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In the last ten years, massive protests against the government and/or unfair elections took place in all three Eastern Slavic countries—Russia (2011/12), Ukraine (2014), and Belarus (2020). In 2022, protesters demonstrated against Russia's invasion of Ukraine. All these protests were mainly organized via social networks, were disseminated in independent media and countered by the official state-owned media. Thus, visual (self-)representations of the protest cultures must be recognized as an integral part of the protests proper. Our project unites close and distant viewing to assess how kaleidoscopic patterns of protest emerge from the constant recombination of specific visual symbols such as banners, flags, slogans, or people marching in the streets. Not only are we interested in a general description of visual and textual (self-)representations of protest in Eastern Europe but we also analyze the patterns of specific protest cultures to describe their symbolic repertoire. In order to achieve this, we build a corpus of visual and textual (self-)representations of protest. We then use deep learning to identify specific symbols in the corpus. These results are utilized to (1) visualize and analyze the differences between official and user-generated content, traditional and new media, and individual countries, and (2) to select specific images and video clips for a qualitative multimodal discourse analysis.

This research is part of the project Creative Agency and Religious Minorities: Hidden Galleries in the Secret Police Archives in Central and Eastern Europe. The project has received funding from the European Research 2020 research and innovation programme No. 677355.

日本帝国主義は当初から満州移民事業を重視し、開拓移民として有望なのは、青・少年（若者）と考えていた。開拓農業移民政策にかかわり、満蒙開拓と青少年義勇軍の募集や送り込みなどの政策に関する事実が明らかにされている。満州の広報や宣伝に関する研究は放送、ラジオ、新聞を対象としてきたが、雑誌、絵本、漫画またポスターなどの多様なビジュアルメディアも、当時の庶民生活の隅々に深く関わっていた。また、色は人の感情や認識にも深く関わり、事物の識別やコミュニケーションにも大きく役立っているため、色彩ビジュアルメディアの重要性を否定する事はできない。 筆者らは正確な結果を導くために、配色スケールの適用という研究方法を導入した。その結果を用い、満州における青・少年向けビジュアルメディアと移民政策との関係を検討する。テキスト分析では、それらに記載された記事の内容について質的および量的な分析を行った。 ビジュアルメディアは検閲の影響を受けながら、移民国策を宣伝するための手段として次第に強硬になっていったことがわかった。また、王道楽土と共存共栄を明瞭に宣伝したことも判明した。その結果、青少年が満州を支援する気運も高まっていたと推測できる。

Playing video games is often perceived as the antithesis of engaging with, and learning about, the natural world. Nevertheless, there is growing recognition that digital media is now a central part of many people's lives. This has led to increased efforts to harness the power and popularity of digital games for both ecological education and conservation advocacy. Games designed for educational purposes may be perceived as too niche, or have insufficient resources, to reach wider audiences. In contrast, big budget video games reach many millions of players, but are generally designed for entertainment rather than education. Red Dead Redemption 2 (RDR2), a Western‐themed action‐adventure game, is one such product. Nevertheless, due to its detailed, open‐world simulation of late 19th century North American ecosystems, it provides opportunities for players to learn about real‐world wildlife. We surveyed self‐described gamers who both had, and had not, played RDR2. Participants undertook a wildlife identification quiz focusing on 15 species depicted in the game. We also asked participants about their self‐reported learning and experiences of playing RDR2. We found that participants who had played RDR2 correctly identified more species in the quiz, with this improvement enhanced by having completed the game's main storyline, played more recently or played online in a ‘Naturalist’ role. The difference in performance was greatest for ungulate and fish species which have high in‐game utility value. In addition to species identification, participants reported learning about animal behaviours and interspecies interactions. Their most memorable experiences were associated with RDR2's immersive environment and ability to provoke emotional responses. We conclude that big‐budget video games can have educational as well as entertainment value and should be taken seriously by educators, ecologists and conservationists as a communicative force. A free Plain Language Summary can be found within the Supporting Information of this article.

