Contemporary Visual Culture and Translation: 2010

Tuesday, March 30, 2010

Talk on Photography and Text at Istanbul Modern

Istanbul Modern'in web sitesinden:

ÇAĞDAŞ FOTOĞRAF SERİLERİ

Fotoğraf kendi başına var olmayı ve belli bir öyküsellik sunmayı becerebilen bir görsellik alanı olsa da, metin ile birliktelikleri söz konusu olduğunda farklı boyutlarda bir anlatım potansiyeli sunuyor. Metnin fotoğrafın içinde ilk kertede algılanamayanları tasvir ettiği, fotoğrafın ise metinde yer almayan boyutları görselleştirdiği ideal birliktelikler, fotoğrafla sinema arasında konumlanabilecek bir görsel ifade biçimi oluşmasına zemin sağlıyor. İstanbul Modern’deki 19. Çağdaş Fotoğraf Serileri toplantısında, metni vazgeçilmez bir bileşen olarak kullanan sanatçıların işlerine odaklanılacak.

Tarih: 27 MART 2010 Cumartesi, 16:00
Yer: İstanbul Modern Sinema Salonu

Etkinlik ücretsizdir.

Wednesday, March 17, 2010

Robert Frost Typography: Mending Wall

Click here for an animation of the poem

Mending Wall

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs.  The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of outdoor game,
One on a side.  It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors.'
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors?  Isn't it
Where there are cows?  But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offense.
Something there is that doesn't love a wall,
That wants it down.'  I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself.  I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, 'Good fences make good neighbors.'

Robert Frost

[Theme: Language - IV]

Rachel Berwick

may-por-e'

1997- present (ongoing project)

Dimensions: 10'H X 10' Diameter
Materials: two live parrots, polypropylene, plants, water fountain, sound, lights, shadows

Project Venues:
1996 Real Art Ways, Harford, CT
1997-98 Wooster Gardens, New York, New York
2000 Serpentine Gallery, London
2001 Istanbul Bienal, Turkey
2004 Mercosul Bienal de Porto Alegre, Brazil

From the artist's website:

In 1799, the German naturalist Alexander Von Humboldt, embarked on a journey through Venezuela to trace the Orinoco River to its source. During his travels Von Humboldt was said to have acquired a parrot from a Carib Indian tribe which, some days before his arrival, had attacked and eliminated a neighboring tribe, the Maypure’. During the attack, the Carib tribe had taken parrots which the Maypure’ people had kept as pets. Von Humboldt noted that the parrots were speaking words, not in the language of the tribe he was visiting, but in the language of the recently destroyed Maypure’: thus the parrots were the only living ‘speakers’ of the Maypure’ language. They were, in fact the sole conduit through which an entire tribe’s existence could be traced. Von Humboldt phonetically recorded the bird’s vocabulary; these notes constitute the only trace of the lost tribe...

For this installation I trained two Amazon parrots to speak Maypure’. The parrots live within a sculptural aviary and are only seen in shadow through its translucent walls. The birds chatter at will, incorporating the language with a multitude of sounds generated by them and their environment.

While it was first exhibited in 1997, "may-por-e'" has continued to evolve as I have worked with additional parrots, one pair in Turkey for the Istanbul Biennial in 2001, and another pair in Brazil for the Mercosul Bienal de Porto Alegre in 2004. For these two venues younger parrots learned from my first two parrots. I trained them largely through the use of recordings of my birds. Volunteers who were on site conducted lessons with the young birds and additional lessons were transmitted via the Internet. There are now a total of six Maypure' speaking parrots.

Lesley Dill

White Poem Dress

“Lesley Dill calls her sculptures and photographs "collaborations" with Dickinson.(…) More than interpret her life and poems, they translate transporting an idea, an expression from the medium of the written word to other forms and other materials. In such a move, of course, everything changes. Materializing her poetics, these works make palpable a condition of writing that constantly fascinated Dickinson: her poetry is largely committed to the effort of providing abstract ideas and emotions with an apprehensible form. Dickinson interrogates the relation between the abstract and the concrete, and in this project she finds language an unstable medium, since words both are, and are not, objects.”*

* Susan Danly,Martha A. Sandweiss, Language as object: Emily Dickinson and Contemporary Art, 16.

