This paper integrates literature from the social sciences and humanities concerning the persuasive impact of visual material, highlighting issues of emotion and identification. Visuals are used not only to illustrate news and feature genres but also in advertising and campaigns that attempt to persuade their target audiences to change attitudes and behaviours. These include health, safety and charity campaigns, that attempt to socially engineer change in people’s beliefs, attitudes and behaviours. With the increasing presence of such visuals comes a (...) more emotive media environment with which people are forced to engage, and, under certain circumstances, disengage. (shrink)

Spatial and temporal scales are essential components of geological sciences; both are almost always imbricated in complex ways, challenging geoscientific knowledge among nonspecialists and students. The present paper focuses on the efforts made by the French naturalist Simon-Suzanne Nérée Boubée (1806–62) regarding popular education on geology. Though Boubée is poorly known nowadays, he experienced some prestige during his lifetime. He worked as an independent teacher, offering private as well as free public courses. Boubée, as a nineteenth-century science popularizer, repeatedly insisted (...) on his disposition for “spreading science for all.” He extensively published books and journals on geology, all aimed at popularizing geological scientific knowledge, considered to be of paramount relevance. This paper analyzes three visual examples extracted from his works: the Tableau Mnémonique des Terrains Primitifs, destiné au géologue voyageur, avec son explication (1831), the Tableau de l’État du Globe à ses différents âges (1832), and the Tableau figuratif de la structure minérale du globe, ou résumé synoptique du Cours de géognosie de M. N. Boubée (1839), supplemented with images from the travel guide Deux Promenades au Mont Doré (1834). Our goal is to understand Boubée’s efforts to synthesize information, scaling down geologic time and space into foldable materials that made geological knowledge cognitively and materially accessible to laypeople. (shrink)

Utilizing a pre-experimental pre-test post-test design, this study investigated the effect of an authentic audio-visual American sitcom on the intercultural sensitivity and intercultural effectiveness of a sample of male and female upper-intermediate English students. To this aim, 34 Iranian EFL students were selected through convenient non-random sampling. In order to assure the participants' homogeneity in English proficiency, the selected students were given the Oxford Quick Placement Test prior to the intervention. Over a 10-week period, the participants were presented with (...) nearly 30-min-long episodes of Friends in a flipped context, two episodes every week uploaded to the accompanying website. An online 10-item quiz on the day of watching and a next-day meeting were held. During the online discussion meetings, the participants discussed cultural questions tailored to the aims of the study. The required data were collected through the administration of the intercultural sensitivity scale and intercultural effectiveness scale in pre- and post-test assessments. The analyses of the data indicated that both ICS and ICE improved significantly during the intervention. However, ICS indicated more improvement. In addition, a semi-structured interview was administered to the participants to examine their perception of the flipped classroom experience. Having analyzed the data using MAXQDA 2020, some significant themes emerged which are reported. On the whole, the participants portrayed positive attitudes toward using technology in flipped classes. The educational and practical implications are discussed. (shrink)

The issue of how the studio arts can contribute to a liberal arts education is not something that John Dewey addressed in his long career. This is surprising since he had an enormous impact on educational theory in his early and middle years and an equal influence on aesthetics, particularly with respect to the visual arts, in his later years. Moreover, on a practical level, Dewey and his writings had a notable impact on the role of the studio arts (...) in liberal arts education through his effect on various colleges and universities with which he was associated. Notable in this regard was his impact on those at Black Mountain College who were reshaping our notion of the liberal arts as something that would strongly... (shrink)

Visual Arts Practice and Affect brings together a group of artist scholars to explore how visual arts can offer unique insights into the understanding of place, memory and affect. Each contributor highlights the crucial role the creative arts play in envisaging new perspectives on the making of meaning, ones that are grounded in the practicalities, materialities and embodied knowing of artistic practice. Art offers other ways of seeing, thinking, understanding the world. It can be very messy, very challenging, (...) but also moving, exquisite, astounding. The book opens a space for experiential appreciation by offering a writing that allows both the writer and the reader to consider those sorts of embodied sensibilities. (shrink)

