Sample Art Paper on Images in Research

In the field of art, research has been conducted. The researchers have utilized images in the entire
process of research to communicate the information or messages that could help to envisage the
whole process. By taking advantage of the visual images, the researchers can promote scientific
results using tangible evidence. Thus, the intended users can interpret and understand the
findings. As a result, the research creates attraction through the appealing characteristics created
by the use of such images creating its awareness. Images are, therefore, crucial in conveying the
The art of philosophy involves various theories that promote research. It included
institutionalism, imitational, emotionalism, formalism, and instrumentalism. These theories are
helpful as they create an image form of culture and imagination through the help of aesthetic
images and art. Creative writing, therefore, entails critical thinking that is presented through
ideas, information, result summaries as well as reports. This essay explores various aesthetic
ideas and the use of various images concerning theorists. It also gives relevance or significance
in the field of art/design practice based on key practitioners.

Surname 2

Capturing of audience Attention
These images relay a lot of information; as they say, pictures tell a thousand words, and
thus, they promote scientific content in various human aspects. It, therefore, implies that multiple
generations easily understand them. It is through capturing attention, explaining complex and
tough concepts, and inspiring future and upcoming generations. In the context of social media,
images help in receiving engagements. Through grabbing the attention of the audience, they as
well support interactions that keep active conversations in social media platforms (Depraz and
Natalie, p. 121). Therefore, the researcher’s attention can be easily driven to critical areas that
require conventional interaction or a lot of investigation (Duveen and Gerard, p. 182).
Additionally, contrary to the use of standard texts, which could sometimes not be understood by
several individuals, images allow conveyance of message by the use of more characters, hence
they can explain things that could have used several paragraphs to communicate.
Images in Education
Since a group or an individual easily understands pictures at some juncture, they are
excellent educators. They also help to educate because they are amplified types of stimuli. Some
individuals view reading as time-consuming, and therefore, they prefer to use images as they
relay information in the shortest time possible (Vyncke and Michelle, p. 204). Further, students
can easily memorize images than text in the study, and hence, many schools use visual images to
relay education.
In some cases, images educate through telling a story. For instance, in the current
COVID-19 situation, when we see police tracks in Italy carrying bodies, the picture helps people

Surname 3
adhere to containment measures as they see this scaring visual image. Also, the use image of the
virus scares people and makes them visualize how the virus reacts to their bodies (Zbainos et al.
55). All these images, in turn, help prevent the spread of the virus as people comply with the
government's directives. This implies that scientifically, images tell stories as depending on how
we get to interpret them and the circumstances one is in, these images carry a thousand words.

Images in irony
Glover's video is an art that can be interpreted in various ways, as we consider the effects
and intentions of the viewers (Fish and Barbara p 122). The image portrayed in the video are
metaphors combined with vivid practicality and nuanced concepts. This video functions as a
mirror that makes viewers see ugly images. These images make us imagine or visualize and
reflect the racist society we live in (Münster, Sander, et al. 375). The images also shape and mold

Surname 4
the customs and values that uphold this racist philosophy and deed. In the video, we see that
there are pauses and music pieces, which in poetry is used to break up the poem.
This gives Glover's art more power as negative space is created around the images, thus
giving them definition. Most of the viewers will, therefore, understand as he does this he is
trying to allow the most despicable and throbbing aspect of the society to stay put in the negative
space (Pilgrim and Jodi p 94) In this, the sense and richness resultant from the conversations
materialize from the pauses.
As a result, we learn and see how racist America sends away what is noteworthy and
turns to look elsewhere. Through images, we see that, like other art, Glover decides what images
appear in the visual field; thus, there is continuous juggling in this video (Fish and Barbara p
122). Glover uses some level of intelligence in the video to elucidate the contradictory reality
where viewers are consumed in the dance moves in the front. They remain contented concerning
the lingering depth of pain in the background (Münster, Sander, et al. 375). He can play with the
viewers by allowing some aspects and pulling back others, which challenge how we see and

