Visual Media

The 8th SPARKS session is interested in discussing innovative manners in which artists, technologists, researchers, and practitioners, express their visions of the impact and effects of data in art and science. With this goal in mind, the primary materials that the session seeks to highlight are visual media and visual methods that help, amplify, or challenge our visual perception and human interpretation.

Der Vorspann eines Films von Ridley Scott, Someone to Watch Over Me, fängt mit einem wie gewohnt faszinierend durchgeführten nächtlichen Überflug des glitzernden Manhattan an und endet, hinüberleitend in die erste Szene, mit einem Schwenk hinaus in die schlafende Vorstadt. So oder so ähnlich beginnen ungezählte Filmgeschichten, ultratypisch immer wieder in der Supermetropole New York. In vielen Fällen war das dann auch alles, über Manhattan oder Berlin oder den Saarbrücken erfährt man im Weiteren nicht viel. Der Ort des Geschehens bleibt eine Bühne, eine mehr oder weniger austauschbare Kulisse. Es ist nicht viel anders, als bei Stadtsoziologen auch, auch in dieser Hinsicht haben die Medien Stadt und Kino etwas gemein. Als René König in den 50er Jahren die Gemeinde-und Stadtsoziologie kritisch ins Visier nahm, konnte er zeigen, daß gebaute Räume in ihren Diskursen eigenartig leer bleiben. Gemeinde und Stadt als Raum und Ort würden vielfach, so König damals, nur zum Vorwand für die Analyse ortsfrei gedachter Prozesse, als Bühne für die Inszenierung allgemeinsoziologischer Fragestellungen verstanden. Dieser Sachverhalt gilt meiner Einschätzung bis heute. Die Materialität städtischer Räume und die Regeln, nach denen städtisches Leben durch diese Räume artikuliert wird, bleibt vielfach, wie ein dekorativer Filmvorspann, außen vor.

In this paper, we present a set of tools developed during the creation of a platform that allows the automatic generation of virtual views in a live soccer game production. Observing the scene through a multi-camera system, a 3D approximation of the players is computed and used for the synthesis of virtual views. The system is suitable both for static scenes, to create bullet time effects, and for video applications, where the virtual camera moves as the game plays.

"Earlier provisional title was "Archaeology, Tourism, Museum...."

"This chapter is divided into two distinct sections that are positioned in a point-counterpoint structure of dialogue. These two position statements invoke the etymological meanings of the word essay, to attempt, put to the test, trial, to act out, to explore, travel, and travail. The first is an historical analysis written in the third person by an anthropologist whose expertise includes the ethnography of archaeology and the anthropology of tourism. The second is a counterpoint commentary written in the first person by an anthropologist whose specializations include Pre-Columbian and historical archaeology. Both of us have significant research experience in same area of the Maya world in Yucatán, México. From these two differing vantage points, we chart our perspectives on the relationship between archaeology and tourism in terms of the problems of exploration, protection, and exploitation.
In the first section, Castañeda takes an historical approach to the emergence of archaeology in the institutional context of the modern museum. He essays an analytical and theoretical manifesto about the deep, intimate interconnections between tourism and archaeology as revealed through an understanding of the museum. In his historical analysis of the role of archaeological representation in the museum, he identifies the sociological creation of universal heritage. He theorizes a notion of the universal citizen-heir as the implied benefactor of this universal heritage. In the second section, Mathews elaborates a commentary on this historical analysis of archaeology, tourism, heritage and the museum. Specifically, she counter-argues and assesses Castañeda theoretical and analytical claims through the use of archaeology and tourism at sites that are not postcard worthy. Together these two “attempts” grapple with the historical and contemporary interconnections between archaeology and tourism. Together we put to the test our typical assumptions about the ethics of archaeologists, tourists, and tourism promoters in the contemporary contexts in which we are now beginning to ask how and why archaeology and tourism are interwoven phenomena in today’s world.""

