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How to Do Things with Pictures

Skill, Practice, Performance

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Edited By András Benedek and Kristof Nyiri

Pictorial meaning involves not just resemblance, but also pictorial skills, pictorial acts, practices, and performance. Especially in the classroom setting, at all levels of education, it is essential to realize that teaching with pictures and learning through pictures is a practical enterprise where thinking is embedded in doing. Promoting visual learning means to be a visionary, and to take on an enormous educational challenge. But while adaptation and innovation are inevitable in a world where technological changes are rapidly and radically altering the learning environment, educational science and the everyday practice of education clearly need to retain a measure of conservatism. And any conservatism worth the name has to take account of visuality, visual thinking, and visual learning.

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Metaphor, Narrative, and the Visual:On the Role of Cognitive Possibility in Propaganda AppealsTrischa Goodnow – James J. Kimble

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74 Andrea Kárpáti characteristic feature of these groups is the collaborative aspect of their art mak- ing activity Most of the members work together or near each other to receive off- or online feedback. Thus, members continually enjoy the benefits of peer learning, review and support. Socializing and creating art are practices that often intermingle – normal teenage pastime activities turn into a creative endeavour. Being part of a creative team may yield the same feeling of uniqueness and artistic excellence that engagement in individual artistic activities provides. These self-supporting learners of visual language do not seem to suffer from im- personalization through group work, a feeling very often articulated at school or work. The Visual Culture Community offers an educational model that may be conceptualized, methodologically described and eventually adapted to formal education settings. This model is closest to the aspirations, social practices and visual language use of the Z generation. When it gets to schools, it may lose some spontaneity but will certainly build a solid bridge between the artistic prac- tice of individuals and their communities. Metaphor, Narrative, and the Visual: On the Role of Cognitive Possibility in Propaganda Appeals Trischa Goodnow – James J. Kimble In 1942, the Oldsmobile Division of the General Motors Corporation produced a motivational poster for display in its dozens of factories, which were by that point busily producing munitions for the Allies in World War II. The colourful poster (Figure 1) depicted a fierce, oversized Uncle Sam reacting to a facial...

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