Comics and visual biography: sequential art in social research

This article describes the use of comics in a mixed methods biographical research project aimed at understanding the experiences of vegans (i.e. people who eschew animal products such as meat, dairy and eggs). It begins with a discussion of Comics Studies as a growing interdisciplinary field of academic inquiry, and attempts to trace a connection between this and Visual Sociology more broadly. It then provides examples of the way in which comics were used in the project and the rationale underpinning this. Participants were asked to create comics about their lives, which aimed to supplement biographical interviews that had already taken place, eliciting rich ‘visual biographical’ data that an interview would not produce. Comics were also used as a mode of representation, whereby a ‘visual autoethnography’ was produced, outlining the author’s reflexive autobiographical relationship with veganism, and telling the story of the research. This project presented challenges, specifically around participation, ethics and anonymity, and data analysis. Despite this, the comics produced provided an unusual and valuable insight into the lives and experiences of vegans. To conclude, this article argues that the visual biographical data yielded through the use of the Comics medium represents a valuable tool in visual sociology.     

Alcohol,Sex, and Screens: Modeling Media Influence on Adolescent Alcohol and Sex Co-Occurrence

Alcohol use and sexual behavior are important risk behaviors in adolescent development, and combining the two is common. The reasoned action approach (RAA) is used to predict adolescents’ intention to combine alcohol use and sexual behavior based on exposure to alcohol and sex combinations in popular entertainment media. We conducted a content analysis of mainstream (n = 29) and Black-oriented movies (n = 34) from 2014 and 2013–2014, respectively, and 56 television shows (2014–2015 season). Content analysis ratings featuring character portrayals of both alcohol and sex within the same five-minute segment were used to create exposure measures that were linked to online survey data collected from 1,990 adolescents ages 14 to 17 years old (50.3% Black, 49.7% White; 48.1% female). Structural equation modeling (SEM) and group analysis by race were used to test whether attitudes, norms, and perceived behavioral control mediated the effects of media exposure on intention to combine alcohol and sex. Results suggest that for both White and Black adolescents, exposure to media portrayals of alcohol and sex combinations is positively associated with adolescents’ attitudes and norms. These relationships were stronger among White adolescents. Intention was predicted by attitude, norms, and control, but only the attitude–intention relationship was different by race group (stronger for Whites).     

Screens and teens with migraines: visually sensitive learners in contemporary digital classrooms

Technology-rich school classrooms incorporate digital media in the form of computers and interactive whiteboards into the visual learning environment. Whilst evidence-based research shows use of technology improves academic outcomes for high school students in general, there are limited data available on the consequences of digital media use for high school students with migraine. This article highlights the historical issues with light-emitting media, the physical parameters that are changed by adoption of these digital media into the classroom and some of the adverse effects caused by visual light stimulation. The article concludes by calling for further social research to better understand adjustments needed by students with migraine in the digital media classroom, and the policies needed to support image parameter guidelines for schools. In this article, the term visual light sensitivity refers to any student’s abnormal sensitivity to optically sighted light leading to negative responses, including that of migraine.     

The art and craft fair: A new institution in an old art world

This paper focuses on the role of art and craft fairs in the contemporary stained glass profession. Full-time, non-traditional stained glass work could be considered a marginal profession in that it lacks a centralized source of control. The institutionalization of fairs is one solution to problems of decentralization in this profession.Three patterns of participation are noted for stained glass practitioners. First, some artisans participate in art and craft fairs as a stepping stone in their professional development. Second, some practitioners have custom-work studios and continue to participate in the fairs after they have established their studios. Third, for some the art and craft fair is an end, rather than a means. Art and craft fairs serve as a functional equivalent to apprenticeships and other centralized sources of control in the stained glass world. Quantitative and qualitative data are used to support the arguments. The paper concludes by discussing the applicability of these ideas to other contemporary arts/crafts.My thanks to the reviewers and editors for their helpful comments on earlier drafts of this paper. This paper has been completed, in part, with equipment purchased by NSF Grant # CSI-8551728.     

Art in my world: Exploring the visual art experiences in the everyday lives of young children and their impact on cultural capital

This paper presents data from a unique longitudinal study exploring the visual art experiences of nine children in two Scottish primary schools. Using a theoretical lens of cultural capital, the study is focused on spaces where children experience visual art and the value of these experiences, using arts-informed, visual methods. While each child presented a particular insight, the findings question the value of current school visual art experience over other spaces. The findings also demonstrate the capacity of children to resist the control of cultural capital by adults, engaging with visual art on their own terms.     

A New Deal': art, museums and communities re-imagining relations

‘A New Deal’ argues that engaged or participatoryart practice can be shown to be central rather than marginalto the meaning and value of art in the ‘story’ ofhuman society, but only if we take a long view and change theposition from which we read and understand received history.It also argues that new models of art and institutional practiceare needed in the present, which foreground and validate participation,engagement and commonality – the reconnection of artistand community within social space. These new models are neededif we are to generate the new art forms that emancipate ratherthan disempower the citizen and which are not defined by thecul de sac of commodity and consumerism.     

