The influence of visual culture

The concept of world image is not enough to analyze the changed and changing situations. The rapidly multiplying image cannot be unified into a single image for intellectuals to watch. Visual culture tries to find effective methods in the new (virtual) reality, so as to grasp the key to resist the information crisis and visual explosion in daily life. In the words of Michel de Seto, visual culture is a tactic, not a strategy, because "tactics belong to strategy". To carry out a tactic, we should fully consider the situation of the enemy and the controlled society in which we live. Although some people find that the military significance of tactics is irrelevant, it can be said that tactics are a necessary means to avoid failure in the continuous cultural war. Just as the early exploration of daily life emphasized the way that consumers create different meanings for themselves from the perspective of mass culture, visual culture will also carefully explore all kinds of ambivalence, cracks and resistance in post-modern daily life from the perspective of consumers.

The post-modern deconstruction of reality is not completed in the avant-garde studio, but in daily life. Just as situationists collect seemingly normal but strange things from newspapers, we can also see the huge collapse of daily life reality with the help of mass visual media. In the early 1980s, postmodern photographers like Shirley Levin and Richard Prince tried to question the authenticity of photography by commandeering photos taken by others. Denying the theory that photography reproduces reality has become a major topic of popular culture in magazines such as World News Weekly and other more respected publications. Photography has played an effective role in such a suspicious social atmosphere: O.J. Simpson's lawyer is likely to retort that such photos are forged-they show his client wearing unusual shoes worn by the murderer, so he must find 30 or more other photos. A photo can no longer represent the truth. Similarly, some TV dramas that people are particularly obsessed with have nothing in common with reality. Soap operas build a similar scene: a long-lost twin brother reunites with his family, which hardly causes discussion. The death of a character never means that he or she will not come back next week. In Hitchcock's words, it is because no matter what soap operas are performed, they are not real performances. Soap opera is probably the most international visual form, which has won the attention of different countries such as Russia, Mexico, Australia and Brazil. All over the world, real things are subverted all the time.

Above all, Lyotard's revision of Kant's sublime theory has won universal praise, which is no problem. On the one hand, Kant thinks that all African arts and religions are "insignificant", so he disdains to mention them because they are far from sublime as he imagined. But for people without prejudice, African sculptures such as nail? Ladennkisi), they created a sense of sublimity that combined pleasure and pain, and African sculpture was also inspired by the desire to show intangible things. The study of visual culture tries to describe what Martin J. Powers called "a fractal network, which is full of various patterns from all over the world". The above examples of African sculpture pose a great challenge to this research method. However, Bowles did not simply defend an all-inclusive global visual image network, but emphasized the power difference of the global network. Today, it must be admitted that visual culture is still a kind of western discourse about the West. Within this framework, as DeVille reminded people, "the important question is how to think about modernity, not Europe in particular or necessarily ... it just happened". Historically, European-Americans-in Japanese words-dominated modern times in a relatively short period of time, and this period may be coming to an end. In short, the success or failure of visual culture may depend on its thinking ability from a cross-cultural perspective, and it should face the future, instead of following the trend with the rearview mirror anthropological culture research method as a tradition.