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The article discusses the historical significance and cultural impact of various visual spectacle formats, such as panoramas and dioramas, during the 19th century in France. It explores the evolution of these immersive experiences, including Cosmorama, Panstéréorama, and Pyrorama, shedding light on their role in shaping perceptions and narratives of the world.

The COVID-19 pandemic posed a logistical problem to our normal ways of engaging in participatory visual research. Our in-person art, activism and archiving with 2SLGBTQ+ Atlantic Canadian youth pivoted to use distanced engagement strategies that met the demands of the pandemic. We sought to create networks of solidarity while we were apart. Monthly, over the course of a year, we mailed out themed packages of art supplies and directions to fifty-five 2SLGBTQ+ youth situated in the Canadian provinces of New Brunswick, Nova Scotia, Prince Edward Island and Newfoundland and Labrador. Participants then created the artworks, photographed them and contextualised them through text. While the resulting co-curated digital archive includes multiple mediums, here we focus on the participants' zines and dioramas for what they taught us about 2SLGBTQ+ youth's identities, activism, beliefs, friends, home, family, fears, strengths and futures. The digital archive of our artwork deconstructs, explores and affirms identities and functions to build solidarity during a time of increased isolation. We argue that collaboratively building the digital archive was a feminist act of reclamation and a declaration of youth queer activism. [ABSTRACT FROM AUTHOR]

Destacado nome do Romantismo brasileiro, José de Alencar, em suas lendas indianistas, retrata um passado brasileiro destacando a natureza do país. Com um elogio à nação e elevação da origem do brasileiro, o autor pinta as paisagens nacionais. As associações das paisagens com o ensejo de enobrecer o país são características de Iracema (1865) e Ubirajara (1874). Este artigo aproxima a construção de paisagem dessas obras à formação de dioramas, recurso em ascensão dos museus naturais do século XIX. Nas cenas indianistas, as paisagens compõem um dispositivo museal com as suas descrições e escolhas de elementos. Nos aspectos formais também encontramos estes elementos nas narrativas e em seus paratextos.

The article discusses the history and evolution of the Diorama, a visual spectacle popular in the 19th century, focusing on its immersive qualities and impact on audiences. It details the works of artists like Jérôme Rascalon and Bouton, highlighting their contributions to the art form. It explores the fascination and illusion created by Diorama shows, emphasizing their ability to transport viewers to different landscapes and settings.

This article seeks to investigate the design and creation of several models and dioramas of Holocaust death camps as spatial and historical representations of Holocaust memory. It broadly discusses their use as pedagogical tools, forms of art, testimonial expression and memorialization. It also addresses questions concerning the intention of their designers and creators, as well as the ethical considerations of recreating these spaces. [ABSTRACT FROM AUTHOR]

By reassessing Gerrit Schouten's papier-mâché dioramas depicting the lives of enslaved and free Africans in early nineteenth-century Suriname, this article aims to complicate and challenge current and past reception of the artist's life and work. A free person of color who has been dubbed "the most important artist in Suriname in the nineteenth century" as well as the first professional artist to emerge from the Caribbean, Gerrit Schouten's manipulation of material form, perspective, and visual effect renders the multiple conflicting and overlapping temporalities inherent to slavery and Dutch Colonial society. [ABSTRACT FROM AUTHOR]

Este artigo estuda o papel educativo dos dioramas sobre o tema da “Floresta Amazônica”, a partir da perspectiva do Pensamento Latino Americano em Ciência-Tecnologia-Sociedade/PLACTS e a perspectiva decolonial. Para tal, foram selecionados dois dioramas de dois museus brasileiros. Os resultados evidenciaram formas coloniais de dominação relativas a hegemonia da ciência moderna, expressa no apagamento da sociobiodiversidade amazônica. Conclui-se que no processo de transposição museográfica, conhecimentos, corpos, culturas e formas de ser e viver dos povos amazônicos estão sendo apagados nessas montagens, privilegiando-se expor uma floresta em que a biodiversidade não está sendo impactada por ações antrópicas, onde não há seres humanos e que, quando aparecem, são responsáveis por extrair recursos infinitos por ela oferecidos para sobrevivência humana.