The essays in Invisibility in Visual and Material Culture contribute pioneering and revelatory insights into the phenomenon of invisibility, forging new and multi-disciplinary approaches at the intersection of aesthetics, technology, representation and politics. Importantly, they acknowledge the complex interaction between invisibility and its opposite, visibility, arguing that the one cannot be fully grasped without the other. Considering these entanglements across different media forms, the chapters reveal that the invisible affects many cultural domains, from digital communication and operative images to (...) the activism of social movements, as well as to identity, race, gender and class issues. Whether the subject is comic books, photographic provocations, biometric and brainwave sensing technologies, letters, or a cinematic diary, the analyses in this book engage critically and theoretically with the topic of invisibility and thus represent the first scholarly study to identify its importance for the field of visual culture. (shrink)

In this article I analyse the extent to which there has been a shift in the cultural turn in legal scholarship and specifically from visual to what I call material jurisprudence, that is from visual to material ways of knowing law. I do so through an analysis of Desmond Manderson’s edited collection, Law and the Visual: Representations, Technologies, Critique, and Katherine Biber’s monograph, In Crime’s Archive: The Cultural Afterlife of Evidence. Inspired by the material turn in the (...) arts and humanities I apply a material lens as defined by historians of emotions working within this turn to these books. Using this lens, I analyse the extent to which the authors conceptualise and analyse their primary sources in material terms. In so doing it is my intention to encourage scholars of visual jurisprudence to consider the multisensorial nature of law by considering the material as a constitutive part or instead of the visual as has happened elsewhere in the arts, humanities and social sciences, as well as to do so with greater specificity and depth. (shrink)

Presented studies investigated the specificity of visual and auditory modalities in attentional processing of emotion, and its association with temperamental dimensions and trait-like attentional control. During preliminary study 30 participants were presented with the paper-pencil visual search task and emotional prosody detection tasks. Results revealed visual happiness superiority and auditory sadness superiority. During the main study, in addition to attentional performance, 51 subjects were administrated two questionnaires: EPQ-R and Attentional Control Scale. Introducing individual differences into analysis limited (...) the general pattern of modality distinctiveness in attentional processing of emotional stimuli obtained in the preliminary study. Findings for all personality traits studied separately showed that Extraversion and low Neuroticism were associated with the visual sadness superiority. Whereas interactional analysis indicated effective visual threat processing in extraverts with good AC and effective friendly prosody detection when Neuroticism and AC remain in inverse relationship. Hence, we have found that processing emotional targets in both modalities is associated with temperament dimensions and their interactions with attentional control. Additionally, findings from both studies suggest that general psychological laws might be challenged by individual differences. (shrink)

This special issue on affordances bases on the thesis, that all natural and artificial things inhere affordances that appeal to our cognitive system, and thus invite us to look at them, perceive them, think about them, interpret them, and use them. The concept roots in the studies of the American psychologist James J. Gibson from the 1960s. According to him, "things" offer a certain range of possible activities depending on their form, time patterns, and material qualities, thus becoming part of (...) human-thing-interactions. However, affordances can also be culturally trained. This aspect has been intensively discussed subsequently within different disciplines (e.g., Social Sciences, Design Studies). But only recently has the concept received attention in the field of Visual Culture Studies particularly through archaeological scholarship. (shrink)

This research delves into the potential of implementing artificial intelligence in architecture. It specifically provides a critical assessment of AI-enabled workflows, encompassing creative ideation, representation, materiality, and critical thinking, facilitated by prompt-based generative processes. In this context, the paper provides an examination of the concept of hybrid human–machine intelligence. In an era characterized by pervasive data bias and engineered injustices, the concept of hybrid intelligence emerges as a critical tool, enabling the transcendence of preconceived stereotypes, clichés, and linguistic prejudices. This (...) paper not only explores the applied and generative capacities of AI-enabled workflows but also suggests fundamental approaches that can enhance the creative process and confront the embedded biases and injustices within data-driven systems. (shrink)

