The International Visual Culture Review <p><em>The International Visual Culture Review</em> is interested in a wide range of topics related to the traditional categories of art history (painting, sculpture, architecture) together with photography, cinema, infographics, design, fashion, advertising, dance, theater, comics, graffiti, net. Art, advertising, among others. The Collection includes theoretical works, thematic reviews, methodological proposals and case studies, written from a trans and interdisciplinary perspective, emphasizing two issues: image and artistic heritage; that is, the image as an object of study and as a source of information for the evolutionary knowledge of the artistic-visual culture.</p><p>Experts review <span><em>The International Visual Culture Review</em></span>, using a publication process based on academic quality criteria. This ensures the publication of only intellectually significant works. The review system uses external evaluators.</p> en-US Those authors who have been published in this journal accept the following terms:<ol type="a"><li>Authors will keep the moral copyright of the work and they will transfer the commercial rights. In this way, the author will only be able to upload the <strong>author’s original version</strong> into his/her personal Website or into the university (or research center) institutional archive, but the <strong>publisher’s version </strong>won’t (copyright, commercial rights). You can see a explanation of the <em>author’s original version</em> and <em>publisher’s version </em><a href="/index.php/image/about/editorialPolicies#authorSelfArchivePolicy">here</a>.</li><li>After <strong>two years </strong>in publication, publisher’s version shall thereafter become <strong>in open access </strong>online from our editorial website, but our review will retain the work’s copyright. In other words, publisher’s version will be accesible for everyone and permanently from our editorial Website, but it may not be upload in any other website. Anyone wanting to read or to download publisher’s version must visit our editorial website. In this way, if you want to reference publisher’s version in your personal website or into any institutional archive, you may link to our editorial website to reference publisher’s version.</li><li><strong> </strong>In case authors wanting to get publisher’s version in order to <strong>their works could freely circulate </strong>(for example,to upload publisher’s version in their personal’s website or into any institutional archive) they can do it on condition that they will have to pay an <strong>85€ fee</strong>. In this case, our editorial will permanently assign to the publisher’s version. In such a way, an open license <strong>Creative Commons</strong> <strong>(CC)</strong> will be assigned by us. This license will allow for a free work circulation by the Internet, without anybody being able to appropriate it at no time. The authors may choose the type of license they wish, but it’s important to decide soundly which type of license they want. If you choose this option, we would be glad to offer free advisory service soyoy can safely choose the one that is best for you and for your particular case.</li></ol> (Editorial Board) (Editorial Board) Wed, 06 Feb 2019 00:00:00 +0100 OJS 60 Changing Perception of Beauty in India <p>Key Words - Perception, Perfection, Stereotypes, Appearance, Transformation</p><p> </p><p>What do we perceive as beautiful and why? Is it a reflection of the social scenarios, economic backgrounds or perhaps our history that influences us?</p><p> </p><p>The paper investigates and analyses the reasons for the stereotypical perceptions of beauty and discusses the slow but evident transformation that is taking place in our country.</p><p> </p><p>With access to the world via social media there is an interesting emergence that seems to have gained momentum in the last decade. This instantaneous and uninterrupted access to all forms of media has left one either trapped in the hope to achieve superficial perfection or towards a sense of liberation.</p><p> </p><p>There is enough evidence that the hurried homogenized half-digested content being offered has led to an overwhelming obsession with one’s appearance. Feeding on the insecurities has benefited many organizations and individuals.</p><p> </p><p>The advent of this digital culture has also led to a change in the cosmopolitan ideal and the millennial woman of India does not want to conform to norms.</p><p> </p><p>Whether the consumption of both print and digital media as well as the visually illustrious embodiment of the shift in social power to the developing lifestyle results in a new wave for the legacy of perfection remains to be seen.