[Theme: Language - III] Kay Rosen

Dear all,

As I remember you were excited by the work of Kay Rosen, here is a piece of text that I think you may be interested in reading:

http://www.kayrosen.com/artforum.html

Enjoy it!

[Theme: Language II] Barbara Kruger

Barbara Kruger

Source: Oxford University Press

American conceptual artist, designer and writer. She enrolled at Parsons School of Design, Syracuse, NY, where her teachers included the photographer Diane Arbus and Marvin Israel (b 1924), a successful graphic designer and art director of Harper’s Bazaar, who was particularly encouraging. When Kruger’s interest in art school waned in the mid-1960s, Israel encouraged her to prepare a professional portfolio. Kruger moved to New York and entered the design department of Mademoiselle magazine, becoming chief designer a year later. Also at that time she designed book covers for political texts. In the late 1960s and early 1970s she became interested in poetry and began writing and attending readings. From 1976 to 1980 she lived in Berkeley, CA, teaching and reflecting on her own art. In photograph-based images she examined the representation of power via mass-media images, appropriating their iconography and slogans and deconstructing them visually and verbally. Such works as Untitled (You Invest in the Divinity of the Masterpiece) (photograph, 1.82×1.16 m, 1982; New York, MOMA) exploit an economy of image and text to articulate and undermine the power-based relations established in such media images. Major influences cited by Kruger include films, television and the stereotypical situations of everyday life, and especially her training as a graphic designer. Her messages have been displayed in both galleries and public spaces, as well as on framed and unframed photographs, posters, T-shirts, electronic signboards, billboards and flyposters.

From Grove Art Online

[Theme: Language]

Allan Kaprow, An Apple Shrine, 1960.

Joseph Kosuth, One and Three Chairs, 1965.

"The content of this painting is invisible; the character and dimension of the content are to be kept permanently secret, known only to the artist."

Mel Ramsden, Secret Painting, 1967 - 68.

Ian Burn, No Object Implies the Existence of Any Other, 1967.

Lilian Lijn, Sky Never Stops, 1965.

John Latham, Full Stop, 1961.

Ian Hamilton Finaly, Sea Poppy I, 1968.

John Baldessari, Tips for Artists Who Want to Sell, 1966 - 1968.

Tuesday, February 23, 2010

Short Essays Due on February 26th

Dear all,

Here are some questions that I think you may reflect upon while writing your short essays. Depending upon your writing styles, you may use only one of these or several of them. What I expect you to do is to perceive these questions as an exercise for thinking upon what you will write. That means, do not answer all af them as if you are filling out a questionnaire. That would be too superficial for a short essay like this - as you would guess. Try to focus on a certain aspect of the artwork and elaborate on that. Another important point is that you may write a paper without necessarily answering these questions (except for the first one). Be critical, creative and show me you gave a thought on what you wrote. Take these points as a possible guide, not as exam questions.

- Very very briefly introduce the artwork you will be writing on. Give the basic technical information (about the artist, title, time period, technical attributes, if you think relevant, etc.). 5-6 sentences max.

-How is language incorporated into the image? Are the visual qualities of the words part of the image? Or the meaning? Or any other attributes?

- Do the words have a special meanings?
If so, how does it affect the way the image is seen?
If not, is there a certain logical structure behind the meaningless of the text?

- What do you think would happen if language were not used in the artwork? Could the messages be changed? How could the meanings be altered? Would it be more ambigious? How would this ambiguity change the way in which you see the work?

- Do you have additional texts that support the artwork (like information panel texts)? If so, what may be the relationship of these texts to the image as opposed to that of the text which is a part of the work?

- If you were to translate a written text as part of the artwork, what strategies would you adopt?