This paper highlights a fresh approach in the Mid-Seventies to the historiographical discussion of the female condition and women’s role in the ancient, and more specifically Roman World, thanks to works like Sarah B. Pomeroy’s "Goddesses, whores, wives, and slaves "(1975). Beyond its place in that decade’s feminist debate in the USA, this book’s many faceted and pragmatic nature has contributed a more articulated view of Roman women’s image. It left its mark not only on later historiography, sparking new discussions among Roman history specialists, but also well beyond, as the numerous videos and films on Roman women available on the Internet attest. These latter display the creativity and skill of their authors, of various ages and levels of knowledge and technical expertise. While being informed, the viewer is catapulted into women’s daily life in ancient Rome as they deal with the typical problems ascribed to women in every epoch. In this perspective, such efforts can be seen as an excellent example of applied Public History, whose usefulness in increasing gender studies relating to Roman history is well worth evaluation.

Children are often the subject of photographic practice but rarely are
they thought of as photographers in their own right.

From the catalogue: 'Introducing the Children's Photography Archive' (ISBN: 978-1-912685-54-7).
You may read more about the archive and download the catalogue here:
https://childhoodpublics.org/communications/writing/exhibition-catalogues/

There is an increasing number in dropouts from high school students from the educational institutions in Puerto Rico. Educational reports by (Swanson, 2008) and (Bridgeland et al., 2006) have revealed a certain correlation between dropouts and lack of engagement in the classroom. In addition, a report by (The department of education, 2012) has revealed that less than half of the students score within basic level performance in standardized testing. These findings contribute towards the possibility that if the issue of class engagement was resolved, it would help close the gap of high school dropout which in turn calls for a critical evaluation of the current pedagogy used in Puerto Rico along with the creation of a multi-modality classroom. Studies by (Kress, 2003) and (Frey & Fisher, 2008) agree that visual media is an essential tool in order to lead multi-modality classroom and which supports student’s engagement in class and benefits their internalization of information.
The purpose of this research is to perform a qualitative case study in a classroom setting where using a teaching unit which makes use of Anime as a visual form of text triggers students into reading and interpreting this “visual text” in order to gain insights about different thematics and issues which affect their person, community, and/or culture among other factors. The main problem which the researcher wishes to address is the lack of engagement in the classroom which results from older teaching strategies which rely on canonical texts and standardized testing which does not encompass for all the different kinds of mindsets which a teacher can encounter in the modern classroom. Using data collection methods of non-participant observation, interviews with the teacher and collecting artifacts from student’s work throughout the semester, the researcher can address if the use of visual media in the classroom does help with engagement in the classroom and students develop complexity in their interpretations of the thematics and issues discussed in class. This study may reveal important details about the use of visual media in the classroom setting. Lastly, it might reveal whether current pedagogy which does not make use of visual media gauges class engagement effectively.

Assuming that visual media play a crucial role in the construction of “identities” and of colonial imageries, this essay examines how post cards from the first decades of the 20th century represented Cape Verde and its inhabitants. It analyses the europeanising depiction of urban landscapes, the function of gender in the definition of the Cape Verdean “ethnic type” and the artificial staging of a (non-existing) tribal culture. Further, it discusses the relation between texts and images with regard to the subjective interpretation of post cards. And finally, it shows how Cape Verdeans have appropriated iconographic elements, which had emerged in the context of a colonial imagery, and have filled them with new meaning.

Partindo da premissa que os media visuais têm um papel crucial na construção de “identidades” e de um certo tipo de ‘imaginário’ colonial, este artigo examina como os postais das primeiras décadas do século XX retratavam Cabo Verde e os seus habitantes. Analisa as representações europeístas das paisagens urbanas, a função do género na definição do “tipo étnico” cabo-verdiano e a encenação artificial de uma cultura tribal (inexistente). E finalmente, mostra como os cabo-verdianos se
apropriaram de certos elementos iconográficos, que se manifestaram no contexto do imaginário colonial, e as carregaram de novos significados.

New feminism is a continuation of earlier feminisms but differs slightly as it emphasizes on the idea that woman is an individual with an equal worth as man while accepting the natural sexual differences. Indian Films have always portrayed women in the stereotypical roles of passive, submissive and dependent objects of visual pleasure. British Feminist Film Theorist Laura Mulvey, in her essay titled 'Visual Pleasure and Narrative Cinema', talks about the Male Gaze and how women are presented as the object of voyeurism, which means 'to-belooked-at-ness' objects. This paper attempts to look at the changes brought in the representation of woman from the stereotypical pleasurable object to the emancipated lead actor who overcame the male gaze and became an independent and strong woman. The paper observes this change of representation in Gouri Shinde's film "English Vinglish". The film is about an Indian woman who overcomes the patriarchal obstacles and becomes successful and independent. The focus is also on the contemporary Indian female directors. Unlike most of the male directors, these female directors break away from showing the woman as passive and pleasurable objects. They represent their emancipation through independent women characters who are not dependent on men.