For two decades, the Canadian International Development Agency (CIDA) prepared pedagogical materials for Canadian schools. This article reviews the role of visual media in the hundreds of publications prepared for Development Education. Samples collected by Marc Rockbrune, Distribution Clerk responsible for their expedition in schools, libraries, and homes, and donated in 2016 to Carleton University Archives and Research Collections, are read with the help of the ‘psychopedagogical guides’ prepared by CIDA, and the testimonies of two workers of the agency linked to their preparation and dissemination: Mary Bramley, curator of the International Development Photo Library, and Rockbrune himself. Prepared with a large measure of autonomy by a sizeable team of visual artists, designers, and third world reformers, the program outreach was large, and its popularity strong. The expected and effective roles of visual media in the history of this short-lived institution of Development Education is explored to suggest elements of understanding of their impact on a generation of Canadian children and youth.

Funding Information: Research conducted in the frames of the project “Perception of European bison and primeval forest in the 18th-19th century: shared cultural and natural heritage of Poland and Lithuania” (UMO-2017/27/L/HS3/031870) financed by National Science Centre, Poland (https://www. ncn.gov.pl/en) and grant S-LL-18-6 financed by the Research Council of Lithuania (https://www.lmt.lt/ en). The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript. Authors wish to thank the group of European bison specialists that agreed to evaluate the anatomical accuracy of historical depictions of European bison (prof. dr hab. Małgorzata Krasińska and dr hab. Rafał Kowalczyk from Mammal Research Institute, Polish Academy of Sciences in Białowieża, dr Katarzyna Daleszczyk and dr Zbigniew Krasiński from the Białowieża National Park, and doctor of veterinary medicine Jarosław Tomana from Pszczyna). Publisher Copyright: © 2023 Samojlik et al. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Visual media are one of the fastest and most effective tools informing the public about conservation goals and convincing societies to support conservation actions. Similar mechanisms functioned in the past, only within a much longer time scale and different communication channels. We analyse the evolution of European bison’s depictions between 1500 and 1900 in the context of building public awareness of the species and its conservation needs. Experts evaluated the anatomical accuracy of thirty eight images of the species from the period analysed, and their conservation appeal was assessed by using an online survey of the general public. Existing knowledge and previous publications allowed authors to describe the development of the scientific knowledge about European bison in 1500–1900. By juxtaposing this with anatomical accuracy of depictions, a conclusion was reached that the accuracy of depictions was not directly linked to the state of knowledge about the species. In the survey, the public reception of the accuracy of historical pictures of European bison, as well as their potential to be used in conservation campaigns, was connected with subjective appeal of depicted animals. This lesson can be translated to modern conservation campaigns using mass media and global communication channels: popularization of knowledge on species of concern should be accompanied by appealing depictions of these species to strengthen public reception.

Remediation is comprehended as a process of the conscious reshaping of one media into another, while the experience of re-media is linked to the recipient’s visual experience and cultural habits. Technical innovations such as photography and film have reshaped the art’s performative strategies, while the always novel performative strategies of art have come to redefine the codes of “reading” the image. A long-lived union of two ideals – the timelessness and the illusion of space in the image – lost its meaning during the early 20th century, when the visual became integrated with the performative and the textual, whereby the classical image was counterpoised to the new-media culture of the world. With early avant-gardes, remediation happened as an eclipse, integrally or partially covering one appearance of the image with another, without either of them disappearing. After World War II, the neo-vanguard remediations of the image mirrored the existential reality, while the post-vanguard remediations mirrored the reality’s nihilist spaces. Ultimately, starting with the second half of the 20th century until the present day, the chain-like system of remediations gradually brought the image to a state of entropy, mirroring the reality in the fragments that make up a networking structure of media communications. Thus, the images-fragments confront the memory (the visible) and the oblivion (non-signified) while the cultural significance of the image is equated with the actual exposedness.