The ambiguous "conquest" of the North Pole is the core element of Mariele Neudecker's tankwork Cook and Peary (2013). The artist explores the idea of an untouched icy landscape and its roots in Western heroic narratives. In reference to an aesthetic of the sublime and modern forms of knowledge presentation, precarious voids in the viewers' longing for intact nature are questioned. By enabling the viewers to follow the ideological perspective of the polar heroes - while also illustrating their ignorance - Neudecker highlights contemporary threats to the Arctic and questions its accessibility and ownership. In doing so, the artist examines the influence of cultural imaginations of "extreme" environments within historical and current geopolitical contexts. This article traces the visualisation of the Arctic and its sensual aesthetics, starting from the period of polar explorations to current climate change. [ABSTRACT FROM AUTHOR]

Dioramas are seen as unique teaching tools for environmental education in general and biodiversity education in particular as they present realistic learning environments that can reflect the components of the biodiversity, relationships among these components and changes occur over time. The aim of this study is to examine middle school students' views on diorama supported biodiversity education. A phenomenological approach based on student experiences were employed for the study. The study group of the research consists of twenty-four 7th grade students studying during the 2021-2022 academic year. Students participated in an 8 hours experimental process included diorama supported 5E constructivist teaching model. Interviews were used as the data collection tool. The analysis of data revealed that dioramas contribute positively to biodiversity education as they enhance learning, mitigate the effects of misconceptions, increase students' awareness to protect biodiversity and of biodiversity sustainability. Therefore, including and using dioramas in learning environments for biodiversity education can mediate learning as well as help students to benefit from a realistic environment that include living things, the ecosystems they form and the places they live in. [ABSTRACT FROM AUTHOR]

This article seeks to investigate the design and creation of several models and dioramas of Holocaust death camps as spatial and historical representations of Holocaust memory. It broadly discusses their use as pedagogical tools, forms of art, testimonial expression and memorialization. It also addresses questions concerning the intention of their designers and creators, as well as the ethical considerations of recreating these spaces.

Copyright of Bio-grafía. Escritos Sobre la Biología y su Enseñanza is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The digital diorama of crime scene is an innovative didactic approach, an educational product based on investigation that uses three-dimensional technologies to reproduce situations, environments, phenomena, and behaviors for instructional and educational purposes. For the correct management of the challenges and problems generated by technological innovation, but also for the reduction of errors generated by the human factor that affects the entire forensic process, in training activities, for special tasks and for the use of technical-scientific forensic means, but also for university training projects and postgraduate courses, we need innovative teaching methods. Thus, through this study, using the historical method, the comparative method, the heuristic method, analysis and synthesis, presenting the revolutionary invention of modern Forensic (the crime scene diorama) that Frances Glessner Lee created, for educational and scientific purposes, we will propose a new pedagogical method: the digital diorama of crime scene. [ABSTRACT FROM AUTHOR]

This article investigates Cambodian filmmaker Rithy Panh's deployment of dioramas in The Burnt Theater (2005) and Graves Without a Name (2018). It focuses on the status of these miniature tableaux depicting landscapes of the Khmer Rouge regime as a ghost medium. A frame within the frame devoid of human forms, the diorama calls attention to the missing graves and wandering souls of Pol Pot's agrarian revolution; the shared spaces of the living and the dead in present-day Cambodia; visual amnesia in the form of unmarked killing fields and forgotten landscapes; and new practices of reading the inhabited terrains of the Anthropocene. [ABSTRACT FROM AUTHOR]