Social advertising often employs persuasive imagery in support of a morally laden cause. These visual arguments can take the form of veridical representations of the given situation or the form of purposeful visual blends. Both visual routes to persuasion have serious ethical issues to confront. In what concerns the purportedly veridical images, controversies about picture retouching and framing have cast many doubts on their success in offering unmediated access to a given reality. Editorial interests have proven far (...) too influential on the destiny of what and how is presented to the audience from the amount of visual material available on a topic. Even when the audience is certain that photos are not doctored, the use of veridical images may be seen as unethical. Their disproportionate affective impact may lead the audience to hold biased opinions, since other concerns may be impossible to capture in a vivid picture. Visual blends may be the answer to this problem, employing the fictional or the figurative to help the viewer grasp the moral anatomy of a given situation. Their generous use of figurative meaning may be seen as their strength and their weakness at the same time. It makes them less likely to face accusations of distorting reality, because they do not claim to be windows on reality per se. At the same time, it makes them vulnerable to interpretations that miss their true point – one might appreciate the artistry of a visual metaphor or a visual pun and fail to consider the statement it makes about a given situation. Contemporary philosophical approaches to the place of visuals in moral persuasion inform my analysis of the use of visual arguments in charity-oriented advertising. (shrink)

The authors O'Regan & Noë (O&N) have ignored the case for the visual field as being non-epistemic evidence internal to the brain, having no pictorial similarity to the external input, and being material in ontological status. They are also not aware of the case for the evolutionary advantage of learning as the perceptual refashioning of such non-epistemic sensory evidence via motivated feedback in sensorimotor activity.

This paper proposes to define metaphor as a visual-material structure, the sphere of which is ontological rather than cognitive or conceptual. It argues that the essence of metaphor, as either an aesthetic or a communicative unit or both, resides in the qualitative dimension and appearance, or even materiality, of the metaphorical medium and its form. The paper thus offers a new theory of metaphor, focusing on the medium of metaphor, which composes and transfigures or reconstructs its target anew: a (...) composition that is prior to understanding or conceptualizing the target. In doing so, the paper presents a formalist ontology of metaphors, established via an externalist account of metaphors, as opposed to the prevailing cognitivist-conceptualist account which I characterize as internalist. The various kinds of metaphor – linguistic, poetic, visual or material – are based on their external structure, rather than an internal-conceptual mechanism of understanding, as assumed by a significant segment of the literature. Visual metaphor, therefore, is the paradigmatic kind of metaphor, the analysis of which can be generalized to other kinds of metaphor. Furthermore, the paper tries to overcome the current discrepancy between the formalist character of the metaphorical medium and the dominance of cognitivist and conceptualist theories of metaphor. Challenging these, I claim that if the identity of metaphor is indeed based on its composition, then it is actually based on its aesthetic qualities. That is to say, not only are there autonomous visual or material metaphors, that are not based on linguistic or conceptual ones, but linguistic and conceptual metaphors are based on visuality: they are enabled by the structural possibilities offered by visual media. (shrink)

Common everyday materials such as textiles, foodstuffs, soil or skin can have complex, mutable and varied appearances. Under typical viewing conditions, most observers can visually recognize materials effortlessly, and determine many of their properties without touching them. Visual material perception raises many fascinating questions for vision researchers, neuroscientists and philosophers, yet has received little attention compared to the perception of color or shape. Here we discuss some of the challenges that material perception raises and argue that further (...) philosophical thought should be directed to how we see materials. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

People unfamiliar with Chinese characters show poorer visual working memory (VWM) performance for Chinese characters than do literates in Chinese. In a series of experiments, we investigated the reasons for this expertise advantage. Experiments 1 and 2 showed that the advantage of Chinese literates does not transfer to novel material. Experts had similar resolution as novices for material outside of their field of expertise, and the memory of novices and experts did not differ when detecting a big change, e.g., (...) when a character’s color was changed. Memorizing appears to function as a rather abstract representation of word forms because memory for characters’ fonts was poor independently of expertise (Experiment 3), though still visual. Distractors that were highly similar conceptually did not increase memory errors, but visually similar distractors impaired memory (Experiment 4). We hypothesized that literates in Chinese represent characters in VWM as tokens of visual word forms made available by long-term memory. In Experiment 5, we provided novices with visual word form knowledge. Participants subsequently performed a change detection task with trained and novel characters in a functional magnetic resonance experiment. We analyzed set size- and training-dependent effects in the intraparietal sulcus (IPS) and the visual word form area. VWM for trained characters was better than for novel characters. Neural activity increased with set size and at a slower rate for trained than for novel characters. All conditions approached the same maximum, but novel characters reached the maximum at a smaller set size than trained characters. The time course of the bold response depended on set size and knowledge status. Starting from the same initial maximum, neural activity at small set sizes returned to baseline more quickly for trained characters than for novel characters. Additionally, high performers showed generally more neural activity in the IPS than low performers. We conclude that experts’ better performance in working memory (WM) is caused by the availability of visual long-term representations (word form types) that allow a sparse representation of the perceived stimuli and make even small changes big because they cause a type change that is easily detected. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Semantic networks were developed in cognitive science and artificial intelligence studies as graphical knowledge representation and inference tools emulating human thought processes. Formal analysis of the representation and inference capabilities of the networks modeled them as subsets of standard first-order logic (FOL), restricted in the operations allowed in order to ensure the tractability that seemed to characterize human reasoning capabilities. The graphical network representations were modeled as providing a visual language for the logic. Sub-sets of FOL targeted on knowledge (...) representation came to be called description logics, and research on these logics has focused on issues of tractability of subsets with differing representation capabilities, and on the implementation of practical inference systems achieving the best possible performance. Semantic network research has kept pace with these developments, providing visual languages for knowledge entry, editing, and presenting the results of inference, that translate unambiguously to the underlying description logics. This paper discusses the design issues for such semantic network formalisms, and illustrates them through detailed examples of significant generic knowledge structures analyzed in the literature, including determinables, contrast sets, genus/differentiae, taxonomies, faceted taxonomies, cluster concepts, family resemblances, graded concepts, frames, definitions, rules, rules with exceptions, essence and state assertions, opposites and contraries, relevance, and so on. Such examples provide important test material for any visual language formalism for logic. (shrink)

