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Which clippings match 'Visual Experience' keyword pg.1 of 1
15 MARCH 2015

Research Methods for Cultural Studies: Analysing Visual Experience

"Although some disciplines and fields have been more successful in ignoring it, cultural studies has always implied the analysis of the visual. Indeed, since cultural studies is concerned with 'how culture is produced, enacted and consumed' (Lister and Wells 2000: 61), it is inevitable that scholars working in this area would engage with the visual. As Martin Lister and Liz Wells argue, 'it is seldom, if ever, possible to separate the cultures of everyday life from practices of representation, visual or otherwise' (2000: 61). Most scholars working in the field of visual studies agree that any analysis of culture would benefit from attention to the visual experience, knowledge and practice that in part constitutes what culture is (Pink 2007)."

(Sarah Pink, 2008, p.128)

Pink, S. (2008). Analysing Visual Experience. In M. Pickering (Ed.), Research Methods for Cultural Studies: Edinburgh University Press.


2008 • Ana Alfonso • analysis of culture • analysis of the visual • analysis of visual images • Caroline Knowles • cultural studiescultural studies methodologycultural studies research • Edinburgh University Press • how culture is consumed • how culture is enacted • how culture is produced • Laszlo Kurti • Liz Wells • Marcus Banks • Martin Lister • Michael Pickering • observational methods • Paul Sweetman • practices of representation • Sarah Pink • social interventionvisual anthropology • visual anthropology methods • visual cultural studies • visual ethnographic • visual ethnographic methods • visual ethnography • visual experiencevisual knowledge • visual methods in sociology • visual practice • visual sociology • visual studies


Simon Perkins
24 JANUARY 2013

Anemic Cinema (1926) by Marcel Duchamp

"This characteristically dada film by Marcel Duchamp consists of a series of visual and verbal puns with nonsense phrases inscribed around rotating spiral patterns, creating an almost hypnotic effect. Silent.

Anemic Cinema (various versions were made in 1920, 1923 and, finally, in 1926). Essentially a film by Duchamp with help from Man Ray. Calvin Tomkins: 'Duchamp used the initial payment on his inheritance to make a film and to go into the art business. The film, shot in Man Ray's studio with the help of cinematographer Marc Allégret, was a seven–minute animation of nine punning phrases by Rrose Sélavy. These had been pasted, letter by letter, in a spiral pattern on round black discs that were then glued to phonograph records; the slowly revolving texts alternate with shots of Duchamp's Discs Bearing Spirals, ten abstract designs whose turning makes them appear to move backward and forward in an erotic rhythm. The little film, which Duchamp called Anemic Cinema, had its premiere that August at a private screening room in Paris.'"


Marcel Duchamp (1926). "Anémic Cinéma", 7 minutes, B&W.



1926 • Anemic Cinema • art historyavant-garde cinema • Calvin Tomkins • circle • concentric cirles • Dadadada filmdiscs • disk • erotic rhythm • gyrating • hypnotic effectMan Ray • Marc Allegret • Marcel Duchampmovement • nonsense phrase • op artoptical artoptical effectoptical illusionpatternperceptual phenomenonphonograph • phonograph turntable • pulsating alternation • revolving • rhythm • rotary demisphere • rotating spiral patterns • rotation • Rotoreliefs • Rrose Selavy • spinning • spiral • spiral pattern • spiraling • stereo-kinetic effect • surrealist cinematurntableUbuWebvelvet • verbal pun • visual experience


Simon Perkins
11 MARCH 2012

Off Book: the art of Animated GIFs

"GIFs are one of the oldest image formats used on the web. Throughout their history, they have served a huge variety of purposes, from functional to entertainment. Now, 25 years after the first GIF was created, they are experiencing an explosion of interest and innovation that is pushing them into the terrain of art. In this episode of Off Book, we chart their history, explore the hotbed of GIF creativity on Tumblr, and talk to two teams of GIF artists who are evolving the form into powerful new visual experiences."

(PBS Arts: Off Book, 7th Mar 2012)



8-bitaestheticsanimated gifanimation • art on screens • Bill Cunningham • creative practice • cutting-edge arts • design for the screendesign historydigital cultureevolving formFlag of the United States of AmericaGIFGIF artists • GIF creativity • GIF-makers • glitch art • Graphics Interchange Format • hybrid form • hybrid medium • image format • isolated movement • Jamie BeckKevin Burg • Matthew Rader • media artmememotion graphicsmotion photographmovement • multi-image • new mediaOff Book • Pamela Reed • Patrick Davison • patternPBSremediationrepetitionsequence designTumblrTV seriesunder constructionvisual communicationvisual experiencevisual literacyweb • web show


Simon Perkins
18 JULY 2010

Defining visual thinking and visual literacy

"Wileman (1993) defines visual literacy as 'the ability to 'read,' interpret, and understand information presented in pictorial or graphic images' (p. 114). Associated with visual literacy is visual thinking, described as 'the ability to turn information of all types into pictures, graphics, or forms that help communicate the information' (Wileman, p. 114). A similar definition for visual literacy is 'the learned ability to interpret visual messages accurately and to create such messages' (Heinich, Molenda, Russell, & Smaldino, 1999, p. 64). The ERIC definition of visual literacy is 'a group of competencies that allows humans to discriminate and interpret the visible action, objects, and/or symbols, natural or constructed, that they encounter in the environment' ( Robinson (as quoted in Sinatra, 1986) describes visual literacy as 'an organizing force in promoting understanding, retention, and recall of so many academic concepts with which students must contend' (p. v). And lastly, Sinatra defines visual literacy as 'the active reconstruction of past visual experience with incoming visual messages to obtain meaning' (p. 5), with the emphasis on the action by the learner to create recognition.

The use and interpretation of images is a specific language in the sense that images are used to communicate messages that must be decoded in order to have meaning (Branton, 1999; Emery & Flood, 1998). If visual literacy is regarded as a language, then there is a need to know how to communicate using this language, which includes being alert to visual messages and critically reading or viewing images as the language of the messages. Visual literacy, like language literacy, is culturally specific although there are universal symbols or visual images that are globally understood."

(Suzanne Stokes, 2002)

[1] The Occasional Wife

[2] Stokes, S. (2002). "Visual literacy in teaching and learning: A literature perspective." Electronic Journal for the Integration of Technology in Education 1(1).

Branton, B. (1999). Visual literacy literature review. Retrieved December 26, 2001, from

Emery, L., & Flood, A. (1998). Visual literacy. Retrieved September 22, 1999, from University of Canberra, Australian Centre for Arts Education Web site:

Heinich, R., Molenda, M., Russell, J. D., & Smaldino, S. E. (1999). Instructional media and technologies for learning (6th ed.). Upper Saddle River, NJ: Prentice–Hall.

Sinatra, R. (1986). Visual literacy connections to thinking, reading and writing. Springfield, IL: Charles C. Thomas.

Wileman, R. E. (1993). Visual communicating. Englewood Cliffs, N.J.: Educational Technology Publications.



Simon Perkins

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