Surname 5
From his art, we learn that white has wrongly appropriated some aspects of black culture
that they yearn for. It means those which they want to imitate while at the same time they
dehumanize, degrade, and dismiss those aspects of the black culture that they decide to abandon
(Roberto and Brian Davis n.p). In doing this, they overlook the suffering and twinge inflicted on
black people. The greatest dramatic strength in his video is the ability to play with the viewers.
This challenges the viewer of what the subject is and who the object in the video is. We wonder
if black culture is the object or subject (Fish and Barbara p 122).
However, the black culture and community are restricted in the video's structure and in
the viewer's imagination, which means that there is something important missing. Additionally,
the issue of the audience is not self-evident and which is vital. We are also left wondering if the
video is meant for black people or white or both (Münster, Sander, et al. 375). If it is meant for
both of them, does the video depict such images to provide an incentive for allying across race to
promote conversations or are meant to build bridges?
Glover seems to talk about rage, and his video seems to emphasize the optimistic roles
and results emanating from rage (Roberto and Brian Davis n.p). If the main idea of the video is
to bring a better understanding and consideration in the framework and legality of black rage,
then he should have exposed both black men and women rage. Thus, the video demoralizes its
critical and life-confirming possibilities by destroying black women's lived experiences and
indispensable rage, and by making black man as the brutal one (Farrugia, Reuben, and Christine
Guillemot n.p). As a result, his video seems to perpetuate the already afflicting internalized
oppression in the black community.

Surname 6
The video does not include the aspect of the black women’s justifiable violence, rage
against violence, sexism, and racism. Showing gun violence, the video dies not simultaneously
expose gendered and domestic violence (Holm et al. p 311 There has been a feeling that black
men fail to acknowledge the sexist oppression against black women. Omitting gendered violence
is a problem in the video if some of its aims were to call into question to know what we know
and how we come to see what we see. The video, therefore, is a visual image of black lives and
reproduces irony to the public of a movement by three black women, whom the culture that
regards black men’s lives as being foremost have rendered them virtually invisible (Pilgrim and
Jodi p 94However, no matter how much the video has beaten down Glover represent black man
to be, the invisibility of black women remains glaring in terms of their strength and vulnerability.

Images in symbolism
Benjamin wrote the idea of a dialectical image, and his heritage represents an image
where a construction site seems to fuse ruins. While it is not clear if such image represents
virtual or material reality, and if it is a perception or a picture, Benjamin claims keep insisting
(Hambermas P 92) Further, it is not clear the way to differentiate figures of speech such as

Surname 7
metaphors from the imaginary dialectical image (Fish and Barbara p 122). His project seems like
a woven net that is designed to grasp the dialectical image. His last work or text brings out the
concept of history, but the term dialectical image disappears.
He tries to explain this term, and the attempts diverge with the images of the sign, and
the narratives designate two diverse paths. The image suggests the likelihood of sets of diagrams
that map the dialectical image's position in gathering the associated terms, exemplars, and ideas
(Adorno and Benjamin, p 1928). This image may be a Venn diagram illustrating the dialectical
image's overlapping theoretical field or suggesting zones of interactions between the concept and
domains of the term. Alternatively, the image could be a vector diagram displaying the resultant
forces indicated by assert of history, truth, meaning and material (Pilgrim and Jodi p 94) It could
also perhaps be a flow diagram arranging and comparing the procedural steps, from conception
to synthetic construction of such symbol.
From his texts or writings, we get more insinuations that validate sketching diagrams and
examine the possible consistency of theory and explain it (Farrugia, Reuben, and Christine
Guillemot n.p) This is in line with what is displayed by Buck-Morss in her book on Arcades.
Benjamin seems to use his dialectical image or his diagrams to illustrate history. However, his
thoughts seem to be fragmented, leaving gaps. He insists that history decays into images rather
than stories. Therefore, the narrator of this possible lineage is confronted by the caution of his
writings against the careless threads in bits of history (Alam Fakhre and Sami Rahman n.p).
Thus, his academic narrators place themselves as commentators, to avoid conforming to the texts
to the point of tautology, or completely contradicting the text (Holm et al. p 311) They settle in
the gaps and attempt to fix discontinuity which Benjamin viewed as essential to his technique
and the historical material as well.