This study examines the visual representation of diegetic time in visual narrative stories, and explores why the invisible diegetic time flow could be expressed through visible elements, and how patterns and textures could be used to specify states of happenings. The study demonstrates that metaphorical relations between time and space are visually realized in visual narratives, leading to the representation of diegetic time and its related concepts on different levels of two-dimensional space. The segmentation of page space (...) and the visual components within panel space are employed to build a diegetic timeline as well as specify temporal aspects of actions and states in visual narrative stories. Neuroscientific evidence which suggests that a common metric is used to compute magnitudes of time and space in the human brain might help explain why time as an abstract concept could undergo visual materialization in visual narratives. (shrink)

This article deals with the nature of the visual representation of knowledge with historical and contemporary examples of the analysis of its defining characteristics as epistemic, heuristic and communicative representation. With this aim along the text we explain the visual material features and their relationship with the elaboration of scientific knowledge. And, finally, we must take into account the status of scientific representation in the complex of contemporary visual culture claiming the urgent need to address this type (...) of particular representation of visuals with greater intensity from its epistemic, heuristic and communicative nature. (shrink)

Interpreting Visual Culture brings together the writings of some of the leading experts in art history, philosophy, sociology and cultural studies to look at the role of perception and the "visual" in our understanding of the contemporary human condition. Ranging from an analysis of the role of vision in current critical discourse to a discussion of specific examples taken from the visual arts, ethics and sociology, this collection presents the latest material on the interpretation of the (...) class='Hi'>visual in modern culture. Topics covered include: the hermeneutics of seeing, the visual rhetoric of modernity, the drawings of Bonnard, recent feminist art, practices and perceptions in art and ethics. Divided into three main sections, each beginning with an introductory chapter outlining the main topics under discussion, comprehensive and engaging, Interpreting Visual Culture will be essential reading for students of sociology, cultural studies and art history. (shrink)

Background: Visual technologies are central to youth culture and are often the preferred communication means of adolescents. Although these tools can be beneficial in fostering relations, adolescents’ use of visual technologies and social media also raises ethical concerns. Aims: We explored how school public health nurses identify and resolve the ethical challenges involved in the use of visual technologies in health dialogues with adolescents. Research design: This is a qualitative study utilizing data from focus group discussions. Participants (...) and research context: We conducted focus group discussions using two semi-structured discussion guides with seven groups of public health nurses (n = 40) working in Norwegian school health services. The data were collected during January and October 2016. Discussions were audio recorded, transcribed, and coded into themes and subthemes using systematic text condensation. Ethical considerations: The leader of the public health nursing service who agreed to provide access for the study and the Norwegian Center for Research Data that reviewed and approved the study. All participants gave informed consent. Findings: In adolescents’ use of visual materials with public health nurses, ethical concerns were raised regarding suicide ideations, socially unacceptable content, violation of privacy, and presentations of possible child neglect. The nurses utilized their professional knowledge and experience when identifying and navigating these ethical dilemmas; they resolved ethical uncertainties through peer discussion and collaboration with fellow nurses and other professionals. Discussion: We discussed the findings in light of Annemarie Mol’s interpretation of the ethics of care. Mol expands the notion of ethical care to include the action of technologies. Conclusion: Although the increasing use of visual technologies offered benefits, school nurses faced ethical challenges in health dialogues with adolescents. To address and navigate these ethical issues, they relied on their experience and caring practices based on their professional ethics. Uncertainties were resolved through peer dialogue and guidance. (shrink)