In visual media, sound is an integral part of the image and has become an element that enriches the fiction described in the media at least as much as the image. Media and sound are inseparably integrated, giving a great deal of aesthetics and emotion to the editing. While the audience absorbs the media with eye contact, they perceive the visual media as a different experience through sensation. For this reason, a significant amount of budget and equipment support is offered to sound production in today's media. Production process in visual media; It consists of three stages: Pre-Production (Pre-Production / preparation stage), Production stage and Post-Production (PostProduction / Preparation stage). In the production and post-production process, the recording, mixing and design of the sound element has a very important place. This study will also try to understand the techniques that can be applied from a sample media item in the context of an experimental model, based on the methods for the design of sound data (recording process, dialogue, atmosphere sound effect and design effect and mixing of related data to the media, etc.). This article will classify the miking techniqes to be used for “sound desing, dialogue and sound effect” in film desing and establish a hypothesis on a short film, Görsel medyada ses, görüntünün ayrılmaz bir parçası olup medyada anlatılan kurguyu en az görüntü kadar zenginleştiren bir öğe haline gelmiştir. Medya ve ses kopmaz bir şekilde bütünleşerek kurguya büyük ölçüde estetik ve duygu yüklemektedir. Seyirci göz teması ile medyayı özümserken duyum aracılığı ile görsel medyayı farklı bir deneyim olarak algılar. Bu sebeple günümüz medyalarında ses prodüksiyonuna önemli ölçüde bütçe ve ekipman desteği sunulmaktadır. Görsel medyalarda yapım süreci; Pre-Production (Ön-Prodüksiyon / hazırlık aşaması), Prodüksiyon aşaması ve Post-Production (Yapım sonrası / Hazırlama aşaması) olmak üzere üç aşamadan oluşur. Prodüksiyon ve post prodüksiyon sürecinde ses ögesinin kaydı, miksi ve tasarlanması oldukça önemli bir yer tutar. Bu çalışma da ses donesinin tasarımına yönelik (kayıt süreci, diyalog, atmosfer ses efekti ve tasarımsal efekt ve ilgili donelerin medyalara mikslenmesi, vb.) yöntemleri baz alarak örnek bir medya ögesinden hareketle uygulanabilecek teknikleri deneysel model üzerinden anlatacaktır. Bu makale, film tasarımında “ses tasarım, diyalog ve ses

In today’s world most of the people are becoming more and more dependent on visual media information particularly digital images and videos. However, the advancement in technology has lead to increase in number of editing tools that make the image and video tampering easier and faster. The content of the digital video can be manipulated or altered effectively with the help of such editing tools without leaving any noticeable signs. Numerous attempts have been made over the previous decade to recognize the altered videos and localization of the altered frames with high exactness dependent on some extraordinarily structured system. This paper gives a detailed review of existing methodologies for recognizing tampered videos, localization of the altered frames and reconstruction of the tampered video.

This article addresses visual literacy as a crucial competence for fostering intercultural literacy and intercultural dialogue. Visual literacy has been defined as a combination of skills needed to interpret the meaning of images, latent reasons behind their making and their impact on audiences. Individuals need to develop such skills to critically read the ‘vocabulary’ (content) and ‘grammar’ (composition) of images they are constantly flooded with to fully understand and appreciate the underlying meaning of visual representations of their own culture and other cultures, as well as the people belonging to different cultural groups. The Council of Europe’s Autobiography of Intercultural Encounters through Visual Media (AIEVM) has been designed to promote interculturality through the reflection on the other, as portrayed in visuals. By analysing AIEVMs produced by 18 adult learners of English in two contexts – featuring explicit intercultural training prior to AIEVM completion vs. its application without such previous input – the present study examines the impact of pertinent training in visual and intercultural competence development. The data suggest heightened levels of metacognition and critical thinking in the former context. Results for both groups also disclose the development of a powerful sense of self-discovery and empathy toward alterity, induced by the commonalities detected between the respondents themselves and the depicted. Overall, implementing the AIEVM seems to narrow the gap between the intercultural awareness discerned in both contexts, yet the dissimilar depth of the narratives produced corroborates the value of prior intercultural learning. The article concludes with a critical overview of the potential of the AIEVM, comprising prospective courses of action to supplement this instrument to sharpen users’ visual literacy and boost deeper intercultural reflection.

