenth century visual culture and early cinema, theories of vision and visuality, architecture and film, global media culture. Her most important scholarly and theoretical work is generally considered to be the recent The Virtual Window: From Alberti to Microsoft, which synthesized her previous writing about movies, film, and television, and her long experience as a theorizer of forms of visual experience. Therein, she subjected the common linguistic tropes of visual representation, including "window," "screen", and "the virtual" to rigorous analysis, analysis that in many cases rendered commonly accepted definitions inadequate.

Retrieved: December 19, 2012 In 2009, Mittler received the Henry Allen Moe Prize of the American Philosophical Society for her paper Popular Propaganda? Art and Culture in Revolutionary China."Henry Allen Moe Prize" , American Philosophical Society. Retrieved: December 19, 2012 In this paper, Mittler addresses the question why the items of propaganda of Mao Zedong's time, a tragic period of suffering, are now popular in China, and why Mao has become a mythical figure. Mittler’s former desire to become a practicing musician (she plays the piano and the violin) led her to explore Chinese avant-garde music and fueled her passion for Chinese culture. Her research focuses on a wide range of topics such as Chinese music, Taiwanese literary and cultural history, encyclopedias and comics, Chinese women’s magazines, visuality and historiography, satire and national heroes.

357 and has been widely popularised in Western popular culture as the "yin-yang symbol" since the 1960s."The 'River Diagram' is the pattern of black-and-white dots which appears superimposed on the interlocking spirals [...] Those spirals alone form the Taiji tu or 'Diagram of the Supreme Ultimate', often known in English since the 1960s as the 'yin-yang symbol'.) These dots were believed to be collated with the eight trigrams, and hence with the concepts of roundness and of the heavens, while the equally numinous 'Luo River Writing' was a pattern of dots accosiated with the number nine, with squareness and with the earth." Craig Clunas, Pictures and Visuality in Early Modern China (1997), p. 107. The contemporary Chinese term for the modern symbol is "two-part Taiji diagram".

In 1996 Croft was the first Australian to receive the Chicago Artists International Program grant. She also was awarded the 1997 Australia Council for the Arts Greene Street Studio in New York; the 1998 Indigenous Arts Fellowship from the NSW Ministry for the Arts; an Alumni Award from UNSW in 2001; a 2015 Australia Council for the Arts National Indigenous Arts Award Fellowship; a Canberra Critics Circle Visual Arts Award for heart-in-hand in 2018; and the AAANZ Best Indigenous Writing award for her practice-led doctoral research essay Still in my mind: Gurindji location, experience and visuality in 2018. Croft was awarded an Honorary Doctorate (Visual Arts) from the University of Sydney in 2009. Croft was named Visual Artist of Year in the Deadly Awards 2013, which were the annual awards recognising Australian Aboriginal and Torres Strait Islander achievement.

In a 2003 review published in Canadian Art Magazine, Calgary Herald art critic Nancy Tousley compared Cran's creative process to meteorological events, storms, showers and "thunderous, lightning speed one offs" in which he produces experimental works based on an idea as catalyst using a handful of different styles. The result is a body of work that looks like it was not produced by one artist but many. In his review of Cran's 2009 exhibition entitled Bright Spiral Standard at Toronto's Clint Roenisch Gallery, The Globe and Mails art critic Gary Michael Dault described Cran's exhibition as a "dazzling sojourn in sophisticated visuality" and "fun" with its "shimmering, graphically delicate but exacting paintings." Dault said that Cran's allusive work borders on visual satire in which Cran gleefully references, analyses, demystifies and skillfully manipulates different genres and styles including still life, portraiture, and abstraction informed by Pop Art, Photo-realism, and Op Art.

University Park: Pennsylvania State University Press, 1989, 48 According to Fradenburg, these miraculous tales operate according to a paradoxical logic in which "visuality and carnality are used to insist upon the superior virtue of that which is beyond sight and flesh." Yet such sacramental materialism remains vulnerable to the kinds of abuse more obviously associated with the Pardoner; Fradenburg cites the case of Little Saint Hugh of Lincoln, the historical episode of the young English Christian supposedly martyred by Jews, "slayn also / With cursed Jewes, as it is notable / For it is but a litel while ago" (VII 684–686), tacked onto the end of the "Prioress' Tale". The tale was intimately bound up with attempts to "aggrandise the spiritual prestige and temporal revenues" of the local cathedral.Fradenburg 207 Thus the vivid "carnality" of the miraculous tale of martyrdom could be deployed as easily to enhance the worldly prominence of the Church as to refute heretical doctrine by reaffirming the spiritual legitimacy of Church rituals.

