Word: visualizing
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Dates: during 1960-1969
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Only three of these methods will be followed in the VAC itself--visual communications, design theory, and creative activity. These three approaches will go by the general name, visual studies, and will merge to some unascertainable extent. Dean Arthur D. Trottenberg, chairman of the Executive Committee of the larger Committee on the Practice of Visual Arts, (C.P.V.A.), goes so far as to say that the three cannot be separated...
...curriculum for next year will include courses that exemplify each of these methods and combine them to various extents. In addition, it will include at least one course in a fourth category, to be called visual communications, which will concentrate primarily on the visual aspects of learning...
...history of art (exclusive of architecture) continues to be taught by the Fine Arts Department which, as Freedberg emphasizes, is entirely distinct from the Visual Arts Center and has no direct liason with it. This insistence on the separation of the Fine Arts Department from the Center can be explained by what Freedberg considers to be a consensus of opinion in the Fine Arts Department that "courses in practice or involving theoretical considerations of design are not actually necessary to the full understanding of the history of art or indeed the nature of artistic design. They may be a help...
...core course will be the already existing Arch. Sci. 124, a half course on design in the visual arts which includes study of design theory, some study of the cognitive process as it applies to vision, and development of students' aesthetic sensitivity. Taught by Sekler, and guest lecturers, it may be supplemented next year by a complementary half course, Arch...
...other existing theoretical course, Prof. I. A. Richards' Vis. Com. 105, taught for the first time this semester, places somewhat greater emphasis on variations in perception than on aesthetics. As Richards describes it, the course considers "illusion, individual differences in visual imagery, apprehension and interpretation; relative legibility and intelligibility of visual presentations; cultural differences in conventions of representation and decoration, and in the articulation of space; structural analysis of signfields; codification; the dimensions of meaning; visual analogues to logic, grammar and rhetoric; visual metonymy and metaphor; symbolization and iconography; valuation; tradition; distinctive characters of mass media (magazine, radio, film...