The aims of the recent study were; analyzing the effect of creative and online learning using Instagram on the ability to create new products in the technology and learning media course, and determining the level of users’ experience in processing visual media through the Canva application on android. Quantitative approach with this research was carried out through a quasi-experimental research model because it measured the post-test was applied to 58 students as the respondents in two experimental and control classes. This study used two instruments; the cognitive learning outcome questionnaire according to the subject to get the students’ ability to create new products, and the second instrument was taken from ueq-online.org in the Indonesian version to know the users' experience in processing visual media. The data were analyzed using one-way ANOVA, mean and standard deviation assisted by IBM SPSS Statistics 24.0. The results demonstrated that the effect of creative and online learning using Instagram on the ability to create new products in The Technology and Learning Media course was found significant at 0.028

In the world of education, learning media has a very important role. The position of learning media as a tool or means of conveying messages from teachers to students. In learning activities, the media has the function of attention, cognitive function, afective function and compensatory function. One of the media learning that can be used is the Kahoot application. Media learning in the form of visuals has the benefit of being able to attract students' attention and motivate students to learn. Kahoot is a game-based visual media that is easily accessed and used by teachers and students. Game-based learning media is favored by the digital generation. Kahoot can be used as a teaching medium for Catholic religion education. In its utilization, it can be used for brainstorming, pretest-posttest, to find out understanding regarding the presented subject matter.

Visual media are still ineffective in covering all learning focus and learning activities to support independent learning. Independent learning guides students to learn the material by themselves, but it is still not supported by the existing visual media. Infographics are a medium that underlies transformative skills in teaching because they can provide a complete learning focus in each material. This study was aimed at developing English teaching media for the 9th grade. A Design and Development research (DnD) proposed by Richey and Klein (2005) was used in this study, including design, development, and evaluation. Initial observations have been carried out at one of the junior high schools in Buleleng, Bali, Indonesia. Data collection was carried out by library research relating to the development of infographics and the nature of independent learning, document analysis by doing syllabus analysis, and expert judgment. The results obtained from the research are infographics are considered to be very good as a medium for teaching English for independent learning. This research implies that teachers' technology-based teaching skills can be assisted by developing this infographic teaching media.

Current research on visual media and the far right creates two expectations: that memes play an increasingly salient role in the far right’s digital visual culture, and that the visual and particip...

Today is the understanding of the values ​​of Pancasila in the younger generation is getting eroded. Of course, it is hoped that this will not happen to young santri. With a solid Islamic background, santri find it easier to understand the values ​​of Pancasila and do not fall into a negative understanding of Pancasila. Therefore, this community service activity aims to provide a new understanding of the use of visual media in the form of the Pancasila Comic (abbreviated as KOPALA). In realizing this goal, the methods used are lectures and evaluation using games by utilizing devices that can display comic visuals. At the same time, the participants who were included in this activity were the santri, who were also students at the Madrasah Ibtidaiyah and Madrasah Tsanawiyah benches, totalling 17 santri. They are santri of Pesantren Yatim Cahaya Madinah in South Tangerang. In general, the implementation of the activities was successful although with some shortcomings, such as facilities. Furthermore, it is necessary to apply the same action to adolescents at the Madrasah Aliyah level and training for teachers in literacy, software and hardware, gadgets, and classroom management

Predmet ovog rada jeste krizna komunikacija globalnih brendova tokom pandemije izazvane korona virusom COVID-19. U širem smislu cilj ovog master rada jeste analiza kriznih strategija i pristupa na društvenim mrežama koje su globalni brendovi primenjivali u vrijeme krize korona virusa. U užem smislu svrha ovog istraživanja je, s jedne strane, analiziranje vizuelnih medijskih strategija putem društvenih mreža koje globalni brendovi koriste za komunikaciju, ubjeđivanje i podizanje svijesti među stanovništvom, kao i za istraživanje njihovih karak­teristika. A s druge strane, prikazivanje prilagođavanja brendova komercijalnom kontekstu COVID-19.

The crucial nexus between ecology, forest, forest dwellers, and their position in the ancient genres of literature and art is a significant area of aesthetic contemplation. Ancient Indian literary traditions have remarkable eco-sensitivity and display their own style of ecopoetics (signified by genres such as the Aranyakas). This study presents a critical analysis of the graphic novel Aranyaka: Book of the Forest (2019) — an artistic retelling based on Puranic tales, the Upanishads, and a special literary genre called the Aranyakas (because these texts were composed in the forests). This graphic novel is the culmination of an artistic collaboration between the graphic artist Amruta Patil and the Indian mythologist Devdutt Pattanaik. The novel has complex visual metaphors that are based on the intimate stories of the well-known Indian sage Y?jñavalkya, his wives Katyayani and Maitreyi, and a dialogue with his disciple Gargi. The graphic novel presents fragments of stories based on the concealed wisdom of the Brihadaranyaka Upanishad. The novel is a “play” on the perceived dualisms of Nature and Culture, Savage and Civilised. The text is dialogic in its structure. There is an interplay of visual art with verbal metaphors from ancient Indian tales.