Violence in film has negative impacts on society and individuals, particularly children, necessitating additional vigilance in self-censorship by filmmakers and stricter regulation by the MPAA to ensure safe and appropriate content for youth audiences, as well as to ensure that film remains protected as free speech. The impact on youth as well as the cultural influence of film are critical factors to consider regarding film content. Depictions of violence and aggressive behavior in film teaches aggressive behaviors to children, especially when perpetrated within a humorous context, by attractive characters, and when there are no negative consequences for violent or aggressive acts (Timmer). Pervasive violence exists at all ratings levels of film and is most prevalent in content intended for children. A system of “ratings creep” and a push for profitability perpetuate violence in children’s media (Afra). Ensuring that film content is appropriate and nonviolent when directed toward youth audiences is beneficial for children, society, and the film industry.

Using 11 high-grossing post-9/11 Hollywood films on terrorism and the Middle East, the author analyzes how films racialize Muslim identities in service to Islamophobia. This research brings together racialization theory with analysis of political ideologies that illustrate visualized racialized meanings on Muslim identities. The racialized portrayals of Muslim bodies inscribed in the political rhetoric of the War on Terror follow a systemic process of ethnoracial cultural othering that objectifies, vilifies, and dehumanizes Muslim identities. The author demonstrates how films engage in the political processes of racial construction of Muslim identities by criminalizing their gendered identity, dehumanizing their body, and devaluing their territorial and physical space in the context of the War on Terror.

Food is not only seen as a basic necessity but also as a lifestyle. It is now not only made and eaten, but also watched. This study attempts to understand the reasons behind the viewership and production of food/culinary related content. The study also analyses the impact of the Covid-19 pandemic on food media. The researcher adopted descriptive research design by applying both quantitative and qualitative methods. The results provide indication of why people have been watching food media increasingly and identifies the exact set of population who consume food media the most. The research also further examines the presence of food in the industries of film, social media, reality TV shows and OTT (Over the top) platforms. The study proves that there is an increase in the food and culinary related content consumption as well as production.

This studio/seminar is an arts and art history collaboration, combining theory and praxis by integrating creative work with art theory, criticism and history. Representation of pain and human suffering has always been a vibrant subject of debate in the history of art from the Pergamene sculpture of dying Gauls and snake bitten Laocoön to Edward Munch's Der Schrei der Natur or Otto Dix's War graphics. In the new world order of late capitalism, we are constantly bombarded with visceral images of human suffering: the image of the Syrian refugee boy Alan Kurdi washed ashore on the Turkish coast, ISIS beheadings, scenes of torture in Abu Ghraib prison, the repeated image of the starving African child. The pornographic intensity and numbing effect of violent and painful imagery in the digital age raises serious questions about the ethics and politics of representation: how does one deal with the pain of others and the questions raised by its visualization? How can we understand the permanent depicting of individual hardship and suffering in times of invisible threats to mankind? What does it mean to be alive in the Anthropocene and what can we expect in the future? This seminar will seek creative, collaborative responses and critical debate on the relationship between visuality and pain, suffering, and violence.

The research paper aims at trying to find out if mind-mapping as a method is useful in teaching any subject matter to students. Mind mapping is the method of using graphical representations to convey concepts using branching method to break down the subject. This makes it is easier for the receiver to understand the concept. Mind mapping is a developing strategy being used by institutions and organizations to make it easier for them to convey concepts and meanings.

Theatre/Archaeology is a brilliant and provocative challenge to disciplinary practice and intellectual boundaries. It brings together radical proposals in both archaeological and performance theory to generate a startlingly original and intriguing methodological framework. It facilitates a new way of investigating landscape and cityscape, and notions of physicality, encounter, site and context.

