An Exploration of the Influence of the Acculturation Process on an Artist's Practice and the Implications for Education
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Invented Or Inherited?
Call for Papers 12th UNEeCC Conference Culture: Invented or Inherited? 7-9 November 2018 University of Malta, Valletta Campus Culture is ‘the way-of-life in an ecosystem characteristic of a particular people’ (Keesing 1981:68). This is only one of the countless definitions given to this term which is ‘surprisingly’ and ‘notoriously’ difficult to define due to its dynamic nature (Smith and Riley 2011). Underlying dimensions characterising early and modern Europe, such as the economic situation of specific countries and humanitarian crises may be determining factors by which its collectivist culture has been constantly in flux, particularly in its production and consumption. One would question the affects which these factors may have on the transmission of traditional and popular European cultures and if their core components are, in fact, inherited or invented. The main objective of this conference is to develop critical arguments based on two concepts which can be non-homogenous and overlapping at the same time, namely (i) Culture inheritance and (ii) Cultural invention. Key questions relevant to this conference are: (i) ‘how does the concept of European Capitals of Culture consider the invention and inheritance of cultures?’; (ii) ‘What avenues are being taken by ECoC programmers to strike a balance in the promotion of cultural components which are ‘invented’ and those based on grass-root identities?’; and (iii) ‘What are the core arguments surrounding the questions of whether a culture is invented or inherited?. Established academics, -
Culturalistic Design: Design Approach to Create Products
CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. Brandon J. Allen Certificate of Approval: Bret Smith Tin Man Lau, Chair Professor Professor Industrial Design Industrial Design Tsai Lu Liu George T. Flowers Assistant Professor Dean Industrial Design Graduate School CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Industrial Design Auburn, Alabama May 9, 2009 CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. Signature of Author Date of Graduation iii THESIS ABSTRACT CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Master of Industrial Design, May 9, 2009 (B.I.D., Auburn University, 2005) 93 Typed Pages Directed by Tin Man Lau Designers have a unique process for solving problems commonly referred to as design thinking. Design thinking, especially on a cultural level can be used to tackle a wide range of creative and business issues. Design thinking with true cultural infusion is known as “Culturalistic Design”, and can have profound and varying effects on product designs. -
Carol Zemel, Looking Jewish: Visual Culture and Modern Diaspora, Bloomington: Indiana University Press, 2015, 216 Pp. 72 B/W Illus
Document généré le 30 sept. 2021 02:25 RACAR : Revue d'art canadienne Canadian Art Review Carol Zemel, Looking Jewish: Visual Culture and Modern Diaspora, Bloomington: Indiana University Press, 2015, 216 pp. 72 b/w illus. $ 45 (hardback) ISBN 978-0-253-01542-6 Nicholas Chare Volume 43, numéro 1, 2018 URI : https://id.erudit.org/iderudit/1050830ar DOI : https://doi.org/10.7202/1050830ar Aller au sommaire du numéro Éditeur(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (imprimé) 1918-4778 (numérique) Découvrir la revue Citer ce compte rendu Chare, N. (2018). Compte rendu de [Carol Zemel, Looking Jewish: Visual Culture and Modern Diaspora, Bloomington: Indiana University Press, 2015, 216 pp. 72 b/w illus. $ 45 (hardback) ISBN 978-0-253-01542-6]. RACAR : Revue d'art canadienne / Canadian Art Review, 43(1), 111–113. https://doi.org/10.7202/1050830ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des Association d'art des universités du Canada), 2018 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ der bildenden Künste (1843). -
Chapter Thirty Visual Culture/Visual Studies James D. He"Bert
Chapter Thirty Visual Culture/Visual Studies James D. He"bert "Visual culture" has emerged of late as a term meant to encom pass all h Ulnan products with a pronounced visual as pect-including those that do not, as a matter of social practice, carry the imprimatur of art. "Visual studies" (which I select from a number of cognate designations currently in use) serves as a convenient name for the academic discipline that takes visual cul ture as its object of study. The day has passed, however, when a nascent discipline such as visual studies can justify itself simply by gathering more goodies behind its disciplinary parapets: art ... and much more! Practical considerations aside (and such consid erations are far from trifling in the modern