La tesina di laurea “I mass media e i bambini” è suddivisa in due parti: la parte teorica e quella empirica. Nella parte teorica vengono elaborati i concetti e gli argomenti più significativi riguardo i mass media, la loro storia ed evoluzione, l’influenza dei mass media nella vita sui minori e l’importanza e il ruolo che hanno sia la famiglia e la scuola d’infanzia nell’educazione ai mass media. La parte empirica comprende l’analisi dei dati ottenuti della ricerca effettuata nelle scuole d’infanzia di Umago. Lo scopo principale della ricerca era determinare il livello di consumo e la preferenza d’uso dei vari tipi di media da parte dei bambini nell’età prescolare secondo l’opinione dei genitori. Alla ricerca hanno partecipato complessivamente 62 genitori. Dai dati ottenuti si può concludere che i genitori seguono i bambini nella loro scelta dei mass media e hanno il controllo di quanto e cosa guardano i loro figli. The finishing work of Mass Media and Children "consists of a theoretical and empirical part. In the theoretical part of the work, the attention was devoted to the mass media, its historical development, the types of media, and their impact on the development of the child at the earliest age. Special attention is given to the importance of an individual institution such as the family and the pre-school institutions in raising and directing the child in the proper use of an individual medium. The empirical part presents the most significant results on the use of media and the types of media those children at preschool age use, and according to their parents’ opinion. In total, 62 respondents took part in the study. Based on the results shown, parents follow and control what media their children use, how much time they spend with them, and what they watch on it. Završni rad “Mass medija i djeca” sastoji se od teorijskog i empirijskog dijela. U teorijskom dijelu rada pažnja je posvećena pojmu mass medija, njegovom povijesnom razvoju, vrstama medija te njihovom utjecaju na razvoj djeteta već u najranijoj dobi. Posebna pažnja posvećena je važnosti pojedinih institucija kao što su obitelj i predškolske ustanove u odgoju i usmjeravanju djeteta u pravilnom korištenju pojedinih medija. U empirijskom dijelu prikazani su najznačajniji rezultati o uporabi medija i vrstama medija koja djeca u predškolskoj dobi najčešće koriste, a prema mišljenju njihovih roditelja. U ispitivanju je ukupno sudjelovalo 62 ispitanika, Na temelju prikazanih rezultata može se zaključiti da roditelji prate i imaju kontrolu o tome koje medije njihova djeca koriste, koliko vremena provode uz njih te što gledaju

Three key questions guide this investigation into specific accusations of fakery related to some Christian religious leaders’ acts in contemporary Ghana. The first question is: what do moving image...

Sexism is a sociocultural and psychological construct existing since ages. The popular media, as a mode of influencing public mindset and opinion, is also inflicted by it. The current discussion centers around the gender role stereotyping and sexism portrayed in the mainstream Indian movies, television, and advertisements and its evolution over the years. We also highlight the possible reasons behind the continued sexism in the media, and the bidirectional influence of popular media on the society and vice versa. We conclude that the portrayal is changing with increased awareness despite the challenges present, and a continuous attempt at promoting gender equality at all levels will help shape the sociocultural beliefs and public perceptions in the long run.

Smart education and ubiquitous learning have come over globally, especially under coronavirus regime. Visual media and interactive operation can draw children’s attention and interests, so the VR e...

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

Artwork generally contains a message or idea to be communicate to others as a viewer. From the various situations that can be captured in a visual appearance of the work of Photography, many things can be delivered into an idea that can have different meanings depending on the impression captured by the photographer and also depending on the interpretation of the viewer. However, considering the work of Photography as a visual work in two-dimensional form, of course there are advantages and disadvantages of expressing ideas or meanings that the photographer might want to deliver, so maybe there is different perception, and not everybody can clearly understand the intent and impression the photographer means. Different interpretations from the photographer's point of view and the point of view of the observer are actually relatively reasonable, considering that each person with different emotional experiences and from different points of view can produce different reactions. With the visual appearance of the photography work, many people use this visual information to explain some information. Either in articles, in stories, or in a work procedures or processes. So that the photo works will be a tool to support, to clear up and clarify information. This journal will discuss about photography as a visual media that support an information commonly known as Illustration Photography.

