Visual Culture

Visual culture is a multifaceted field that examines the pervasive role of visuals in shaping human understanding, beliefs, and behaviours. It posits that visuals are not merely reflections of reality but rather "constructed realities" that actively influence our perception of the world.

At its heart, visual culture positions visuals as the reference and data for knowledge, beliefs, thinking, creations, behaviour, etc.; which in turn further shapes current beliefs, thinking, creations, behaviour, etc. Visuals are images/collection of images that are made to be seen. Framed (made) and put out. This highlights that visuals are not spontaneous occurrences but deliberate constructions, detached from the place and time in which it first made its appearance, says, John Berger. Examples like the contrasting Newsweek and TIME magazine covers of O.J. Simpson illustrate how different framings of the same event can convey distinct messages and narratives, underscoring the idea that we see only the frame made available to us.

Study the PDF below (for academic use only)
Visual Culture PDF

Media visuals or media images are neither natural nor neutral; for these are images constructed with specific intention and meaning; and not what we see with our natural eyes, but made to be seen through a frame of a photograph, television, cinema, etc. Visuals encompass a broad spectrum of media, including, art, photography, motion pictures and design.

The act of ‘seeing’ within visual culture is far from a passive process; it is, as John Berger asserts, an active decision. The process of seeing a visual is less spontaneous and natural than we tend to believe. It needs efforts. Large part of the seeing depends upon habit and convention. This suggests that our perception is heavily influenced by learned patterns and societal norms. Furthermore, the document highlights that meaning and perspective depend on the beholder, and that no visual communicates meaning, they are just signs. This semiotic understanding aligns with Rene Magritte's famous statement, "everything that you see hides another thing.” His works like, This Is Not A Pipe implies that a visual's surface meaning often conceals deeper, culturally constructed interpretations. The logos of Baskin Robbins, BMW, Apple, etc. serve as prime examples of how abstract signs are imbued with meaning through association and active interpretation.

Visual culture, media visuals, media images, visuals, images.

Visual analysis, therefore, becomes a crucial method for deconstructing these constructed realities. Visual analysis is a systematic and scientific examination of visual materials/images to see what they communicate (meaning/aesthetics), what functions (emotions, effect, and impact) they do, And who, when, and why (context) did they do the above. Harold Lasswell's communication model seeks to answer "who says what, in what channel, to whom, and with what effect?" might give clarity to the process of visual analysis. This analytical approach encourages a critical engagement with visuals, moving beyond surface-level perception to understand their underlying messages and societal implications.

There are several theoretical frameworks that provide lenses for conducting visual analysis. Semiotics (or Semiology) emphasises the sign, signifier, and signified, treating every visual as a sign with an invisible meaning. Gestalt Theory of Perception, on the other hand, focuses on how the human mind organises sensory information into meaningful wholes, positing that whole is greater than the sum of its parts. Psychoanalytic Theory suggests that visuals are windows to the unconscious mind, triggering unconscious desires, memories, and conflicts. Beyond these, the document introduces critical theories that challenge dominant narratives: Marxist Theory asserts that visual representations are not neutral and reinforce the power dynamics of the society, with the dominant class controlling the narrative through ownership of visual media. Feminist Theory critiques how visuals represent and perpetuate gender stereotypes, objectification of women, the male gaze, and the lack of diverse female representation. Lastly, Queer Theory aims at deconstructing gender and sexuality binaries, challenging heteronormative representations, and highlights the fluidity of identity. These theories collectively offer a robust toolkit for deciphering the complex layers of meaning embedded within visual culture.

Visual culture is a dynamic field that recognises the power of images to shape our understanding of the world. It underscores that visuals are not passive reflections but active constructions, and the act of seeing is a conscious, effortful process. Through systematic visual analysis, informed by various critical theories, we can deconstruct the meanings, functions, and contexts of visuals. Ultimately, visual culture encourages us to see/read/process maximum visuals. Understand/challenge/deconstruct the existing images and meaning. Visualise/create them anew, fostering a critical and engaged approach to the visual landscape that surrounds us.

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