Animal rights activists today regularly use visual imagery in their efforts to shape the public’s understanding of what it means to be “kind,” “cruel,” and ...“inhumane” toward animals. Art for Animals explores the early history of this form of advocacy through the images and the people who harnessed their power.
Following in the footsteps of earlier-formed organizations like the RSPCA and ASPCA, animal advocacy groups such as the Victoria Street Society for the Protection of Animals from Vivisection made significant use of visual art in literature and campaign materials. But, enabled by new and improved technologies and techniques, they took the imagery much further than their predecessors did, turning toward vivid, pointed, and at times graphic depictions of human-animal interactions. Keri Cronin explains why the activist community embraced this approach, details how the use of such tools played a critical role in educational and reform movements in the United States, Canada, and England, and traces their impact in public and private spaces. Far from being peripheral illustrations of points articulated in written texts or argued in impassioned speeches, these photographs, prints, paintings, exhibitions, “magic lantern” slides, and films were key components of animal advocacy at the time, both educating the general public and creating a sense of shared identity among the reformers.
Uniquely focused on imagery from the early days of the animal rights movement and filled with striking visuals, Art for Animals sheds new light on the history and development of modern animal advocacy.
Shortlisted for the BAAL Book Prize 2017 Emoji have gone from being virtually unknown to being a central topic in internet communication. What is behind the rise and rise of these winky faces, ...clinking glasses and smiling poos? Given the sheer variety of verbal communication on the internet and English's still- controversial role as lingua mundi for the web, these icons have emerged as a compensatory universal language. The Semiotics of Emoji looks at what is officially the world's fastest-growing form of communication. Emoji, the colourful symbols and glyphs that represent everything from frowning disapproval to red-faced shame, are fast becoming embedded into digital communication. Controlled by a centralized body and regulated across the web, emoji seems to be a language: but is it? The rapid adoption of emoji in such a short span of time makes it a rich study in exploring the functions of language. Professor Marcel Danesi, an internationally-known expert in semiotics, branding and communication, answers the pertinent questions. Are emoji making us dumber? Can they ultimately replace language? Will people grow up emoji literate as well as digitally native? Can there be such a thing as a Universal Visual Language? Read this book for the answers.
Dispersed in two continents, four countries and six collections; many of its pages were cropped, cut into four, or lost forever; its history, origin, commissioner and audience are obscure; still, in ...its fragmented state it presents fifty-eight legends in abundant series of images, on folios fully covered by miniatures, richly gilded, using only one side of the fine parchment; a luxurious codex worthy of a ruler; a unique iconographic treasury of medieval legends; one of the most significant manuscripts of the medieval Hungarian Kingdom – these are all what we call the Hungarian Angevin Legendary.
Explores the aesthetic dimensions of the Arab Spring and the protest movements that followed
From Egypt to India, and from Botswana to London, worker, youth and middle class rebellions have taken on ...the political and bureaucratic status quo and the privilege of small, wealthy and often corrupt elites at a time when the majority can no longer earn a decent wage.
A remarkable feature of the protests from the Arab Spring onwards has been the salience of images, songs, videos, humour, satire and dramatic performances. This book explores the central role the aesthetic played in energising the mass mobilisations of young people, the disaffected, the middle classes, the apolitical silent majority, as well as enabling solidarities and alliances among democrats, workers, trade unions, civil rights activists and opposition parties.
Comparing the North African and Middle Eastern uprisings with protest movements such as Occupy, the authors bring to bear an anthropological and sociological approach from a variety of perspectives, illuminating the debate by drawing on a wide array of disciplinary expertise.
Key FeaturesIncludes over 150 colour illustrations showing how visual media is used in protest movements across the globeShares perspectives from political, media, visual, economic and linguistic anthropology, and the anthropology of work, art, social organisation and social movementLooks at the use of social networking and new media technologies such as TwitterCase studies includeProtests about regime change in Tunisia, Egypt, Syria, Libya, Bahrain, Yemen and RussiaCorruption in IndiaThe demise of the welfare state in Spain, Israel and GreeceThe living wage in Botswana and WisconsinThe financial crisis and corporate greed and the Occupy movement in British and American cities
Visual Communication History Mullen, Lawrence
Visual communication quarterly,
20/7/3/, Letnik:
29, Številka:
3
Journal Article
Recenzirano
Odprti dostop
This issue begs the question: What is our history? A chronicle of the field’s history would be multidimensional. It would include photography, visual rhetoric, typography and graphic design, visual ...literacy, visual technologies, visual perception, and more. Just the history of the many facets of photography is bookworthy, as many others have shown: photojournalism, street photography, fashion, sports, surveillance, portraiture, advertising, etc. Following is a thumbnail sketch of some historical visual terminology.