This paper contributes to the scholarship on contemporary journalism practices in today's fast-changing media landscape, by focusing on graphic reportage, an emergent journalistic approach that rel...

This article argues that the US War in Afghanistan, given its status as a Long War, must contend with a specific visual form that threatens to disclose that the war is an irreversible failure: the ‘visual quagmire’. A visual quagmire is a visualization of a nation’s catastrophic, self-inflicted entanglement in war. In ‘Cluster fuck: The forcible frame in Errol Morris’s Standard Operating Procedure’ (2010), Linda Williams argues that the ‘cluster fuck’ is the ‘most eloquent figure of the American entanglement in Iraq’. This essay proposes that the ‘visual quagmire’ is an eloquent figure of the failure of America’s networked war in Afghanistan. To support this, this essay analyzes the widely criticized PowerPoint slide depicting counterinsurgency dynamics in Afghanistan, which was presented to the then Commander of US Forces in Afghanistan, General Stanley A McChrystal in summer 2009. Elaborating on the form of the ‘visual quagmire’ underscores the importance of theorizing the processual emergence of quagmires and indexes that US military forces are responsible for strategic misguidance through how they visualize war.

Through the smartphone, the production and circulation of digital visual media have become as costless and accessible as audio and text-based communication. It would be challenging to be a contemporary ethnographer without engaging with digital practices which in Japan and China at least, tend towards being highly visual. Digital visual communication is recognised in literature as an effective and accessible form of communication, with an increasing number of studies in the field of digital anthropology, media studies and Internet studies exploring the consequences of digital images on social media. There is a pressing need to understand local forms of visual communication in the digital age, where the visual has become an essential part of daily communication. This article deals particularly with the rise of visual digital communication among older adults in China and Japan. Drawing on 16-month ethnographies conducted simultaneously between 2018 and 2019 in China and Japan, this article contributes to the discussion of visual communication in light of this semiotic shift happening online, which is then contextualised within people’s offline lives. The ethnographies in both China and Japan find that, first of all, visual communication via digital media enables more effective and efficient phatic communication and emotion work. In addition, the ethnographies point to a question about ‘authenticity’ in interpersonal communication. The ethnographies show that in some cases, the deployment of visual communication via the smartphone is not so much about being able to express ‘authentic’ personal feelings but rather, in being able to effectively establish a digital public façade according to social norms.

This essay reads iterations of Pete Souza’s “Situation Room” photograph across media contexts as an effect of an overdetermined public desire for U.S. redemption in the War on Terror. I argue that ...

The low student learning outcomes in Thematic Learning Theme 1, Sub Theme 2 are caused by several factors, including student activities that are lacking in media that does not exist and the lack of source books for students so that it affects the student's involvement in the learning carried out. In this case the researcher as a class conducted a research entitled "Improving Student Learning Outcomes by Using Visual Media in Thematic Learning (Theme 1 Sub Theme 2) in class I SD Negeri 04 Kaja Pariaman" with the formulation of the problem, namely "Can Visual Media Improve the results? Student Learning in Thematic Learning (Theme 1 Sub Theme 2) in Class I SD Negeri 04 Kaja "The purpose of this study is to improve student learning outcomes in learning theme 1 sub theme 2 in class I SD Negeri 04 Kaja." This research was conducted at SD Negeri 04 Kaja in grade I, and was implemented in two cycles. The first cycle consists of two meetings, the second cycle is also held twice. The problems that will be discussed when using this visual media are determined by the teacher as a researcher. After the first cycle using visual media, the results obtained were only at the beginning, namely active students only reached 60%. At the end of the second cycle, there was a significant increase, student learning activities on thematic (Theme 1 Sub Theme 2) and learning outcomes. This can be seen in the ongoing learning and the results of the initial and final tests whose average score is 63 to 88, increases. Thus the use of visual media is very supportive and good in improving student learning outcomes in Thematic learning (Theme 1 Sub Theme 2).