A question of perception: Bourdieu, art and the postmodern

Bourdieu and Darbel's classic study of European art museum audiences, The Love of Art (1991), remains one of the most influential academic studies of the social indices of art perception. Its findings were central to Bourdieu's on-going study of culture-mediated power relations, as found in the book Distinction (Bourdieu 1984), as well as social surveys of the behaviour of museum audiences across the world. Much in Bourdieu's account of art perception, however, has begun to appear dated and in need of supplementation. This paper will be a critical but sympathetic re-reading of Bourdieu's sociology of art perception in the light of recent criticisms of his approach. Whilst fine art and its institutions continue to function as sources of social identification and differentiation, this paper argues that the relationship between perception and stratification is somewhat looser than connoted in Bourdieu's work. Beyond the shift to a less rigid taxonomy of social formations, the immense expansion of the visual arts complex has opened up possibilities for the dissemination of art knowledge beyond the cultivated bourgeois. The erosion of boundaries between the aesthetic and the economic, between art and popular culture, are the result of processes of commodification that have placed museums alongside shopping malls within the realms of consumption and entertainment. New audiences have emerged from this mix with less dichotomized - that is, either cultivated or popular - ways of seeing culture that suggest a revision of Bourdieu's overly integrated account of class and cognition. An alternative, 'postmodern', approach to art perception is entertained, where an aesthetics of distinction is replaced by a culture of distraction, but this abstracts culture from any structural grounding. Capturing the shift to an accelerated cultural present, instead, requires a warping of Bourdieu's categories to account for broader patterns of culture and economy and the accentuation of modern visual culture.     

Theorising visual framing: contingency,materiality and ideology

Visual framing is a popular paradigm for media research around the world but its conceptualisation remains vague and often neglects the richness of images. Just as with framing theory generally, its definition and operationalisation are matters of considerable debate. Visual framing’s many applications may be advantageous for their bridging properties but at the same time demand theoretical refinement. Based on a review of 165 scholarly publications from the humanities and social sciences, this essay first argues that media research tends to emphasise literal depictions more than visual conventions or production, falling short of its interrogative and critical potential. The essay then proposes a model of visual framing that attends more carefully to the contingency and materiality of images in order to strengthen the paradigm’s explanatory and critical value.     

The propagation of awe: public relations,art and belief in Reformation Europe

Public relations scholarship, so positivistically oriented, has shown little interest in history and the arts. While public relations may or may not be a science, few scholars would deny that PR is an art. The crystallizing potency of the arts, throughout history, offers communication scholars a largely unexplored source for theory development. This metahistorical essay explores the origin of public relations as the propagation of awe, i.e., the strategic use of art, both high and vulgar, as a tool of opinion formation. The essay's focus is on the patronage, objectives and messages of art in the Catholic and Protestant reformations, the prolonged and conflictual era which some historians identify as the origin of modern public opinion.     

Power,capital, and artistic freedom: contemporary Chinese art communities and the city

This paper offers a critical review of the proliferation of the contemporary art colony in China since the beginning of the twenty-first century in the context of China's promotion of cultural creative industries as one of the strategies for urban development and economic growth. Through analyzing cases in Beijing, Xi’an, and Sanya, cities ranging from ‘first-tier’ to ‘third-tier’ in their size and status, the paper explores the challenges and opportunities many contemporary Chinese art professionals find themselves face amid the competitive city image building campaign, a top-down movement led by local state and private investors in cities across China. It is evident that contemporary art and alternative art spaces associated with it have been drawn into the process of commodification, inadvertently recruited to play an ancillary role in the reproduction of the hegemonic collusion between political power and capitalism in a rapidly urbanizing China. Nonetheless, I argue that the inclusion of contemporary art communities as a player in the production and reproduction of the urban space has provided critical-minded artists, critics, and curators opportunities to participate in the reconfiguration of the physical and cultural landscape of Chinese cities, albeit not always with positive outcomes. As such, some art professionals are able to appropriate the process of capitalist urbanization to create their own ‘infrastructures of resonance’ [Thompson 2015. Seeing Power: Art and Activism in the Twenty-first Century. Brooklyn: Melville House], which support artistic freedom and facilitate the growth of diverse forms of cultural creation and exchange despite the coming dominance of ‘power plus capital’ [X. Wang 2003. A Manifesto for Cultural Studies. In: C. Wang, ed. One China, many paths. London: Verso, 274–291].     

Impact of a sleep course on sleep,mood and anxiety symptoms in college students: A pilot study

Objective: To examine the impact of a sleep course on sleep-related behaviors, mood, and anxiety in college students. Participants: Participants were 145 students enrolled in either the sleep course (n = 70) or a psychology course (n = 75); data were collected in September 2014, November 2014, and February 2015. Methods: Sleep characteristics and symptoms of depression and anxiety were assessed using validated questionnaires and sleep logs. Linear, logistic and proportional odds regression models were used to test course effects. Results: In November, sleep course students reported significant differences in sleep hygiene (SHI; p < .001), perceived sleep latency (PSQI; p < .05), and circadian sleep phase (MEQ; p < .05), compared to controls. In February, the sleep course students maintained most of the aforementioned gains and reported fewer symptoms of depression (CES-D; p = .05) and anxiety (BAI; p < .05). Conclusions: These positive preliminary results indicate that focused education has the potential to improve sleep among college students.     

A withdrawn vision: art,realism and the scene of incest

Via a reading of incest survivor art, this essay explores the possibility of a political aesthetic based on the unrepresentability of trauma. Key to this essay is the idea that trauma cannot be redeemed by art and it is therefore necessary to develop a reading of art that does not seek to resolve the horror of incest. Drawing inspiration from Hal Foster’s influential notion of traumatic realism, the aim of this essay is to develop a critical language that pushes the question of representing childhood trauma beyond the models of repression and realism but doing so without collapsing the argument into an anti‐realist position. Of critical importance to this analysis is a post‐repression model of trauma that puts into jeopardy the idea that history can achieve symbolic recognition. Underpinning this essay is a conceptual move from the “return of the repressed” to the “return of the real” and in so doing I aim to demonstrate the political importance of this shift in thinking about the reality and representation of trauma.