(b) explore the ways in which these diverse trajectories in the emergence of the study of visual culture are historically and theoretically distinctive because of the unique characteristics of a specific country, location, language, peoples, their histories of migration, governmental policies, and the contexts within which universities function as sites for interdisciplinary learning.
(c) interrogate some of the hazards of this distinctiveness –around, for instance, the hegemony of the Anglo-American, English as the lingua franca of the academic humanities, and questions of publishing and dissemination.

(d) discuss how the advent of Visual Culture Studies, with its new ways of seeing, knowing, understanding, and participating might:

(e) inquire into the economic imperatives (university priorities, increases in student numbers, government policy, etc.) that are playing a part in embedding Visual Culture Studies as a paradigm for research, learning, and making in universities, art colleges, and cultural institutions.