</p><p> </p> Nitika Seth Copyright (c) 2019 The International Visual Culture Review Wed, 06 Feb 2019 20:32:38 +0100 On Kitsch in Nature & Technology: Redefining Kitsch for Posthuman Feminist Aesthetics <p>This research makes a case for a shift from thinking of kitsch as a phenomenon extending from the industrial revolution, to one that is considered preternatural, existing as a state of being or a process of becoming. This re-theorization co-opts the pejorative connotations of ‘bad’, ‘trash’, and ‘imitation’ and ‘failure’ into positive processes and useful metaphors for contemporary aesthetics, particularly for feminist aesthetics. <em></em>Its ultimate goal is to articulate an aesthetic theory for Posthuman Feminist Aesthetics and to redefine kitsch as it exists in media culture. <em></em></p> Kris Casey Copyright (c) 2019 The International Visual Culture Review Wed, 06 Feb 2019 20:40:28 +0100 New Media Narratives and Visualization as an Alternative to Traditional Media: Youtuber Barış Özcan Sample <p>The traditional storytelling has begun to disappear, as the modern culture seizes every aspect of life (Ramsden and Hollingsworth, 2017: 14). The narrators began to take the place of digital media such as photography, cinema, television and internet. At the same time, basic cultural periods in communication can be handled in five different ways. These; Oral culture, written culture, printed culture, electric and electronic culture were finally added to these cultures or periods Digital culture, different media tools were introduced in the forms of communication between people and people (Baldini, 2000: 6). The traditional storytelling that started in the oral culture period has been moved to a different dimension with the applications on the web during the digital culture period. Thus, storytelling has experienced many changes and transformations in structural and content. When the digital culture era and the "Imagery Age" were considered, narrators tried to convey how they were changing through storytelling, exploration, new forms of communication and use of new media tools. In particular, the work of Guy Debord's "Show Society" has been utilized. This study was carried out by the scanning model of qualitative research methods. Since the phenomenon "Barış Özcan" was studied as a Youtuber, it was realized by using Case Study Model (Karasar, 2014: 77-86). Rogers “Diffusion of Innovation Theory" has become the most theoretical basis for his work. At the end of the study, it has been determined that there are structural and content differences between traditional media tools and traditional narrative style, digital media tools and digital narration style. With this changing and transforming narrative, the position of narrator and listener has been changed in many ways. The concept of time and space has been specifically addressed in this study. Traditional and digital narratives have changed in terms of time and space.</p> Yunus Emre Ökmen Copyright (c) 2019 The International Visual Culture Review Wed, 06 Feb 2019 20:49:55 +0100 Persuasive Qualities of Games as an Artistic Medium with a Social Function <span lang="EN-GB">People who are not in the game world often comment that they will numb players, rob them of any sense of empathy and create a generation of isolated and antisocial loners. In this article we will try to affirm the opposite: that games can play a powerful role in the creation of empathy, as well as other positive emotional experiences thanks to their own structural processes and how this empathy is the necessary one to make up for the lack of involvement of society in artistic creation. We will deal with the persuasive properties of games as media and what differentiates them from other media. Also, we will explain what these qualities of the games can bring to the activist and social art.</span> Alba García Martínez Copyright (c) 2019 The International Visual Culture Review Wed, 06 Feb 2019 20:56:40 +0100 Mining Textiles:Extracting multi-narrative responses from textiles to rethink a mining past <p><em><span style="font-family: Cambria;">This article is evidence of a practice-based investigation into the imaginative worlds of mining and textiles as a starting point for transforming ways of thinking and creating in the locality. Featuring artist-in-residence and archival processes of research, and performative and site-responsive interventions, a number of recurring themes of enquiry will be developed that combine elements of clothing design, historical studies, nature studies, photography, inflatable construction and social anthropology. The article will draw from the authors artistic practice in the extraction of multi-narrative responses from textiles as an inventive method for engaging site-specifically with former mining locations in UK and Australia. </span></em></p> Claire Barber Copyright (c) 2019 The International Visual Culture Review Thu, 07 Feb 2019 11:48:43 +0100 Zlín: Public Art and the City <p><em>In this article, the topic of public art in an urban environment of the post-industrial city is viewed in the context of one place – Zlín. Contemporary artworks integrated into the city spaces show the city as a site, in the context of its Modernist architecture and urbanism. They reflect both the past and the present-day changes in society and the way how we see and experience the world. Public art in Zlín has become part of the transformation and regeneration of public spaces fostering the enhancement of the quality of lives of local urban residents. It is evident from the research that Zlín can be perceived as a place with great potential for new art projects and for the public’s participation and engagement.</em></p> Jana Snedarova Copyright (c) 2019 The International Visual Culture Review Thu, 05 Dec 2019 00:14:51 +0100