In the early nineteenth century, the ideas of reform pedagogues gave rise to a didactic turn towards the visual that criticised an exclusive textual mediation of knowledge through books and lecture...

Visual media is a better way to deliver the information than the old way of "reading". For that reason with the wide propagation of multimedia websites, there are large video library’s archives, which came to be a main resource for humans. This research puts its eyes on the existing development in applying classical phrase search methods to a linked vocal transcript and after that it retrieves the video, this an easier way to search any visual media. This system has been implemented using JSP and Java language for searching the speech in the videos

In this paper, I present my ethical dilemma concerning a secret police case rich in surveillance images that I encountered during the course of my research in the Historical Archives of the Hungarian State Security (ÁBTL). After reading the operative file of a religious community under surveillance during the 1980s, I decided to approach the group, discuss the images and texts I had found about them, and involve them in the research process. However, the group expressed their explicit intention not to engage in the research process. Even though the guidelines and legal framework regarding the publishing of secret police archival materials would allow me to publish the images and the content of the ÁBTL dossier, I decided to respect the religious community’s intention and their refusal to collaborate. I therefore discuss issues of different ethical standards and accountability in the light of my “failed” ethnographic attempt and reflect on the ethical responsibility of the researcher. I present how the visual images of this particular case file were eventually included in an exhibition in what I see as an ethically appropriate solution to articulate issues of distrust in researchers as a legacy of surveillance and past secret police atrocities.

Problem solving, creative thinking, and reasoning skills are important skills for students to master to solve various problems that they will face in the future. However, there are still many students that have relatively low ability levels performing these three skills. To improve students' abilities in these three skills, teachers can use learning strategies that incorporate visual learning media. The problem identified in a class of third graders at a public elementary school (SDN 01) in Jagakarsa was the lack of use of learning media in the learning process in the classroom so students' ability in all three skills was less developed. A research study was conducted to determine the increase in problem solving skills, creative thinking skills, and reasoning skills of third grade students at SDN 01 Jagakarsa in math subjects after being taught using instructional media. Data sources were obtained from students' test scores before and after being taught using visual learning media. Based on the N-gain calculation and data analysis using inferential statistics, results showed that the use of visual learning media can improve students' ability to solve problems, think creatively, and reason, especially in mathematics subjects.BAHASA INDONESIA ABSTRACT: Keterampilan memecahkan masalah, berpikir kreatif, dan menalar merupakan keterampilan yang penting dikuasai siswa untuk menyelesaikan bermacam persoalan yang akan dijumpainya kelak di masa yang akan datang. Kenyataannya masih banyak ditemui siswa dengan kemampuan ketiga keterampilan tersebut yang tergolong rendah. Untuk meningkatkan kemampuan siswa pada ketiga keterampilan tersebut, guru dapat menggunakan strategi pembelajaran menggunakan media pembelajaran. Masalah yang teridentifikasi di kelas III SDN 01 Jagakarsa adalah masih kurangnya penggunaan media pembelajaran yang digunakan dalam proses pembelajaran di kelas, sehingga kemampuan siswa dalam ketiga keterampilan tersebut kurang berkembang. Oleh karena itu dilakukan penelitian untuk mengetahui peningkatan kemampuan memecahkan masalah, berpikir kreatif, serta menalar siswa kelas III SDN 01 Jagakarsa pada mata pelajaran matematika setelah diajarkan dengan menggunakan media pembelajaran. Sumber data didapat dari nilai siswa sebelum dan sesudah diajarkan dengan menggunakan media pembelajaran visual. Berdasarkan hasil perhitungan N-gain dan analisis data menggunakan statistik inferensial didapat kesimpulan bahwa penggunaan media pembelajaran visual dapat meningkatkan kemampuan siswa dalam memecahkan masalah, berpikir kreatif, dan menalar secara keseluruhan khususnya pada mata pelajaran matematika.