Frida Kahlo’s painted diary is a visual and textual autobiography that is born out of Kahlo’s need to search for (re)construction and unity, and to express Kahlo’s fragmentation and destruction. Employing the visual and the verbal, Kahlo addresses herself directly, intimately, and viscerally. The essay examines the diary in relation to disability studies and autobiographical studies. It traces the contours of Kahlo’s pain and fragmentation in the diary that is portrayed through a stylistic fragmented quality, which conveys her metaphorically wounded body and heartache. I assert that Kahlo’s fragmented self is her ideal art subject in the production of an innovative vocabulary of the self. The essay then examines the images of wholeness in the diary, which Kahlo creates in the attempt to search for an integrative vision the self. Kahlo constructs herself playfully and imaginatively, providing an aesthetic form to the drama of her biological and psychological experience. Using examples from the diary, I explain how Kahlo employs her extensive visual sources to defines her self through her solitude, illness, love for Diego, and the Mexican Revolution, representing herself in and as pain, whilst conveying herself as a woman of perseverance and endurance. I conclude by stating that Kahlo creates both images of wholeness and fragmentation in the diary and that wholeness cannot exist without fragmentation.

Literature has always been the major contributor to humanity's journey for meaning and communication. Using fiction as the safe space to explore possible worlds, society has explored a plethora of interpretations using the elements of fiction. Nevertheless, fiction as a category is not attached to literary works only; it also opens up a space for other forms of media like animation.

In the Nineties, Ignasi de Solà-Morales described the relationship between critics and architects as one of sadomasochism, with the former controlling their anxiety for the recent collapse of grand narratives by exercising a «compensatory aggressiveness» towards the latter, who resignedly offered their projects to «the lashes of their chastisers» with the hope that non-evident meaning would eventually become manifest. Two decades later, this relationship has been largely turned upside-down, with many architects now dictating case-by-case the keys for the interpretation of their projects, and many critics reducing their role to that of observers of the architectural market and promoters of its top products. Under the destabilizing effects of postmodern relativism, ideological conflict has been replaced by pragmatic partnership, legitimately leading to a loss of confidence in critique itself. But was conflict a better alternative? According to common interpretations of the idea of “criticism”, it probably was. In its main acceptations – as a profession, as a set of social practices, or as a disciplinary discourse – the term is in fact used to indicate a set of intellectual activities traditionally placed outside of (and possibly against) the domain of architectural production, being what separates critics from architects precisely «what can ensure – in Luigi Manzione's words – a margin of efficiency in critical discourse». Distancing, however, has its side effects. The fact that Allison Arieff has recently compared reading architectural writings to having a tooth extracted is quite explicative of the way in which many critics work nowadays: little concerned about the use that architects will do of their ideas, they write for no-one except for themselves, locking critical discourse in a cage of autonomy from which no real influence on architectural production can be exercised. Critique for critique's sake tragically reflects a retreat from reality that seems even more problematic if we consider how many opportunities for elaborating alternative ways of communication are offered today by new digital media. In this essay, I intend to speculate on how internet and social networks can play an important part in the redefinition of the attitude and tools of architecture criticism, insisting on the value of sociability over isolation, suggesting an extension of the media through which critique is performed, and proposing a third model of relationship – that of the “sparring partner” – as a possible way of overcoming the present moment of social empasse.

Abstrak Kajian ini bertujuan untuk memperoleh atau memberikan gambaran tentang urgensi penggunaan media visual dalam pembelajaran bahasa Arab. Metodologi yang digunakan adalah kajian literatur yang terkait penggunaan media visual. Hasil kajian ini menunjukkan bahwa media visual yang digunakan dalam pembelajaran dapat menyajikan gagasan yang abstrak menjadi lebih konkrit. Media dapat diartikan dengan segala sesuatu yang dapat digunakan untuk menyalurkan pesan yang dapat merangsang pikiran, perasaan, perhatian, dan kemauan siswa untuk belajar. Salah satu jenis dari media pembelajaran ialah media Visual. Media Visual yaitu segala sesuatu yang dapat dimanfaatkan untuk memudahkan proses pembelajaran bahasa yang dapat ditangkap dan dicerna melauli indra penglihatan. Dalam pembelajaran bahasa asing, penggunaan media dapat membantu pendidik dalam menyampaikan materi yang akan disampaikan. Beragam media Visual dapat dijadikan media dalam menyampaikan pembelajaran bahasa Asig atau Bahasa Arab.Pentingnya pembahasan menganai pengguanaan media visual guna memberikan informasi terkait pentingnya penggunaan media visual yang dapat memberi manfaat dalam pembelajaran bahasa Arab. Kata Kunci: Urgensi, Media Visual, Bahasa Arab PENDAHULUAN Belajar adalah sebuah proses perubahan di dalam kepribadian manusia dan perubahan tersebut ditampakkan dalam bentuk peningkatan kualitas dan kuantitas tingkah laku seperti peningkatan kecakapan, pengetahuan, sikap, kebiasaan, pemahaman, ketrampilan, daya pikir, dan kemampuan-kemampuan yang lain. Adapun pembelajaran memiliki pengertian yaitu proses dari tidak tahu menjadi tahu, tidak mengerti menjadi mengerti yang didasarkan pada pengalaman dan dapat merubah tingkah laku seseorang. Pembelajaran dapat melibatkan dua pihak, yaitu peserta didik sebagai pembelajar dan guru/dosen sebagai fasilitator, yang terpenting dalam kegiatan pembelajaran tersebut yaitu terjadinya proses pembelajaran (Learning Process). Kesuksesan sebuah pembelajaran disebabkan oleh dua faktor, yaitu: faktor internal dan eksternal. 1 Faktor internal seperti sikap, pandangan hidup, perasaan senang dan tidak senang, kebiasaan dan pengalaman peserta didik. Adapun faktor eksternal 1