You are welcome to establish initial connections with any relevant theoretical framework (of linguistics, semiotics, visual arts, art history, etc.). That would very well work if you decide to write a final paper on this subject, which means I don't expect you to cover a theory and make an indepth analysis. But at least it may be a good start for specifying the focus of your final paper if you intend to write on this particular subject.

Monday, February 22, 2010

Poster

Friday, February 19, 2010

Syllabus

MUTI 498
CONTEMPORARY VISUAL CULTURE AND TRANSLATION
Course Instructor: Özden Şahin

Office Hours: Wednesdays 13:00 – 14:00 and by appointment
The Faculty of Arts and Sciences Room 17
0216 677 16 30 * 1167
ozden.sahin@okan.edu.tr

Introduction

This class focuses on debates at the intersection of arts, visual culture and translation from the second half of the 20th century until present. The aim of the course is to introduce translation studies students with core issues in contemporary arts and visual culture and to develop the students’ ability to approach the texts from a translator’s point of view.

Susan Sontag wrote in her book On Photography that the industrialization of camera technology “only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.” Thinking of images as a translation of experiences is a metaphorical approach but at the same time it opens a space on further discussions on how the frameworks of translation could contribute to the field of visual arts. May the transformation of an exhibition for different spatial settings, for example, be accepted as a visual translation? If so, what kind of translation strategies are adopted by the artists or curators when an artwork is displayed in different gallery spaces?

The issues regarding the translator’s positioning may be complementary to these debates: What are the translation strategies that could be adopted by the translator when new terminology is introduced with the birth of new theoretical debates - such as the posthuman body in arts - or with the birth of new genres - such as digital poetry? Can one accept the semiotic analyses of image rhetoric as a translation?

Method

The students will be exposed to different contemporary visual forms including painting, photography, sculpture, video art, performance art, mask theatre, installation, digital art, interactive design, animation, documentary footage, comics, news footage and advertisements. It should be noted that this course may not cover all of the key issues in visual culture as it is tailored according to the needs of the translation studies students.

The students will come to class having done the readings. The discussions in the class will constitute a) the analysis of the source text b) the reading of the text from a translator’s point of view c) either translation of the text or the analysis of its previous translation(s), if available. Equal emphasis will be given on source text analysis, translation analysis and translation practice.

Course Requirements

The students are expected to submit short response papers or translations periodically throughout the semester. For the final project, the students can
a) do a translation project (of the material not translated into the target language before) plus write an analytical piece reflecting their ideas on the source text and on the translation process. The translated text may be from the resources listed below or from any other relevant text of the student’s own choice.
b) write a final paper on a topic within the field of visual culture along with a commentary reflecting a translator’s point of view. The students are strongly encouraged to ask for written and/or spoken feedback as their papers develop.
c) come up with their own proposal for a final project. Anything relevant, creative, and exciting is welcome.

Grading

Short Assignments 40%
Final Project 60%

Grading Scale

AA 91 - 100
BA 86 - 90
BB 81 - 85
CB 76 - 80
CC 71 - 75
DC 66 - 70
DD 56 - 65
FD 51 - 55
FF 0 - 50

Plagiarism Notice

Taking someone else’s work as a whole or in part without providing relevant citation is considered as plagiarism. Anyone who does so will fail the class.

Resources

The books, articles, or other material listed below may be used for the purposes of getting acquainted with the research field, preparing for discussions in class, and developing your final projects. Please read them critically. Other resources you would like to add to this list are also welcome.

Introduction to Visual Culture

Roland Barthes, “Rhetoric of the image,” in Visual Culture: the Reader, Stuart Hall and Jessica Evans, eds. (London: Sage Publications, 1999), 33 – 40.

John Berger, About Looking (New York: Vintage, 1997).

John Berger, Ways of Seeing (British Broadcasting Corporation ; London, England ; New York, N.Y. : Penguin Books, 1972).

Margaret Dikovitskaya, Visual Culture : The Study of the Visual after the Cultural Turn (Cambridge, Mass.: MIT Press, 2005).