Artykuł poświęcony został antropologicznemu znaczeniu fotografii i jej odniesieniom do innych mediów reprezentujących obraz człowieka. Fotografię, jak pisał Hans Belting, zwolennik koncepcji antropologicznego spojrzenia na sztukę, należy rozumieć jako nowy rodzaj maski pośmiertnej. Teoria rozumienia fotografii jako maski ma długą tradycję i została poświadczona w głównych tekstach programowych poświęconych sztuce fotografii (Benjamin, Sontag, Barthes). Perspektywa Beltinga pozwala jednak na wyodrębnienie ukrytych znaczeń i paradoksów wynikających z funeralnych korzeni przedstawienia człowieka. W tekście zostają zrekonstruowane główne koncepcje maski powstałe na przestrzeni dziejów (maska pośmiertna, maska teatralna, maska balowa), dzięki czemu znaczenie fotografii traktowanej jako maska staje się pełniejsze. W ten sposób ujęta zostaje wyjątkowość fotograficznego przedstawienia, łączącego wszystkie konteksty rozumienia maski. Potraktowanie fotografii jako kolejnego w historii medium służącego ludzkiej reprezentacji pozwala na prześledzenie głównych zmian w podejściu do ciała i ludzkiej skończoności. Fotografia okazuje się najbardziej wyjątkową techniką reprezentacji ponieważ sprzeciwia się śmierci i zarazem ją potwierdza – jest świadectwem XX-wiecznej próby ukrycia śmierci i uniwersalnego pragnienia zachowania życia. Fotografia bowiem, wpisując się w zmianę jaka dokonała się w XVIII i XIX wieku, zapewnia fotografowanemu pamięć, która traktowana jest wówczas jako symbolicznie “miejsce” pośmiertnego życia. Koncepcja obrazu i medium Beltinga stwarza kontekst do rozważań o fotografii jako strategii mającej na celu symulację życia.

Neste artigo, discutiremos a representação da Idade Média no filme O Nome da Rosa, de Jean-Jacques Annaud. Procuraremos responder, dentre outras questões, de que forma o filme retrata a relação deste período histórico, e principalmente da Igreja, com a ciência e o conhecimento de sua própria época e de épocas anteriores, e deste modo, esclarecer se a imagem da Idade Média transmitida questiona ou reforça a ideia de Idade das Trevas, estabelecida pelo senso comum. A análise destas questões será feita dentro de um debate maior sobre a adequação das mídias visuais à transmissão da História, e, portanto, também como instrumento de ensino.

This research was conducted at SDN 03 Sukarasa on the material on the mind map material from nonfiction stories. This study uses a classroom action research method which is divided into 3 learning cycles. The research aims to improve student learning outcomes through learning using visual media. This study was applied to 8 samples with the duration of the study consisting of 6 meetings. Based on the value analysis shows that there is an increase in student learning outcomes both from cycle I, cycle II, and cycle III. This is because in cycle II learning activities by adding learning media in the form of visual media have a good effect on student learning outcomes, this is evidenced by the increase in the mean value of students. Likewise with the addition of learning media in the form of pictures and learning videos and discussions, question and answer with students in learning cycle III has had a very good influence on student learning outcomes, understanding of the subject matter being taught and the activeness of students and providing a different atmosphere in activities learning.

YouTube has provided a platform for many queer vloggers in South Africa to find audiences and to represent queer lives via a public medium. The platform allows for multiple queer identities to be r...

Playful learning has become a common practice in Denmark, across primary and secondary education, however, the phrase playful learning might sound like a paradox, because learning and play suggest opposite values. In playful learning, play is approached as a learning resource, able to foster understanding and critical thinking. In the Occupational Therapy (OT) education, there has been a rich exploration of different forms of digitally mediated role-play, to enable students to prepare beforehand to engage with patients, enacting clinical scenarios with each other. Current studies in OT education focus on the learning impact of digital media and role-play, not investigating how students experience their play, which is an essential pre-condition to learning. Starting from these premises, I conducted a design-oriented research study, involving students and teachers in OT in Denmark, to investigate how students experience their play during mediated role-play activities. Results show that playful learning is a complex sociomaterial practice, framed by power relationships embodied by the provided digital media, the relationships among the participants, and the institutional context. Within this framing, play is continually negotiated among the teachers and the students, who manage to gain room for self-expression through observable changes in play moods and practices.