This study aims to: (1) describe the implementation of science teaching deaf children in class XI, and (2) describe and analyze the use of visual media in science teaching deaf children in class XI. This study used a qualitative descriptive method. Source of research data are teachers, students and principals. The technique of collecting data used was interviews, documentation and observation. SLB research sites in Sukoharjo district, which includes SLB ABCD YSD Polokarto, SLB Hamongputro Jombor B-C, B-C SLB YPALB Langenharjo and SLB ABC Tawangsari. The data were analyzed through data reduction, data display and draw conclusions. Conclusions are presented in the form of narrative text form field notes. The results showed that (1) the implementation of science teaching deaf children in class XI SLB Sukoharjo still using conventional methods with students to make a note of the material presented (2) the use of visual media in science teaching deaf children in class XI SLB Sukoharjo regency is still minimal because it only uses media images and text books provided in the school.

Abstrak Pembelajaran bahasa Arab memiliki masalah yang kompleks, salah satunya materi pembelajaran bahasa Arab masih dianggap sebagai materi pembelajaran yang cukup sulit. Banyak faktor yang mempengaruhinya, terutama disebabkan proses pembelajaran bahasa Arab kurang memanfaatkan media. Oleh karena itu, media pembelajaran dianggap sebagai salah satu solusi untuk mengatasi problem tersebut. Penggunaan media dapat membantu proses pembelajaran bahasa Arab. Diharapkan guru mampu memanfaatkan media dengan sebaik mungkin agar tercipta suasana belajar yang menyenangkan dan jauh dari kata bosan, bukan malah sebaliknya media justru mendatangkan problem tersendiri karena salah dalam memanfaatkannya. Diantara media yang dapat digunakan dalam pembelajaran bahasa Arab adalah media visual. Tulisan ini mengkaji tentang bagaimana media visual digunakan dalam proses pembelajaran bahasa Arab. Pembahasan tentang penerapan media visual dalam pembelajaran bahasa Arab memuat pertanyaan yaitu bentuk media visual apa saja yang dapat digunakan dalam pembelajaran bahasa Arab, apakah media visual dapat berperan dalam proses pembelajaran bahasa Arab, dan apakah media visual dapat membuat peserta didik akan semakin tertarik mempelajari bahasa Arab. Melalui metode deskriptif kualitatif, tulisan ini menyimpulkan beberapa pertanyaan diatas. Kata Kunci: Media, Media Visual, Pembelajaran Bahasa Arab. PENDAHULUAN Bahasa adalah alat untuk menumpahkan isi hati, pikiran seseorang terhadap lawan bicaranya. Berbahasa merupakan media terpenting bagi manusia untuk melakukan interaksi dengan orang lain. Dengan bahasa seseorang akan mengetahui segala hal apa yang ingin dia ketahui baik yang berupa perkataan (ucapan) maupun simbol (tulisan). Terkait dengan bagaimana orang menilai belajar bahasa Arab, banyak sudut pandang yang heterogen. Sebagian ada yang memandang bahasa Arab adalah bahasa agama, ada yang memandang belajar bahasa Arab adalah belajar bahasa ilmu pengetahuan Islam, dan ada pula yang berpandangan bahwa belajar bahasa Arab adalah belajar bahasa. Perbedaan sudut pandang ini, menyebabakan adanya perbedaan metode, teknik, bahan ajar dan media pembelajarannya. Jika bahasa Arab sebagai alat komunikasi, maka belajar bahasa Arab lebih menitik beratkan pada bagaimana anak didik banyak praktik dan terampil untuk berbicara dengan menggunakan bahasa Arab, baik menyimak, berbicara, membaca, maupun menulisnya. Terlepas dari sudut pandang tersebut, jika kita amati dengan seksama, maka pembelajaran bahasa Arab banyak menemui berbagai kendala dan hambatan.1 1 1