Very little research has attempted to describe normal human variation in female genitalia, and no studies have compared the visual images that women might use in constructing their ideas of average and acceptable genital morphology to see if there are any systematic differences. The objective of the present work was to determine if visual depictions of the vulva differed according to their source so as to alert medical professionals and their patients to how these depictions might capture variation (...) and thus influence perceptions of ‘normality’. A comparative analysis was conducted by measuring (a) published visual materials from human anatomy textbooks in a university library, (b) feminist publications (print and online) depicting vulval morphology and (c) online pornography, focusing on the most visited and freely accessible sites in the UK. Post hoc tests showed that labial protuberance was significantly less (p<0.001, equivalent to approximately 7 mm) in images from online pornography compared to feminist publications. All five measures taken of vulval features were significantly correlated (p<0.001) in the online pornography sample, indicating a less varied range of differences in organ proportions than the other sources where not all measures were correlated. Women and health professionals should be aware that specific sources of imagery may depict different types of genital morphology and may not accurately reflect true variation in the population, and consultations for genital surgeries should include discussion about the actual and perceived range of variation in female genital morphology. (shrink)

Material evidence: learning from archaeological practice / Alison Wylie and Robert Chapman -- Part I. Fieldwork and recording conventions -- Repeating the unrepeatable experiment / Richard Bradley -- Experimental archaeology at the cross roads: a contribution to interpretation or evidence of xeroxing / Martin Bell -- Proportional representation: multiple voices in archaeological interpretation at çatalhöyük / Shahina Farid -- Integrating database design and use into recording methodologies / Michael J. Rains -- The tyranny of typologies: evidential reasoning in romano-egyptian domestic (...) archaeology / Anna Lucille Boozer -- Part II. Cross-field trade: archaeological applications of external expertise and technologies -- The archaeological bazaar: scientific methods for sale? or: putting the "arch" back into archaeometry / A. M. Pollard and P. Bray -- Radiocarbon dating and archaeology: history, progress and present status / Sturt W. Manning -- Using evidence from natural sciences in archaeology / David Killick -- Working the digital: some thoughts from landscape archaeology / Marcos Llobera -- Crafting knowledge with (digital) visual media in archaeology / Sara Perry -- Part III. Multiple working hypotheses, strategies of elimination, and triangulation -- Uncertain on principle: combining lines of archaeological evidence to create chronologies / Alex Bayliss and Alasdair Whittle -- Lessons from modelling neolithic farming practice: methods of elimination / Amy Bogaard -- Evidence, archaeology and law: an initial exploration / Roger M. Thomas -- Law and archaeology: modified wigmorean analysis / Terence Anderson and William Twining -- Traditional knowledge, archaeological evidence, and other ways of knowing / George Nicholas and Nola Markey -- Part IV. Broader perspectives: material culture as object and evidence -- Evidence of what? on the possibilities of archaeological interpretation / Gavin Lucas -- Meeting pasts halfway: a consideration of the ontology of material evidence in archaeology / Andrew Meirion Jones -- Matter and facts: material culture and the history of science / Simon Werrett. (shrink)

Previous studies have identified the critical role of the left fusiform cortex in visual word form processing, learning, and memory. However, this so-called visual word form area's other functions are not clear. In this study, we used fMRI and the subsequent memory paradigm to examine whether the putative VWFA was involved in the processing and successful memory encoding of faces as well as words. Twenty-two native Chinese speakers were recruited to memorize the visual forms of faces and (...) Chinese words. Episodic memory for the studied material was tested 3. h after the scan with a recognition test. The fusiform face area and the VWFA were functionally defined using separate localizer tasks. We found that, both within and across subjects, stronger activity in the VWFA was associated with better recognition memory of both words and faces. Furthermore, activation in the VWFA did not differ significantly during the encoding of faces and words. Our results revealed the important role of the so-called VWFA in face processing and memory and supported the view that the left mid-fusiform cortex plays a general role in the successful processing and memory of different types of visual objects. © 2010 Elsevier Inc. (shrink)