Chris Jenks, ed. Visual Culture (London and New York: Routledge, 1995).

Nicholas Mirzoeff, The Visual Culture Reader (London: Routledge, 2002).

Marita Sturken and Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture (New York: Oxford University Press, 2004).

Art and Theory - General

Walter Benjamin, “The Work of Art in the Age of Its Mechanical Reproducibility,” in Illuminations: Essays and Reflections (Berlin: Schocken, 1969).

Hal Foster, Rosalind Krauss, Yve-Alain Bois and Benjamin H. D. Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism, Volumes 1-2 (London: Thames & Hudson, 2005).

David Hopkins, After Modern Art 1945-2000 (New York: Oxford University Press, 2000).

Edward Lucie-Smith, Movements in Art Since 1945 (London: Thames & Hudson, 2001).

Kobena Mercer, “Reading racial fetishism: the photographs of Robert Mapplethorpe,” in Visual Culture: the Reader, Stuart Hall and Jessica Evans, eds. (London : Sage Publications, 1999), 435 – 447.

Michael Rush, "Introduction," in New Media in Late 20th-Century Art (London: Thames and Hudson, 1999), 6- 35.

Photography

Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Farrar Straus & Giroux Inc, 1999).

Geoffrey Batchen, Each Wild Idea: Writing Photography History (Cambridge: The MIT Press, 2000).

Victor Burgin, “Art, common sense and photography,” in Visual Culture: the Reader, Stuart Hall and Jessica Evans, eds. (London: Sage Publications, 1999), 41 -50.

Ashley la Grange, Basic Critical Theory for Photographers (Oxford: Focal Press, 2005).

Clive Scott, The Spoken Image: Photography and Language (London: Reaktion Books, 1999).

Susan Sontag, On Photography (New York: Picador, 1990).

John Tagg, Disciplinary Frame: Photographic Truths and the Capture of Meaning (Minneapolis: University of Minnesota Press, 2009).

Film

Dudley Andrew, Concepts in Film Theory (Oxford: Oxford University Press, 1984).

James Donald. “The City, the Cinema: Modern Spaces,” in Visual Culture, ed. Chris Jenks (London and New York: Routledge, 1995), 77 – 95.

Janet Harbord, Film Cultures (London: Sage Publications, 2002).

Stephen Mulhall, On Film (London: Routledge, 2008).

Amy Villarejo, Film Studies The Basics (London: Routledge, 2002).

New Media

Megan Boler, ed., Digital Media and Democracy: Tactics in Hard Times (Cambridge: The MIT Press, 2008).

Paul Brown, Charlie Gere, Nicholas Lambert and Catherine Mason, White Heat Cold Logic: British Computer Art 1960 – 1980 (Cambridge: The MIT Press, 2008).

Paul A. Fishwick, ed., Aesthetic Computing (Cambridge: The MIT Press, 2006).

Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New York: NYU Press, 2008).

Glen Creeber, Royston Martin, eds. Digital Cultures: Understanding New Media (Berkshire: Open University Press, 2009).

Oliver Grau, Virtual Art: from Illusion to Immersion, trans. Guloria Custance (Cambridge: The MIT Press, 2003).

Lev Manovich, The Language of New Media (Cambridge: MIT Press, 2002).

Generative Literature

Jay David Bolter, Writing Space: Computers, Hypertext, and the Remediation of Print, Second Edition. Mahwah: Lawrence Erlbaum Associates, 2001.

Eduardo Kac, ed., Media Poetry: An International Anthology (Chicago: The University of Chicago Press, 2007).

Adalaide Morris and Thomas Swiss, eds. New Media Poetics: Contexts, Technotexts, and Theories (Cambridge: The MIT Press, 2006).

Artists’ Writings

Kristine Stiles and Peter H. Selz, Theories and Documents of Contemporary Art - A Sourcebook of Artists' Writings (California: University of California Press, 1996).

Language and Art

David Cateforis, 'Calligraphy, poetry and paradoxical power in Wenda Gu's Neon Calligraphy Series', Word & Image, 26: 1 (2010), 1-20.