Surname 8
The accounts of the dialectical images have confirmed its ambiguities, and theoretical
inconsistency which Tiedemann in "Dialectics at a Standstill" refers to its iridescence
(Tiedemann p 930) The obvious circulatory behind its logic has been pointed out vaguely with a
patronizing claim that the intellectual existence of Benjamin was weird in that one should not
tackle it simplistic insist for consistency (Habermas, 92). The majority of the commentators have
aimed to seal the gaps by supplying the links absent in Benjamin's writings, broadening the
concepts or attempting to resolve the contradictions that the dialectical image was left hanging.
His art uses images to symbolize the bits of history instead of telling stories.
Images in Visual Culture
It can be described as how we live lives and is intertwined in terms of personal, political,
and social with the contemporary and historical world we live in. Therefore, to understand and
define who we are, it is essential to consider culture (Cottrell and Stella, p. 342). The images are
deeply rooted in daily lives, and no boundaries exist between art and life, implying that it is part
of daily lives. However, society seems not to notice the visual culture subtleness and its impact
on everyday life. Culture is viewed as a representation of the recognition of a cultural
environment that is hugely changing. This cultural environment entails the new technology,
changes in the social conditions as well as economics.
In defining visual culture, a modernist framework is like a tree whose roots and pathways are
easily traced. At the same time, in the context of postmodernism, it is a rhizome, which is
interconnected and complex to follow a single path (Magolda et al. p. 134). In the educational
context, it means studying images from contemporary culture and mass media. It is also said to
be a site for economic, political, social, and personal references, including decoding of visual

Surname 9
images, cultural implications, and communication (Kövecses and Zoltán, p. 209). The intentions
of the artist only distinguish this. Appropriation is where we borrow images or artwork from
popular culture and then interestingly change the context to use them for other purposes.

Young people can selectively respond to the influence of visual bombardment through
the use of art criticism and critical understanding. Additionally, understanding how images
communicate, young people understand themselves, their culture, and the roles they play in
society. Consequently, they participate in social change (Cottrell and Stella, p. 342). Young
people can develop more precise images. Children can also interpret the imagery of art and
differentiate between positive and negative images in the visual culture. We seem to have visual
overload, as the visual images impact the culture in the form of consumer culture (Kövecses and
Zoltán, p. 209). It may be through advertisements, internet usage, television, magazines, or
videos, among others. A torrent of images has been generated through consumer culture, making
the kind of art we see today. These images are insistent, ambiguous, and color-saturated, thus
overwhelming us (Halpern et al. p.50).

Surname 10

There have been increases in the number of magazines that contain images that are
targeted at a niche market (Carroll and Noël p 123). Advertising has been carried out with hidden
messages. It is not convincing that society is encountered with excess information, and not
enough evidence is available to permit the teaching of the skills on how to tackle the surplus of
visual images (Elder et al. p 100). In the current society, the consumers are overwhelmed and
the choice and get controlled by how the products are well promoted, advertised, and displayed.
The visual images are key components to the consumerist society. Educators usually ignore the
significance of the visual culture and the role of images on younger people (Gendlin and Eugene
p45). A visually illiterate student is prone to be exploited if they are not educated on how visual
images manipulate. Consumerism has become part of today’s society while it goes unnoticed.

Surname 11

Graphic design involves art that conveys messages by combining words and pictures.
Contrary to fine art, the artists work for clients that want to pass across specific messages. Fine
art involves the images from the imagination of the artists. Graphic design is commonly used in
advertising or marketing (Buchanan and Richard p 185). The clients may be selling services or
products and aim to create awareness through the images. Therefore, the artist is required to
create graphics following the clients' needs. Images are the best way to pass messages and ideas
Regardless of the language they speak, people will respond and process images. The
images may include drawn or painted illustrations. In the current world, we see applications of
pictures everywhere. Photographs convey messages quickly; thus, they are effective images
(Elder et al. p 100). Advertisements could seem much ineffective if they were only made of
words. Many computer art and software programs are used to create images.


Surname 12
The use of imagery is relevant in the field of art. As described, images are helpful in art as they
relay more information within the shortest time possible. They also educate and scientifically tell
a story that we can visualize processes. However, looking at the other side of a coin, we have
learned that a few negative aspects accompany the use of these images. We have seen that the
practitioners like Glover can decide which images are presented to the viewer for their interest
while pulling back others. Benjamin has utilized imagery inconsistently and leaves his texts
being commentated to reduce his contradictions.