Puji syukur kehadirat Tuhan Yang Maha Kuasa atas segala Rahmat, Taufik dan HidayahNya sehingga kami dapat menyelesaikan makalah ini dalam bentuk maupun isinya yang sangat sederhana,kami berharap kepada allah agar kami ikhlas dalam menulis makalah ini.kami menyadari bahwa meskipun kami telah berusaha maksimal untuk menghadirkan contoh-contoh,langkah-langkah,dan paparan yang jelas,tetapi makalah ini masih mengandung banyak kekurangan.

This thesis analyses medals issued between 1560 and 1792 in Sweden and studies the practices and roles related to these objects. It aims to contribute to the understanding of the varying uses and functions of early modern medals by applying a long-term perspective that connects Renaissance, Baroque, and Neoclassical medals. The study asks why are medals commissioned, how the intention is reflected in the visual design and materiality of the medal, how medals were used during the 16th, 17th and 18th centuries, which continuities and changes the practices show over time, and what cultural significance medals have in early modern Swedish society. Theoretically, the thesis applies an art anthropological approach to the medium, focusing on its materiality, meaning and use. By drawing on visual and archival sources materials and examining material from a Northern European context, the thesis provides an unprecedented wide-ranging study of the functions and meanings of early modern medals.

Parallel to Sweden’s historical and cultural development, the analysis follows medal art chronologically and thematically in five chapters. The study addresses the transformation from being a royal gift to prize medals and rewards and from limited use to being available at an open market. It examines how the medal was viewed, handled, circulated, and used plus what significance people ascribed to it. The medium aided the sitter’s commemoration, self-fashioning, and legitimisation while being used as a gift, worn as a jewel, collected, discussed, or viewed as an artefact with antiquarian purposes. The medal was appreciated for its potential to express various themes on a small surface, its exclusive material and practical size. However, much of its meaning was connected to the sensory experience of touching the medal. The medium’s materiality was an essential element of how the medal was used, the way its visual design communicated with the beholder, and the importance that the object conveyed. By its broad and exhaustive timeline, the thesis presents a comprehensive case study on the phenomenon of medal art and aids in understanding how early modern art and visual culture was used and how these uses changed over time.

Consumption is the soul and the purpose of all production. A consumer is one who does some physical activities and deliberates to take decisions concerning purchase and to dispose off on to evaluate products and services. Consumer is "an individual who purchases products or services for his own or his family's personal use". Consumer purchasing behavior covers "all activities and decisions which relate to choosing products, purchasing and post-purchasing use". The consumers differ from each other by age, income, life style, character, sex etc and all these influence their purchasing decisions. The consumer is not as trusting, loyal and malleable than in the past. Having and preserving their independence and individuality is highly valued by today's consumers, even more than being in conformity with social norms. The domination of visual media and internet makes the consumers more unpredictable. The consumer's preference keeps on changing from time to time. The process of consumption has long been associated with sex and gender, thus, it comes no surprise that consumer researchers often examine the effects of these variables on consumer behavior. Men and women are different consumers. Paco Underhill who has researched retail shopping over 20 years wrote in his book "why we buy: The science of shopping", Men are less predictable than women. This article deals with women consumers' preferences towards visual media.

Bikem Ekberzade ve Özge Ersoy'un 2009 yılında beraber kaleme aldıkları bir yazı serisi. Güncel sanat, belgesel, arşivleme, fotomuhabirliği, sansür, basın etiği gibi konular üzerinde fikir beyan eden sohbetler serisi, tarz itibari ile yaklaşık beş yıl sonra yayınlanan ve ikilinin ortak ilk kitapları olan Telejenik'in de alt yapısını oluşturmuştur.