university), the exer cise smacks of unreasonable acquisitiveness, of academic hubris. Visual studies, rather than engaging in the science of accounting for a massive collection of fresh data points, must embark on the historical and social analysis of the hierarchies whose formation and operation have generated-and will continue to generate, even under the aegis of visual studies-greater interest in some artifacts than in others. To enlarge the compass of the study of vi sual artifacts beyond art does not force scholars to homogenize away the differences between art (or other favored categories) and things not thus endowed. Visual studies, rather than leveling all artifacts into the meaningless commonality of "the visuaL" treats the field of the visual as a place to examine the social mech"ni51115 of differentiation. Let me, then, offer an abbreviated sketch of the expanded tcr ritory-the necessarily and self-consciously artificial territory across which visual studies hopes to chart the production of hier archies among artifacts. -
Tourism and Cultural Identity: the Case of the Polynesian Cultural Center
Athens Journal of Tourism - Volume 1, Issue 2 – Pages 101-120 Tourism and Cultural Identity: The Case of the Polynesian Cultural Center By Jeffery M. Caneen Since Boorstein (1964) the relationship between tourism and culture has been discussed primarily in terms of authenticity. This paper reviews the debate and contrasts it with the anthropological focus on cultural invention and identity. A model is presented to illustrate the relationship between the image of authenticity perceived by tourists and the cultural identity felt by indigenous hosts. A case study of the Polynesian Cultural Center in Laie, Hawaii, USA exemplifies the model’s application. This paper concludes that authenticity is too vague and contentious a concept to usefully guide indigenous people, tourism planners and practitioners in their efforts to protect culture while seeking to gain the economic benefits of tourism. It recommends, rather that preservation and enhancement of identity should be their focus. Keywords: culture, authenticity, identity, Pacific, tourism Introduction The aim of this paper is to propose a new conceptual framework for both understanding and managing the impact of tourism on indigenous host culture. In seminal works on tourism and culture the relationship between the two has been discussed primarily in terms of authenticity. But as Prideaux, et. al. have noted: “authenticity is an elusive concept that lacks a set of central identifying criteria, lacks a standard definition, varies in meaning from place to place, and has varying levels of acceptance by groups within society” (2008, p. 6). While debating the metaphysics of authenticity may have merit, it does little to guide indigenous people, tourism planners and practitioners in their efforts to protect culture while seeking to gain the economic benefits of tourism. -
Why a Public Anthropology? Notes and References
WHY A PUBLIC ANTHROPOLOGY? NOTES AND REFERENCES While the placement of notes and references online is still relatively rare, they are quite easy to examine in a PDF online format. Readers should use find (or control F) with a fragment of the quote to discover the cited reference. In a number of cases, I have added additional material so advanced readers, if they wish, can explore the issue in greater depth. Find can also be used to track down relevant citations, explore a topic of interest, or locate a particular section (e.g. Chapter 2 or 3.4). May I make a request? Since this Notes and References section contains over 1,300 references, it is likely that, despite my best efforts, there are still incomplete references and errors. I would appreciate readers pointing them out to me, especially since I can, in most cases, readily correct them. Thank you. Readers can email me at [email protected]. Quotes from Jim Yong Kim: On Leadership , Washington Post (April 1, 2010, listed as March 31, 2010) http://www.washingtonpost.com/wp- dyn/content/video/2010/03/31/VI2010033100606.html?hpid=smartliving CHAPTER 1 1.1 Bronislaw Malinowski, a prominent early twentieth century anthropologist, famously stated his goal in anthropology was "to grasp the native's point of view, his relation to life, to realize his vision of his world" (1961 [1922]:25) To do this, he lived as a participant-observer for roughly two years – between 1915-1918 – among the Trobriand Islanders of Papua New Guinea (in the South Pacific). Quoting him (1961[1922]:7-8): There is all the difference between a sporadic plunging into the company of natives, and being really in contact with them. -
What Is Visual Culture Studies? Visual Culture Studies Is the Discipline Or Sub-Discipline Or Field of Inquiry That Studies Visual Culture