Surname 13

Work cited

Adorno, Theodor W., and Walter Benjamin. Complete Correspondence 1928-1940. Ed. Henri
Lonitz. Trans. Nicholas Walker. Cambridge: Polity Press, 1999.
Akbari, Ramin. "Reflection reflections: A critical appraisal of reflective practices in L2 teacher
education." System 35.2 (2007): 192-207.
Alam, Fakhre, and Sami Ur Rahman. "Intrinsic registration techniques for medical images: A
state-of-the-art review." Journal of Postgraduate Medical Institute (Peshawar-
Pakistan) 30.2 (2016).
Buchanan, Richard. "Design and the new rhetoric: Productive arts in the philosophy of culture."
Philosophy & rhetoric 34.3 (2001): 183-206.
Carroll, Noël. Beyond aesthetics: Philosophical essays. Cambridge University Press, 2001.
Cottrell, Stella. Critical thinking skills: Effective analysis, argument, and reflection.
Macmillan International Higher Education, 2017.
Depraz, Natalie. "An account of its structural dynamics'." Investigating phenomenal
consciousness: New methodologies and maps 13 (2000): 121.
Duveen, Gerard. "12 Representations, identities, resistance." Development as a social process:
Contributions of Gerard Duveen (2013): 182.
Elder, Linda, and Richard Paul. "Critical thinking: Tools for taking charge of your learning and
your life." (2011).

Surname 14
Farrugia, Reuben A., and Christine Guillemot. "A simple framework to leverage state-of-the-art
single-image super-resolution methods to restore light fields." Signal Processing: Image
Communication 80 (2020): 115638.
Fish, Barbara J. "Response Art in Art Therapy: Historical and Contemporary Overview." Art
Therapy 36.3 (2019): 122-132.
Gendlin, Eugene T. Experiencing and the creation of meaning: A philosophical and
psychological approach to the subjective. Northwestern University Press, 2007.
Halpern, Diane F., and Milton D. Hakel. "Applying the science of learning to the university and
beyond: Teaching for long-term retention and transfer." Change: The Magazine of Higher
Learning 35.4 (2003): 36-41.
Hambermas, Jürgen. "Walter Benjamin: consciousness-raising or rescuing critique." Smith: On
Walter Benjamin. 90-128.
Hecq, Dominique. "Creative writing and theory: Theory without credentials." Research methods
in creative writing (2013): 175-200.
Holm, Gunilla, Fritjof Sahlström, and Harriet Zilliacus. "Arts-based visual research." Handbook
of arts-based research (2018): 311-335.
Kövecses, Zoltán. Metaphor and emotion: Language, culture, and body in human feelings.
Cambridge University Press, 2003.
Magolda, Marcia B. Baxter. Teaching To Promote Intellectual and Personal Maturity:
Incorporating Students' Worldviews and Identities into the Learning Process. The Jossey-

Surname 15
Bass Higher and Adult Education Series. Jossey-Bass Inc., Publishers, 350 Sansome
Street, San Francisco, CA 94104-1342, 2000.
Münster, Sander, et al. "Image libraries and their scholarly use in the field of art and architectural
history." International journal on digital libraries 19.4 (2018): 367-383.
Pilgrim, J. Michael, and Jodi Pilgrim. "The Use of Virtual Reality Tools in the Reading-
Language Arts Classroom." Texas Journal of Literacy Education 4.2 (2016): 90-97.
Roberto, John, Diego Ortego, and Brian Davis. "Toward the Automatic Retrieval and Annotation
of Outsider Art images: A Preliminary Statement." Proceedings of the 1st International
Workshop on Artificial Intelligence for Historical Image Enrichment and Access. 2020.
Tiedemann, Rolf. "Dialectics at a standstill: approaches to the Passagen-Werk." Benjamin: The
Arcades Project. Trans. Gary Smith and André Lefevre. 930-945.
Vyncke, Michelle. The concept and practice of critical thinking in academic writing: An
investigation of international students' perceptions and writing experiences. Diss. King's
College London, 2012.
Zbainos, Dimitrios, and Ariadni Anastasopoulou. "Creativity in Greek music curricula and
pedagogy: An investigation of Greek music teachers' perceptions." Creative Education
3.01 (2012): 55.