Journal of Visual Culture, Vol. 6, No. 1 (2007) (the whole issue).

Jean Robertson and Craig McDaniel, “Language,” in Themes of Contemporary Art: Visual Art after 1980, (Oxford University Press, 2005), 191 - 232.

Texts on Key Areas in Visual Culture, Populer Genres & Others

Michel Foucault, “Panopticism” in Discipline and Punish: The Birth of the Prison (New York: Vintage, 1995), 195 - 230.

Katherine Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago: University Of Chicago Press, 1999).

George E. Slusser and Eric S. Rabkin, Aliens: The Anthropology of Science Fiction (Illinois: Southern Illinois University Press, 1987).

Paul Virilio, The Information Bomb, trans. Chris Turner (London and New York: Verso, 2005).

Raymond Williams, “Advertising: The magic system,” in Problems in Materialism and Culture: Selected Essays (London and New York: Verso, 1997, 1980), 170 – 195.

Toby Wilsher, The Mask Handbook (New York: Routledge, 2007).

WEEKLY SCHEDULE

Introduction to Visual Culture

Week 1/ February 12: What is Visual Culture?

Nicholas Mirzoeff, “What is Visual Culture?” in The Visual Culture Reader (London: Routledge, 2002), 1 - 33.

Learning Outcomes: The students will
a. reflect critically upon visuality and visual culture
b. be introduced briefly to the current body of literature written on the area
c. be able to link their current practices of translation to the field of visuality

Week 2/ February 19: Images, Rhetoric and Political Discourse

Roland Barthes, “Rhetoric of the image,” in Visual Culture: the Reader, Stuart Hall and Jessica Evans, eds. (London: Sage Publications, 1999), 33 – 40.

Learning Outcomes: The students will
a. discuss key concepts of structure and agency
b. be asked to position the rhetoric on the image within contemporary culture

Translating Texts on Arts: Developing Generic and Thematic Approaches

Week 3/ February 26: The Thematisation of Language in Contemporary Art
Due: Write a short essay on an artwork/ exhibition that incorporates language as part of the visual work.

Jean Robertson and Craig McDaniel, “Language,” in Themes of Contemporary Art: Visual Art after 1980, (Oxford University Press, 2005), 191 - 232.

Learning Outcomes: The students will
a. be exposed to a collection of contemporary artistic expressions where language is thematised.
b. discuss the communication between the verbal acts, imagery and representation.
c. explore the uses of language as a strategy to deliver a politically charged message in an artwork and explore the reflection of theories of language in visual artworks.

Week 4/ March 5: Photography and Translation

Ashley la Grange, “Clive Scott, The Spoken Image: Photography and Language,” in Basic Critical Theory for Photographers (Oxford: Focal Press, 2005), 133 – 148.

Susan Sontag, “In Plato’s Cave,” in On Photography (New York: Picador, 1990), 2 – 24.

Learning Outcomes: The students will
a. be introduced to current debates on photography
b. reflect upon the uses of documentary photography
c. compare the textual responses to image bombardment from classical writings to pieces written after the development of digital technologies

Week 5/ March 12: The Language of Film
Screening: Harrison Bergeron (dir. Patrick Horne, 2006) based on a short story by Kurt Vonnegut, Jr, “Harrison Bergeron,” in Welcome to the Monkey House.

Amy Villarejo, “The Language of Film,” in Film Studies The Basics (London: Routledge, 2002), 24 - 53.

Learning Outcomes: The students will
a. be able to analyse translation of texts on film
b. discuss the adaptation and translation strategies at the intersection of the word and moving images
c. discuss the relationship between the filmic genres and translation of texts

Week 6/ March 19: A Brief Introduction to New Media and Digital Art
Guest Speaker: Lanfranco Aceti

Paul Brown, “Recovering History - Critical and Archival Histories of the Computer-based Arts,” SIGGRAPH 2003 Art Show Catalogue, 2003.