This article focuses on the directorial aesthetics of Claus Guth, an artist that specialises in reinterpreting the lyric creations of the great opera houses worldwide. Disengaging or maybe understanding hidden meanings of the librettos and musical scores, speculating and reinventing the characters’ stories, the German director gives birth to new realities which mold to the original ones, transfiguring them in unexpected ways. The Messiah oratory by Georg Friedrich Händel is a good example, because the incoherent libretto that servs as foundation to the baroque composition is enriched by Claus Guth through a salutary intervention, in which the director questions matters such as religiosity and the intimate beliefs of the contemporary man. Similarly, other works I debate upon in this article test the limits of perception of the audience, not necesarrily because they are right or wrong interpretations, but rather because they tend to become possible points of view in understanding the characters, which are dislocated from their usual world and transported into another in which, with irony and humor, they are forced to reinvent themselves. This article focuses on the directorial aesthetics of Claus Guth, an artist that specialises in reinterpreting the lyric creations of the great opera houses worldwide. Disengaging or maybe understanding hidden meanings of the librettos and musical scores, speculating and reinventing the characters’ stories, the German director gives birth to new realities which mold to the original ones, transfiguring them in unexpected ways. The Messiah oratory by Georg Friedrich Händel is a good example, because the incoherent libretto that servs as foundation to the baroque composition is enriched by Claus Guth through a salutary intervention, in which the director questions matters such as religiosity and the intimate beliefs of the contemporary man. Similarly, other works I debate upon in this article test the limits of perception of the audience, not necesarrily because they are right or wrong interpretations, but rather because they tend to become possible points of view in understanding the characters, which are dislocated from their usual world and transported into another in which, with irony and humor, they are forced to reinvent themselves. [ABSTRACT FROM AUTHOR]

The twenty dioramas constructed for the American Negro Exposition of Chicago in 1940 by Charles Dawson and seventy other African American artists have fulfilled multiple educational purposes. The dioramas' first didactic function was to inform fairgoers in the mid-twentieth century about African American history while normalizing new styles of Black visual imagery. In the twenty-first century, the dioramas are tactile teaching tools introducing emerging conservation professionals from historically Black colleges and universities to the field of art conservation. [ABSTRACT FROM AUTHOR]

Paula Stradiņa Medicīnas vēstures muzeja darbinieki – zinātniskais direktors Juris Salaks, galvenā speciāliste Rita Grāvere, kā arī fotogrāfs Gunārs Janaitis – kopā ar akadēmiķi Jāni Stradiņu 2013. gada oktobrī apmeklēja Paula Stradiņa Klīnisko universitātes slimnīcu, lai apskatītu vietas, kas atgādina par Paula Stradiņa šeit ierīkoto medicīnas vēstures muzeju. Virzoties soli pa solim un klausoties Jāņa Stradiņa atmiņu stāstījumu, iztēlē atausa muzeja attīstības pirmsākumi.

This article explores the possibilities of the diorama medium as a method to investigate educational realities and ideals. Contemporary artistic examples of dioramas deconstruct traditional associations of the diorama as a form of explanatory storytelling and critically contest the problematic reproduction of existing hierarchies, which seem to occur when dioramas are used in museums and schools. In contemporary dioramas, the gaze of the spectator is instead invited to engage and contribute to multiple interpretations of spatial creations. The article explains how dioramas have been employed in a doctoral research project on artist teachers and democratic pedagogy and how making dioramas as a research method in arts‐based educational research has been adopted to engage in a dialogue with visitors to a contemporary gallery to collaboratively investigate the spatiality of democratic learning spaces. [ABSTRACT FROM AUTHOR]

Toys both guide and foster the play--and stimulate the imaginations--of players of all ages. The authors investigate adult use of toys as a point of entry to the world play of both transmedia-connected and stand alone toy characters--dolls, action figures, and soft toys. They point to how adult toy players engage actively in world building in their world play and suggest that play better describes the object relations of adults with toys than such notions as collecting or pursuing a hobby. They discuss how adults use world playing with toys to develop toy industry back stories and replay--and sometimes revolutionize--original story lines familiar from popular fiction. And they highlight how mature audiences for character toys employ these physical objects to explore their capacity for imaginative, spatial, and hybrid world play. [ABSTRACT FROM AUTHOR]