The image is the raw material of the twenty-first century. Images infiltrate all social and cultural spaces. Its digital-mediated realities drive communication, industry and knowledge. Images saturate life and adolescent learners are familiar with the participatory nature of image production and its social, educational and personal communicative realities. Vision and visibility, seeing and being now dominate how we inter-subjectively recognise ourselves and perform our world. We also find our aesthetic and embodied self increasingly constituted within imaging acts that are relational. (...) Visual culture may have colonised the self and learning, but imagination is without borders. The current pictorial turn opens possibilities to explore truth in flux through visual artistic acts. This article embeds Deleuzian method, which is one of intuitions, going beyond the actual, or our limited forms of representing life, to recognising that life has future imaginative potential forms and is always becoming. The article discusses an arts-based inquiry project for gifted artist visualiser/learners at an Australian regional university who are given broad topics on science phenomena and asked to give them expression. It suggests that pedagogies of the visual with their performative acts can prise open curriculum where an art-science interchange between two disciplines is made difficult by the current siloed nature of curriculum knowledge. Drawing on an analysis of Anika’s and Joel’s artworks and visual diaries it aims to reveal how their learning events dwell and are performed in aesthetic borderlands and how visual pedagogies forge new fluid visual borderlands and new learning. (shrink)

Data produced by humans and machines is more and more heterogeneous, visual, and location based. This availability inspired in the last years a number of reactions from researchers, designers, and artists that, using different visual manipulations techniques, have attempted at repurposing this material to add meaning and design new perspectives with specific intentions. Three different approaches are described here: the design of interfaces for exploring satellite footage in novel ways, the analysis of urban esthetics through the visual (...) manipulation of collections of user-generated contents, and the enrichment of geo-based datasets with the selection and rearrangement of web imagery. (shrink)

We examined whether facial expressions of performers influence the emotional connotations of sung materials, and whether attention is implicated in audio-visual integration of affective cues. In Experiment 1, participants judged the emotional valence of audio-visual presentations of sung intervals. Performances were edited such that auditory and visual information conveyed congruent or incongruent affective connotations. In the single-task condition, participants judged the emotional connotation of sung intervals. In the dual-task condition, participants judged the emotional connotation of intervals (...) while performing a secondary task. Judgements were influenced by melodic cues and facial expressions and the effects were undiminished by the secondary task. Experiment 2 involved identical conditions but participants were instructed to base judgements on auditory information alone. Again, facial expressions influenced judgements and the effect was undiminished by the secondary task. The results suggest that visual aspects of music performance are automatically and preattentively registered and integrated with auditory cues. (shrink)

The paper analyzes the visual aspect of metaphors, offering a new theory of metaphor that characterizes its syntactic structure, material composition and visuality as its essence. It will accordingly present the metaphorical creating or transfiguring, as well as conceiving or understanding, of one thing as a different one, as a visual ability. It is a predication by means of producing non-conventional compositions – i.e., by compositional, or even aesthetic, means. This definition is aimed to apply to the various (...) kinds of metaphors: conceptual, linguistic, visual, and material. It will thus challenge the definition of metaphor as a conceptual or linguistic phenomenon in nature that is based on its semantic mechanism, broad concepts, and cognitive value. Those definitions have been prevalent since the second half of 20th century, under the influence of the philosophy of language, and later of cognitive studies. (shrink)