Lev Manovich, “What is New Media?” in The Language of New Media (Cambridge: MIT Press, 2002). 43 - 74.

Learning Outcomes: The students will
a. be introduced to the concept of digital art and new media
b. be acquainted with examples of software art
c. be presented art projects which are based upon the translational relationship between text and image

Week 7/ March 26: Visual Poetry: New Media for an Old Genre
Due: Proposals of final assignments

Eric Vos, “Media Poetry – Theories and Strategies,” in Media Poetry: An International Anthology, Eduardo Kac, ed. (Chicago: The University of Chicago Press, 2007).

Learning Outcomes: The students will
a. discuss the relationship between traditional forms of poetry and digital poetry
b. discuss the challenges of translating new media poetry
c. be asked to form strategies regarding code-based poems

Week 8/ April 2: Translating the Artistic Style I: Exhibiting and Translating
Exhibition: Gelenekten Çağdaşa: Modern Türk Sanatında Kültürel Bellek

From Istanbul Museum of Modern Art’s website:

“From Traditional to Contemporary: Cultural Memory in Modern Turkish Art“ will be a exhibition in which modern and contemporary artists will take part. These are the artists who reinterpret information, which is traditional, in the context of a new language of expression.

“From Traditional to Contemporary: Cultural Memory in Modern Turkish Art” will consist of works by the following artists: Erol Akyavaş, İsmet Doğan, İnci Eviner, Bedri Rahmi Eyüboğlu, Selma Gürbüz, Ergin İnan, Balkan Naci İslimyeli, Murat Morova, and Ekrem Yalçındağ. Held in the Temporary Exhibitions Hall, the show will include works by the participating artists, from their different periods, and in disciplines ranging from Video to Painting and from Installation Art to Photography.

Week 9/ April 9: Translating the Artistic Style II: Artist’s Writings
Due: Translate one of the artist writings from Theories and Documents of
Contemporary Art - A Sourcebook of Artists' Writings (Kristine Stiles and Peter H. Selz) and present parts of your translation by connecting the artist’s writing with his/her creative work.

Learning Outcomes: The students will
a. practice translating artist’s writings and reflect upon the relationship between the creative pieces of a particular artist and the writing style of the artist.
b. observe how word is shaped when it is a tool of expanding the interpretations of image.

Translating Texts on Key Concepts in Visual Studies and Contemporary Culture

Week 10/ April 16: Challenges of Translating: Texts on Posthumanity as a Case Study
Guest Speaker: Münire Bozdemir
Due: Translate a part from Katherine Hayles, 2009.

Katherine Hayles, “Toward Embodied Virtuality” in How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago: University Of Chicago Press, 1999), 1 -25.

Learning Outcomes: The students will
a. be introduced to debates on posthumanity
b. discuss the potential strategies that a translator may adopt when he/she is dealing with terminology that is not familiar to target reader

Week 11/ April 23: No Class - Holiday

Week 12/ April 30: Gaze, Spectatorship, Surveillance

Learning Outcomes: The students will
a. discuss the contemporary surveillance techniques and theoretical material on the issue
b. learn how gaze and surveillance is thematised in contemporary art
c. be asked to reflect upon translated texts on the issue

Michel Foucault, “Panopticism” in Discipline and Punish: The Birth of the Prison (New York: Vintage, 1995), 195 - 230.

Marita Sturken and Lisa Cartwright. “Spectatorship, Power and Knowledge,” in Practices of Looking: An Introduction to Visual Culture (New York: Oxford University Press, 2004), 72 - 93.

Week 13/ May 7: Advertisement and Cultures of Consumption

Raymond Williams, “Advertising: The magic system,” in Problems in Materialism and Culture: Selected Essays (London and New York: Verso, 1997, 1980), 170 – 195.

Learning Outcomes: The students will
a. develop an ability to interpret advertisement in relation to the concept of visual pollution
b. be able to connect the discussions on visual culture and image rhetoric with advertisements

Part IV: Conclusions

Week 14/ May 14: Conclusions and Discussions on Final Assignments