Van Valkenburgh describes his work as an exploration of the living qualities of the landscape medium and an attempt to emancipate landscape architecture from a its traditionally subsidiary relationship to architecture. His designs are based on a sensitivity to the particular qualities of each project site and thus do not necessarily resemble one another with respect to form, details, or imagery. According to fellow landscape architect James Corner, Van Valkenburgh's work demonstrates "that the knowledge of a place derives more deeply through experience of material, time, and event, than through visuality alone, and that landscape experience is fuller and more profound when it accrues through inhabitation than through the immediacy of the image or the objectification of the new." As an architect, he has been influenced by his upbringing in an agricultural setting and his education at Cornell University during the 1970s—in particular his exposure to Ian McHarg's ground-breaking book Design with Nature.

In the mid-'70s he returned home and obtained a degree in International Studies (Diplomacy) from the Central University in Caracas. In the late '70s and early '80s he was involved in various activities carried out in Italy and Europe with the group Zeta International promoters of the New Visuality or Poesia Visiva with Carlo Marcello Conti, Lamberto Pignotti, Adriano Spatola, Gerard Jaschke, Eugenio Miccini, Luciana Arbizzani, T. Blittersdorf, Graziella Borghesi, Erio sughi among many others. In the mid-'80s, linked to a diplomatic post, he lived in India and China, where he participated in various cultural events. In New Delhi, the best gallery for artists of his time, Dhoomi Mal Gallery offered the opportunity to exhibit his works and shared art experiences with the exponents of the fine art new symbolism, and neo-tantric in the context of that country, including names that are now referred mandatory in contemporary art from India, such as Swaminathan, Gujurat Satish, Santosh, Francis Souza, and others.

Her practice-led doctoral research project included the collaborative exhibition, Still in my mind: Gurindji location, experience and visuality, UNSW Galleries, UQ Art Museum, 2017, touring nationally until late 2021. Solo exhibitions include heart-in-hand, Canberra Contemporary Art Space, 2018; subalter/N/ative dreams, Stills Gallery, Sydney; Peripheral vision, Artplace, Perth (2005), Niagara Galleries, Melbourne (2006); Man about town, Stills Gallery, Sydney, (2003), Niagara Galleries, Melbourne (2004); fever (you give me), Stills Gallery, Sydney (2000); In my mother's garden, Gallery Gabrielle Pizzi, Melbourne (1998); In My Father's House, Australian Centre for Photography, Paddington, (1998). Croft has also worked with Eastern Arrernte/Kalkadoon independent curator, arts administrator and writer, Hetti Perkins, on curatorial projects, including the Australian Indigenous Art Commission for the Musée du quai Branly, Paris, France, (2006); and the Australian exhibition at the 47th Venice Biennale in 1997, fluent: Emily Kame Kngwarreye, Yvonne Koolmatrie & Judy Watson, and was co-curated by Hetti Perkins, Croft and Victoria Lynn.

Solo exhibitions include Visuality, (2011) Second Street Gallery, Charlottesville, Virginia, One Thing Leads to Another, (2007) Jack Shainman Gallery, New York, NY, , A Kick in the Pants, (2004), Jack Shainman Gallery, New York, NY, Get the Ball Rolling (2001) Jack Shainman Gallery, New York, NY,, 1999), Contemporary Realist Gallery, San Francisco, CA, (1995, 1993) White Columns, New York, NY (1993). Group Her work was featured in the Parking on Pavement (2018-19),Jack Shainman Kinderbrook exhibition. (2006, 2004, 2001, 1997, 1996), McGuffey Art Center, Charlottesville, VA, (2006, 2005), Islip Art Museum, East Islip, NY (2004), James Cohan Gallery, New York, NY (2000), Contemporary Realist Gallery, San Francisco, CA, (1996, 1995, 1994), New York Soho Biennial ’95, New York, NY, White Columns, New York, NY (1993), Art in General, New York, NY (1991), Soho Center for Visual Artists, New York, NY (1990), Museum of the National Arts Foundation at the Jacob Javits Federal Building, New York, NY (1989).