The paper, in Turkish, includes 6 articles from 2009 which Ozge Ersoy and Bikem Ekberzade penned together for an online blog site, BoltArt.

This article focuses on the early history of X-rays. It argues that, during the first years after their discovery in 1895 by German physicist Wilhelm Conrad Röntgen, they were regarded as a technological attraction and a visual medium. While their application in medical practice was not yet fully established, the possibility of seeing into the realm of the invisible encouraged pioneers of this technology to actively exploit their visual powers. By using a media-history framework, and relying on primary and secondary sources in English, German, French, and Italian, the article takes into account three aspects of the rays’ early display: its character of technological attraction; its association with photography; and its connection to beliefs in the supernatural and the occult.

Straipsnyje autorius kelia hipotezę, kad tikslingas neverbalinės komunikacijos naudojimas yra vienas svarbiausių
elementų kūrybinėse industrijose, siekiant efektyviai minimalizuoti (arba pašalinti) žinutės trukdžius. Šios
hipotezės pagrįstumas įrodomas pirmiausia glaustai apžvelgiant pagrindinius neverbalikos tyrimus ir gautas
išvadas, kurios svariai prisidėjo prie neverbalinės komunikacijos studijų modernaus apibrėžimo ir supratimo.
Straipsnyje taip pat parodoma, kaip neverbalikos tyrimų rezultatai gali būti panaudoti siekiant efektyvesnės
komunikacijos tarp kūrėjo ir auditorijos ir kaip, neatsižvelgus į keletą neverbalios komunikacijos elementų,
galima sukurti žinutę, priešingą užsakovo tikslui.

Throughout centuries, children’s books have influenced the identity creation of children in various levels, in the form of fairy tales, folk tales, picture books, Disney cartoons, and movies. Modern child spends more time with interactive learning/visual aids than with traditional pedagogical means which mainly consist of printed texts. Majority of their learning and leisure activities include focus on picture books, flash cards or several interactive pedagogical structures like interactive boards, pop-up books, animated movies etc. Receptive skills in children can be enhanced in their developmental stage in this way. It aids their psychological development and language acquisition skills along with socio-cultural aspects. Adults also relive their childhood days while engaging themselves with children and children’s books carrying the roles of facilitator, caretaker, parent or educator. This paper discusses the impact that visual media has imparted in the field of children’s literature and how it helps in the cognitive and psycho- linguistic development of children. Visual media has gained greater importance in recent years and has incredibly affected the contemporary modern world. It has made a tremendous influence in the field of literature, specifically in children’s literature. I postulate that children’s literature lays the foundation of shared intergenerational, national and international culture, a barometer of beliefs and anxieties about children and childhood, and a body of literature with its own genres, classic texts and avant-garde experiments.

The constant presence of cameras and social media has become a given during day-today military activities in Israel and the Occupied Palestinian Territories. Such technologies shift the focus of warfare onto the individual, and in particular onto the faces of soldiers and Palestinians caught on camera. Due to the habitual use of mobile phones and social media by both soldiers and civilians, the face is singled out as a new battleground, where political action is substituted for individual responsibility. On one hand, the co-option of personal social media into armed conflict enables state actors to zero in on the faces and identities of Palestinian dissidents and alleged terrorists. On the other hand, the faces of Israeli soldiers are also captured and circulated on social media as digital images, posing a new threat to state authority, which depends on remaining faceless. Images of IDF soldiers' faces, once recorded and shared, figuratively strip off the improvised masks they often wear to hide their identity and preserve their impunity. In Israel and Palestine, where everyday social media habits have become inseparable from routines of security and armed conflict, the image of a soldier's face individualises his or her actions and demands accountability.

"The “Turkish atrocities” of 1876 were one of the main events that triggered the Russo-Turkish War of 1877–1878. The atrocities were among the most important media events of the 19th century in the Western press, not least because of the many images that were published. Comparable pictures of massacres of Muslim civilians by Russian soldiers the year after, in 1877, were not publicly known at the time. Thus a recently discovered series of photographs of the “Russian atrocities” of 1877 sheds new light on the media history of the Eastern Crisis and at the same time demonstrates that the war between the Ottoman Empire and the Eastern Orthodox coalition led by Russia was also fought at the
modern frontline of images. The historical analysis of the motifs deployed in this image battle reveals the multiple levels of visual transfer processes that were in operation, examples of which are discussed in this essay."