This essay argues that there is a diorama remediated within James Hogg's experimental Scottish Gothic novel, The Private Memoirs and Confessions of a Justified Sinner (1824). Invented in 1822, the diorama was a popular multimedia theater experience comprised of a mural-sized immersive and realistic painting as well as a printed booklet describing the scene. Together, the view and booklet imaginatively transport the diorama's audience to the depicted location. The diorama in Hogg's novel is Louis Daguerre's "Ruins of Holyrood Chapel, a Moonlight Scene" (1823), which places the viewer within the crumbling abbey at Holyrood Palace, Edinburgh, at night, among the tombs of Scottish nobles and royalty buried there. With its remediated Holyrood diorama, Confessions of a Justified Sinner prompts readers and characters, much like diorama-goers, to test their surroundings and determine where reality ends and the screen of illusion begins. Such reality-testing reveals characters' and readers' present moments to be part of, not detached from, the history of the ruined Holyrood Chapel and graveyard, the fractured identity of Scots, and the reception and retelling of their stories. Further, reality-testing draws attention to the media that construct one's sense of self, the present, and the past, and these include not only the newer technology of the diorama, but also that of the novel in the late-Romantic period. [ABSTRACT FROM AUTHOR]

This article analyzes the metacinematic structure of Gore Verbinski's The Lone Ranger and argues that it celebrates a form of camera consciousness that subordinates, rather than liberates the Tonto figure. Anchoring the film's narrative frame, the diorama of the 'Noble Savage' establishes an animation paradigm between a masked white child and a Native American statue that is at odds with aims to subvert the original Ranger narrative. The white child awakens the statue to life, and Verbinski imagines this older philosophical and aesthetic formula as an emerging cinematic process in which the film projector transforms individual film stills into the moving image. With this, the boy's gaze is more than one perspective among many; it both infuses the moving picture with a vital energy and, within the layers of the narrative, this gaze is focalized in the figure of the Ranger himself as he subdues the wild West and the people therein. Instead of a multiplicity of voices and selves in conversation with each other, Verbinski's form of camera consciousness thereby constitutes a totalizing celebration of technological modernity that aligns the Ranger's perspective with the movements of the projector and subordinates the Native American within this pattern of visual correspondences. [ABSTRACT FROM AUTHOR]

RESUMO: Um dos grandes desafios da educação desenvolvida nos museus hoje é expor o tema da biodiversidade, promovendo a sua compreensão. Nesta pesquisa, estuda-se o que o público adulto compreende sobre biodiversidade ao visitar dioramas em exposições de dois museus de zoologia, um nacional e um internacional. Analisamos aqui os dados coletados com quatro sujeitos por meio do método de thinking aloud seguido de entrevista, a partir das categorias de abordagens de biodiversidade. Como resultados, observamos que a abordagem mais presente foi aquela ao nível de organização de espécie e as ausentes se referiram ao nível genético e à abordagem humana. Os resultados apontam para o potencial e os limites dos dioramas para a compreensão da biodiversidade em museus.

Women & Their Work Gallery, Austin, TX, 29 September - 8 November 2018 This review examines works by artist Candace Hicks, with special attention given to those in the 2018 exhibit Many Mini Murder Scenes. Hicks's practice as a printmaker and book artist explores embroidered composition notebooks, encoded text in books and on posters, and interactive exhibits. The pieces in this exhibit include dioramas from murder mystery novel scenes with invisible ink clues and contrasting large scale papercraft images. [ABSTRACT FROM AUTHOR]

Nurtured by the examples of Theodore Roosevelt Roosevelt, Louis Agassiz, and Carl Akeley, Ernest Hemingway discovered early in life his dual calling to wood-craft and word-craft-embodied in the callings of the naturalist-hunterfrontier scout and the naturalist story-teller. This essay explores the dioramas of Akeley in an effort to assess their influence on Hemingway's life and art, his complex identity, and his aesthetic ideology. I will use Donna Haraway's Primate Visions as a theoretical lens through which to "read" Akeley's dioramas and Hemingway's naturalist narratives, building on a body of relevant scholarship, while delving more deeply into the influence of Akeley, as yet not fully recognized by criticism. [ABSTRACT FROM AUTHOR]

Copyright of Drawing Ideas Images / Disegnare Idee Immagini is the property of Gangemi Editore S.P.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)