Young's first solo exhibition was a one-minute show held in a hamlet in the fishing village of Rosroe, Connemara, on the west coast of Ireland. Since the mid-1980s, Young has produced three major cycles of work, the Silhouette Paintings (1986–89), the Polychrome Paintings (1989–93) and the Double Ground Paintings (1993–present), which explore the relationship between Euro-American models of culture and experience and other modes of visuality, being and the cultural object. More recently, Young has produced series of abstract paintings which deal with concerns around technology and the body: Naïve and Sentimental Paintings, The Day After Tomorrow and Spectrumfigures. Since 2008, Young’s projects have focussed on transcultural humanitarianism, culminating in the projects Bonhoeffer in Harlem (Berlin, 2009), Safety Zone (Melbourne, 2010; Brisbane 2011), and his investigations into the history of the Chinese diaspora in Australia since 1840, through projects Open Monument (Ballarat, 2013–15),1866: The Worlds of Lowe Kong Meng and Jong Ah Siug (Melbourne 2015), Modernity's End (Melbourne, 2016) and The Burrangong Affray (Sydney, 2018).

Their collaboration, which began in the early 2000s, is based on ekphrasis, a rhetorical device from antiquity, in which one art medium is described by another, thus heightening its affect for viewers or readers […]As a collaborative undertaking, it is at once conversational and deeply personal.’ 10 In 2011, Annwn was the guest poet at the Sunderland University Writing Symposium and worked with Ewan Clayton, Ann Hechle, Susan Moor, Suzanne Moore, Ayako Tani and Edward Wates. At the Writing 2015 Symposium at Bruges University in 2015, Annwn went on to work with Ewan Clayton, Lieve Cornil, Susan Skarsgard and Brody Neuenschwander, past collaborator with film-maker Peter Greenaway. An exhibition of Annwn's and Thomas Ingmire's collaborative poetry and calligraphy appeared at the California Book Club, San Francisco, 2016. Gothic and Gothic visuality In 2006, Annwn discovered Francois d’Orbay's floor-plans for the site of E-A Robertson's famous Parisian Phantasmagoria magic lantern show (1799-1804), a key influence in Gothic writings of the 19th century, including the work of Sheridan Le Fanu.

" Pitchforks Sasha Geffen expressed that the album "encloses [Lee] in a space where she's far too safe", describing the song "Thin" as "a rare moment of intrigue on an album that's generous in its beauty while leaving little to wonder about, a sky that never rains." Miriam Wallbaum of Nothing but Hope and Passion praised Blue as "an elaborated total work of art, consisting of strong videos and harmonious pop-melodies", but suggested that "the music doesn't work on its own: leaving out the visuality, the record is only another ordinary standard pop album." Chris Watkeys of Loud and Quiet concurred, commenting on how "[t]he visual aspect of the project is so superbly expressive that it feels churlish to denounce something so brave, ambitious, and visually compelling, but the music does need to stand up by itself, and it only occasionally does so". At Uncut, Graeme Thomson felt that "between their 2012 debut, Kin, and their latest, Blue, the Stockholm duo have lost some of their Fever Ray-like ability to surprise and unsettle.

Chapter Two focuses on the avant- garde literary magazine transition, its founding editor Eugene Jolas, and early silent cinema in order to show the relationship between international modernism and the movies. 1927, when this magazine began publication, was also the year that sound was introduced into film technology, which North regards as a crisis for the avant-garde. Hostile to sound from the beginning, in fact, many argued with Antonin Artaud that it violated the artistic unity and autonomy of cinema as a purely visual medium. This "crisis of sound," and the anxiety of contamination it represents, played an important role in the aesthetic project of transition, and so North examines the experimental poetry of Jolas published in the magazine, particularly in terms of its "celebrated Revolution of the Word," along with the "reading machines" of Bob Brown in order to locate points where literature and poetry themselves were attempting to achieve a kind of visuality akin to cinema and photography, suggesting that boundaries between "word, sound, and image," and between the old and new media, were not nearly as definitive as some might have wanted to believe.

In Chapter Three, North considers Close Up, the European film magazine published in Switzerland "with the more-or-less constant assistance of H.D." from 1927 to 1933. Noting the "considerable convergence of the literary world and the no longer quite so new medium of the movies" by 1927, North furthers his examination of international modernism's struggle with sound by pursuing the introduction of sound technology into silent cinema as a revealing moment in the history of globalization. Hollywood's attempts to cope with "the foreign problem", or that 9/10 of the world's population in 1927 did not speak English, often by shooting films in five different languages, are contrasted with utopian strategies advanced by the avant-garde that attempted to bring about an international film culture of the future based on global multilingualism or even Esperanto. In Chapter Two, North argued that sound came just as critics were raising silent film to the status of art, and here he shows how these two instances of perceived contamination, sound as intruder into the autonomous visuality of film and sound as divisive force in the international medium of the eye, often inflected or contradicted one another in the pages of the magazine.