본 연구는 예비 유아 교사의 인성교육과 내면적 성찰을 위해 대안적인 방법으로서 시각적 내러티브를 활용한 연구이다. 교사가 전문적으로 성장하고 발달하는데 있어, 교사의 일상적 삶의 모습들과 개인적 삶의 내면적 통합을 교사교육에 있어서의 중요한 교육과정의 일환으로 본 것이다. 이 연구에 참여한 예비교사는 자신의 삶을 살아가며 다가오는 배움과 가르침을 인식하고 그 속에서 자신이 변화되어가는 모습과 평범한 일상 속의 숨겨진 의미를 발견하고자 노력하였다. 예비 유아 교사의 어린 시절 및 인생의 다양한 단계의 내러티브적 이야기를 보다 심층적으로 연구하기 위하여 시각적인 내러티브적 (visual narrative) 접근방법을 모색하였다. 연구과정에서 (...) 예비교사의 잠재의식과 무의식적 기억과 이미지를 표현할 수있도록 시각적인 그림 및 콜라쥬가 활용되었다. 예비 교사들이 오랜 기간의 관찰과 도제를 통하여 자신의 교사상과 자신만의 교육철학 및 교수학습이론을 정립할수 있다는 점에서 생애역사를 연구하는 자서전적 방법은 인성교육을 위한 최선의교육과정이며 또한 삶의 가치와 의미를 되새김질 할 수 있는 방법이라는 것을 발견하였다. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Determining the compositional properties of surfaces in the environment is an important visual capacity. One such property is specular reflectance, which encompasses the range from matte to shiny surfaces. Visual estimation of specular reflectance can be informed by characteristic motion profiles; a surface with a specular reflectance that is difficult to determine while static can be confidently disambiguated when set in motion. Here, we used fMRI to trace the sensitivity of human visual cortex to such motion cues, (...) both with and without photometric cues to specular reflectance. Participants viewed rotating blob-like objects that were rendered as images (photometric) or dots (kinematic) with either matte-consistent or shiny-consistent specular reflectance profiles. We were unable to identify any areas in low and mid-level human visual cortex that responded preferentially to surface specular reflectance from motion. However, univariate and multivariate analyses identified several visual areas; V1, V2, V3, V3A/B, and hMT+, capable of differentiating shiny from matte surface flows. These results indicate that the machinery for extracting kinematic cues is present in human visual cortex, but the areas involved in integrating such information with the photometric cues necessary for surface specular reflectance remain unclear. (shrink)

Between 1906 and 1909, the Austrian-born German anthropologist Richard Thurnwald undertook an expedition to Germany's Pacific colonies on behalf of the Berlin Museum for Ethnology. There he carried out a series of experimental psychological tests to investigate the mentalities and intelligence of Melanesian subjects. Due to the limitations on verbal communication, Thurnwald privileged non-verbal experiments, especially involving drawings made by his local assistants and guides. His 1913 publication Ethnopsychological Studies on South Seas Peoples reproduces some 200 of those images, which (...) have seldom been studied since. This article examines Thurnwald's experiments in ethnopsychology through the lens of these visual materials and situates his project within larger international trends of scientific colonialism. Despite purporting to further native welfare, his application of experimental psychology to the colonial field was meant to provide solutions to the administration's most urgent problems: pacification, labour recruitment, and a declining birth rate. Yet, as this article argues, the images he collected can also be read against the grain as documents of indigenous response to German colonial rule. (shrink)