01-Smith-Intro 4/10/08 3:47 PM Page 1 INTRODUCTION Visual Culture Studies: History, Theory, Practice 1 What is Visual Culture Studies? Visual Culture Studies is the discipline or sub-discipline or field of inquiry that studies visual culture. If we go to our university or college library, to a local bookshop or to any website that sells printed matter, we will encounter numerous books with ‘visual’ and ‘culture’ in the title. When they are not in a section of their own – which rarely happens – Visual Culture Studies books are shelved throughout the library or bookshop in sections that are in keeping with the categorizing systems of these places and the programmed drifting of the potential lender or purchaser. Depending on the type of library or bookshop you’re in, these books appear in sections as diverse as Art History or Art Theory or Aesthetics or Critical Theory or Philosophy or Film and Media Studies or Women’s Studies or Black Studies or Theatre and Drama or Architecture or Queer Theory or Anthropology or Sociology. No one quite knows where to put ‘Visual Culture Studies’ books and no one quite knows where to look for them. Neither authors, publishers, retailers, nor customers are entirely clear as to what a Visual Culture Studies book should do or where it should be placed. 2 Why is this? Because books with ‘visual’ and ‘culture’ in the title come in all shapes and sizes, they provide an almost infinite diversity of texts that seem to want to address all historical periods, explore any and every geographical loca- tion, conceive of all manner of thematic, and recommend an encyclopaedia of accompanying methodological tools and practices. -
How Has Visual Culture Been Defined?
How has visual culture been defined? Visual culture, or visual studies, or visual culture studies, is an academic movement that has coalesced over the last thirty or so years, as the product of an increased self- consciousness about, and belief in, the importance of sight and its correlatives (the visual, vision, visuality) in the workings of cultures. Prior to being subjected to rigorous critical debate, the term visual culture came into being rather informally, introduced at different times by writers (Marshall McLuhan in Understanding Media, Michael Baxandall in Painting and Experience in Fifteenth Century Italy, Svetlana Alpers in The art of describing: Dutch art in the seventeenth century) who all meant something slightly different. Its two constituent terms are in themselves elusive. Raymond Williams is often quoted as saying that the word ‘culture’ is ‘one of the two or three most complicated words in the English language’. Defining what is ‘visual’ is no less problematic, a term potentially so expansive it becomes meaningless. The phrase has thus proven both usefully and confusingly versatile, and the issue is frequently clouded by the conflation of terms for the object of study with the activity of studying it. As an academic field, its diversity of origin is matched by its current contested status. Is it a new set of tools with which to analyse traditional forms of ‘art’, or an opening up of the canon to include all images and representational objects? Or, remembering that it is not only images that are ‘visual’, and not all art is images, or appreciable only through the eyes, how is the new object domain to be defined? Rather than placing the emphasis on the object, many scholars believe it is instead a question of analysing the subject: how people see, rather than the things they look at. -
PDF Download Intercultural Communication for Global
INTERCULTURAL COMMUNICATION FOR GLOBAL ENGAGEMENT 1ST EDITION PDF, EPUB, EBOOK Regina Williams Davis | 9781465277664 | | | | | Intercultural Communication for Global Engagement 1st edition PDF Book Resilience, on the other hand, includes having an internal locus of control, persistence, tolerance for ambiguity, and resourcefulness. This textbook is suitable for the following courses: Communication and Intercultural Communication. Along with these attributes, verbal communication is also accompanied with non-verbal cues. Create lists, bibliographies and reviews: or. Linked Data More info about Linked Data. A critical analysis of intercultural communication in engineering education". Cross-cultural business communication is very helpful in building cultural intelligence through coaching and training in cross-cultural communication management and facilitation, cross-cultural negotiation, multicultural conflict resolution, customer service, business and organizational communication. September Lewis Value personal and cultural. Inquiry, as the first step of the Intercultural Praxis Model, is an overall interest in learning about and understanding individuals with different cultural backgrounds and world- views, while challenging one's own perceptions. Need assistance in supplementing your quizzes and tests? However, when the receiver of the message is a person from a different culture, the receiver uses information from his or her culture to interpret the message. Acculturation Cultural appropriation Cultural area Cultural artifact Cultural -