This study investigates the effects of visual mnemonics and the methods of presenting learning materials on learning visually similar characters for Chinese-as-second-language (CSL) learners. In supporting CSL learners to build robust orthographic representations in Chinese, addressing the challenges of visual similarity of characters (e.g., 理 and 埋) is an important issue. Based on prior research on perceptual learning, we tested three strategies that differ in the extent to which they promote interrelated attention to the form and meaning (...) of characters: (1) Stroke Sequence, aform-emphasisstrategy, (2) Key-images, aform+meaningstrategy utilizing visual code, (3) Pithy Formulas with Key-images, aform+meaningstrategy combining visual and verbal codes. A pretest–posttest equivalent-group design was adopted. The independent variables were the learning strategy, the method of presenting character pairs (visually similar vs. dissimilar), and testing time. The dependent variables were learners’ proportions of accurate responses to reading and writing Chinese characters through a posttest (immediately performed after learning) and a delayed posttest (1 week after learning); a learner experience survey was also administered to investigate learners’ opinions on each strategy. Sixty-six non-beginning learners of Chinese participated; they were randomly assigned to one of the two groups in which participants learned ten charactersviathe three strategies, respectively, differing between whether the characters were presented in similar pairs or dissimilar pairs. Data were analyzedviathree-way ANCOVAs. The Pithy Formulas with Key-images and the Key-images generally yielded higher writing accuracy than Stroke Sequence immediately after learning. Notably, the advantage of the Pithy Formulas with Key-images (verbal and visual) over the Key-images (visual) on writing was specific to the participants that learned with visually similar pairs rather than those that learned with dissimilar pairs. All strategies were effective for reading, yet learners’ experience ratings favored the twoform+meaningstrategies over the strategy that focused primarily onform.Suggestions for future research and pedagogical implications on learning visually similar characters were offered. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Visual Vertigo:Gaëlle Foray's Homage to the DiscardedAmber Bal (bio)Gaëlle Foray's artistic style invites renewed meditation upon the two human processes that surround the artwork: first, the metamorphosis of raw materials into aesthetic object at the hands of the artist, and second, the phenomenology of perceiving art. On the side of reception (in other words, the viewer's experience of Foray's works), the artworks demand first to (...) be felt. Only following an immediate visceral "strike" of abstract, unfocused perception, does the analytical eye proceed to examine these intricate works up close, parsing their immense and meticulous detail. On the side of artistic creation, Foray's methods elicit questions about the artist's relationship to Earth's finite materials, to the tension between environmental awareness and our own extractive practices. Foray's response to issues of waste and consumption at the heart of artistic endeavors is that she exclusively uses discarded materials; a form of recycling, gleaning, and/or foraging in the lived world. Yet, her approach is distinct from the well-established use of objet trouvés ("found objects") in modern art. Unlike "anti-artworks" such as Marcel Duchamp's 1917 Fontaine (a porcelain urinal signed "R. Mutt") or Piero Manzoni's 1961 Merda d'artista, both of which offer "common objects" in their original state for aesthetic contemplation, Foray's works are not "readymades." As opposed to what Steven Goldsmith describes as Duchamp's "subordinat[ion] of form to concept," Foray manipulates and defamiliarizes her recycled artistic material through processes of collage and bricolage.1 She describes the transformation of collected objects as a means of "paying homage to waste," from natural matter like animal bones, minerals, and fossils to synthetic waste such as long-discarded plastic toys or Tupperware containers, abandoned family photo albums, and démodé dinner party utensils from the eighties.2What emerges from the selection of Foray's works featured in this issue is a clash between the ephemerality of the human lifespan and planetary spatio-temporal dimensions. Her artistic process forces vertiginous acknowledgement of the fragility of human existence as it presses up against that which the human tries to capture through art: the world. What's more, Earth's monumental landscapes only ever figure as and in fragments. Two specific conflicts return across Foray's works to create this sense of vertigo. First is the contrast between the limited human lifespan and the eternity of the fossil; as the latter is often figured alongside photographs of humans or man-made materials in a manner that draws attention to this unfathomably large geological temporal scale. A secondary contrast arises from Foray's recurrent human-nature juxtaposition as the boundedness of human life continually knocks up against raw and unruly natural matter. Foray's recourse to diverse textures and materials heightens these oppositions—schist lies atop bone, the smooth veneer of a photograph envelops a human form but rests against the jagged edges of a stone. As we shall explore through ruminations on specific pieces, her method prompts inquiry into the relationship between these human [End Page 110] and geological timescales, attesting Foray's remarkable ability to capture brevity and limitlessness in tandem. Of equal note is Foray's repeated, self-reflexive wink to art's mediation of the world through a "framing effect," as she regularly makes the protective screen of a work or staging of an exhibition space integral to the artwork itself. This is her own means of drawing attention to the conditions in which the work of art is encountered, both exaggerating the distantiating function of the frame in classical art which "served to make [artwork] discontinuous with its surroundings" and building upon the "readymade" tradition's abolition of the barrier between viewer and artwork.3Foray's pieces, composed from an amalgam of natural matter and industrial or household waste, operate as self-contained ecosystems that are akin to stumbling upon a diorama that has escaped from its box, or a snowglobe whose glass sphere has been shattered and from which the liquid has drained away. In La Mer (see pages 34/35), the background's glitter and the iridescent blues... (shrink)

Through a specific example, this paper explores the problems of empiricism and ideology in the uses of material-cultural and visual evidence for the writing of ancient history. The focus is on an Athenian documentary stele with a fine relief from the late fifth century bc, the history of its publications, and their failure to account for the totality of the object's information—sculptural and epigraphic—let alone the range of rhetorical ambiguities that its texts and images implied in their fifth-century context. (...) While the paper reflects on the Samos Stele, it also considers the broader hermeneutic problems of approaching the different discourses ofword and imagewithin antiquity andworries about the distortions introduced into ancient history by modern formulations, descriptions, and translations of the past. (shrink)