Chapter 6 of Engaging Visual Culture
K a ren Keifer- B o y d Jane Maitland-Gholson Engaging Visual Culture Davis Publications, Inc., Worcester, Massachusetts Copyright © 2007 Davis Publications, Inc. Worcester, Massachusetts U.S.A. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any storage and retrieval system now known or to be invented, except by a reviewer who wishes to quote brief passages in conjunction with a review written for inclusion in a magazine, newspaper, or broadcast. Publisher: Wyatt Wade Managing Editor: David Coen Manufacturing: Georgiana Rock Design: Jeannet Leendertse Library of Congress Control Number: 2007000000 ISBN-978-0-87192-775-0 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America v i To teachers and learners willing to engage seriously with the visual culture meanings vital to fostering social justice in a democratic society v i i C o n t e n t s A c k n o w l e d g m e n t s . x v Authors’ Statement . x v i I n t ro d u c t i o n . x v i i C h a p t e r 1 B e l i e f s . 1 Expose: Actively Examining Beliefs . 2 A Draw a Chair Activity . 2 Chair Categories . 3 Identifying Shared Strategies and Feelings . 5 Making Connections . 5 Insights Revealed Through the Activity . 5 Explode: Understanding Visual Mind-sets . 6 A Categorization Activity . 6 Making Modes of Thought Visible . -
DOCUMENT RESUME Mapping Visual Culture in Comparative
DOCUMENT RESUME ED 407 309 SO 026 912 AUTHOR Paulston, Rolland G. TITLE Mapping Visual Culture in Comparative Education Discourse. PUB DATE 96 NOTE 49p.; Paper presented at the World Congress of Comparative Education (9th, Sydney, New South Wales, Australia, July 1996) . PUB TYPE Reports Research (143) Speeches/Meeting Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Cartography; Comparative Analysis; *Comparative Education; *Cross Cultural Studies; Environmental Influences; Hermeneutics; Maps; *Visual Environment IDENTIFIERS 1960s ABSTRACT This study selected 28 illustrative examples of the visual culture in comparative education used since the 1960s. Journals examined are the "Comparative Education Review"; "Comparative Education"; "Compare"; and others. From visual analysis of these sources, four scopic regimes or visual subcultures are identified. The paper is organized in three parts. Part 1 illustrates how the three scopic regimes of modernity (the technical rationalist, the critical rationalist, and the hermeneutical constructivist) each has its own favored rhetoric and forms of representation, as well as utilities and limitations. Part 2 presents a personal narrative of how the social cartography project has sought to elaborate and implement a new social mapping rationale and methodology. Part 3 notes possible implications of this study and the new social cartography project for current theoretical debates, representational practice, and new opportunities to reposition the field with the human sciences in the coming -
Gender and Sexuality
PERSPECTIVES: AN OPEN INTRODUCTION TO CULTURAL ANTHROPOLOGY SECOND EDITION Nina Brown, Thomas McIlwraith, Laura Tubelle de González 2020 American Anthropological Association 2300 Clarendon Blvd, Suite 1301 Arlington, VA 22201 ISBN Print: 978-1-931303-67-5 ISBN Digital: 978-1-931303-66-8 http://perspectives.americananthro.org/ This book is a project of the Society for Anthropology in Community Colleges (SACC) http://sacc.americananthro.org/ and our parent organization, the American Anthropological Association (AAA). Please refer to the website for a complete table of contents and more information about the book. Perspectives: An Open Introduction to Cultural Anthropology, 2nd Edition by Nina Brown, Thomas McIlwraith, Laura Tubelle de González is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted. Under this CC BY-NC 4.0 copyright license you are free to: Share — copy and redistribute the material in any medium or format Adapt — remix, transform, and build upon the material Under the following terms: Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. NonCommercial — You may not use the material for commercial purposes. 1010 GENDER AND SEXUALITY Carol C. Mukhopadhyay, San Jose State University [email protected] http://www.sjsu.edu/people/carol.mukhopadhyay Tami Blumenfield, Yunnan University [email protected] with Susan Harper, Texas Woman’s University, [email protected], and Abby Gondek, [email protected] Learning Objectives • Identify ways in which culture shapes sex/gender and sexuality.