This pioneering study harnesses virtual reality to uncover the history of five venues that have been 'lost' to us: London's 1590s Rose Theatre; Bergen's mid-nineteenth-century Komediehuset; Adelaide's Queen's Theatre of 1841; circus tents hosting Cantonese opera performances in Australia's goldfields in the 1850s; and the Stardust showroom in 1950s Las Vegas. Shaping some of the most enduring genres of world theatre and cultural production, each venue marks a significant cultural transformation, charted here through detailed discussion of theatrical praxis and socio-political (...) history. Using virtual models as performance laboratories for research, Visualising Lost Theatres recreates the immersive feel of venues and reveals performance logistics for actors and audiences. Proposing a new methodology for using visualisations as a tool in theatre history, and providing 3D visualisations for the reader to consult alongside the text, this is a landmark contribution to the digital humanities. (shrink)

In this paper, I would like to put forward the claim that, at least in some central cases, visualising consists literally in imagining seeing. The first section of my paper is concerned with a defence of the specific argument for this claim that M. G. F. Martin presents in his paper 'The Transparency of Experience' (Martin 2002). This argument has been often misunderstood (or ignored), and it is worthwhile to discuss it in detail and to illus­trate what its precise nature (...) is and why I take it to be sound. In the second section, I present a second and independent argument for the claim that visualising is imagining seeing, which is not to be found in Martin's writings, despite some crucial similarities with his own argument ‒ notably in the focus on the subjective aspects of visual experience. The last section deals with a particular objection to the idea that imagining takes perception as its direct object and says a bit more about how best to understand this claim. (shrink)

While many writers have advocated the importance of narrative as a means of engaging with the problem of extinction, this paper considers what the qualities of visual aesthetics bring to this field. In addressing this question, the discussion turns to the problem of the ethical limits of art raised by Adorno and takes a theoretical turn away from posthumanism to consider how visual responses can redirect attention back to human agency. The focus of visual analysis is on five paintings by (...) the contemporary Iranian artist Naeemeh Naeemaei. Neither exclusively Western nor overtly internationalist in their approach, these artworks refer to the effects of both hunting and the erosion of trans-national habitats as causes of extinction, yet they also show how human affective responses to extinction can extend across geo-political borders to a more global imaginary. As such, Naeemaei’s artworks are regarded as a form of immanent critique of anthropogenic forcing. Her works adapt older traditions in Persian humanism and art to show not only how the human dominion of nonhuman animals has led to extinction, but also how this leads to an almost incalculable sense of human loss. I argue that Naeemaei’s affective imagery of loss is not simply yet another example of how the lifeworld of animals can only be understood from an anthropocentric worldview, but instead points to our inability to yet fully register the immeasurable losses of extinction and what this yet unchartered grief might imply for potential human agency. (shrink)

Interdisciplinary research is frequently viewed as an important component of the research landscape through its innovative ability to integrate knowledge from different areas. However, support for interdisciplinary research is often strategic rhetoric, with policy-makers and universities frequently adopting practices that favour disciplinary performance. We argue that disciplinary and interdisciplinary research are complementary, and we develop a simple framework that demonstrates this for a semi-permanent interdisciplinary research field. We argue that the presence of communicating infrastructures fosters communication and integration between disciplines (...) and the interdisciplinary research field to generate innovative knowledge. We apply this to the experience of economic history in Australia in the second half of the twentieth century to demonstrate the life cycle of a semi-permanent interdisciplinary research field. (shrink)

The article addresses a project of visualization of research on ambient music, including the historically changing subject of this research, its theoretical background and qualitative studies arising from it. In this study, the visualization of the research process is related to the concept of graphesis, or visual interpretation, discussed and partly problematized in the context of visual representation of interdisciplinary topics at the interface of various knowledge systems.

This paper compares two 3D logical diagrams for the Boolean algebra B4, viz. the rhombic dodecahedron and the nested tetrahedron. Geometric properties such as collinearity and central symmetry are examined from a cognitive perspective, focussing on diagram design principles such as congruence/isomorphism and apprehension.

Contrary to the widely held belief in the humanities that hysteria no longer exists, this article shows that the advent of new brain imaging technologies has reignited scientific research into this age-old disorder, once again linking it to hypnosis. Even though humanities scholarship to date has paid no attention to it, image-based research of hysteria via hypnosis has been hailed in specialist circles for holding the potential to finally unravel the mystery of this elusive disorder. Following a succinct overview of (...) how hypnosis was used in the nineteenth century hysteria research, the article details how the relationship between hysteria and hypnosis is currently renegotiated in the context of brain imaging studies. It shows that the current research has so far failed to deliver on its promise of uncovering the link between hysteria and hypnosis. It further argues that despite huge technological advances in imaging technologies, contemporary researchers grapple with conceptual problems comparable to those that plagued their nineteenth century predecessors. (shrink)

This article argues that legal discourses about robots are framed within a limiting ‘human paradigm.’ While this is not a specific failure of lawyers, it has significant consequences for law in a digital future. This visualising of robots has its origins in mainstream twentieth-century science fictional tropes of artificial beings. This article begins by identifying the predominant science fiction tropes regarding artificial beings as a source of anxiety for human futures, as located in discrete bodies and as separate from humans. (...) The article then traces this ‘human paradigm’ in robot law scholarship. It is shown how a focus on embodiment and separation disrupts appreciation of the emerging partial disembodiment and hybridity of digital autonomy. There is a continual sense of needing to keep robots and humans distinct and separate, which is not how digital futures are manifesting. (shrink)

Given that visualisations via medical imaging have tremendously increased over the last decades, the overall presence of colour-coded brain slices generated on the basis of functional imaging, i.e. neuroimaging techniques, have led to the assumption of so-called kinds of brains or cognitive profiles that might be especially related to non-healthy humans affected by neurological, neuropsychological or psychiatric syndromes or disorders. In clinical contexts especially, one must consider that visualisations through medical imaging are suggestive in a twofold way. Imaging data not (...) only visually render pathological entities, but also tend to represent objective and concrete evidence for these psychophysical states in question. This article aims to identify key issues in visually rendering psychiatric disorders via functional approaches of imaging within the neurosciences from an epistemological point of view. (shrink)

Visualizing and mental imagery are thought to be cognitive states by all sides of the imagery debate. Yet the phenomenology of those states has distinctly visual ingredients. This has potential consequences for the hypothesis that vision is cognitively impenetrable, the ability of visual processes to ground perceptual warrant and justification, and the distinction between cognitive and perceptual phenomenology. I explore those consequences by describing two forms of visual ambiguity that involve visualizing: the ability to visually experience a picture (...) surface as flat after it has caused volumetric nonconceptual contents, and the ability to use a surface initially perceived as flat to visualize three-dimensional scenes. In both cases, the visual processes which extract viewer-centered volumetric shapes have to rely solely on monocular depth cues in the absence of parallax and stereopsis. Those processes can be cognitively penetrated by acts of visualizing, including ones that draw on conceptual information about kinds. However, the penetrability of the visual processes does not weaken their ability to provide perceptual warrant and justification for beliefs. The reason is that picture perceptions—whether they are stimulus -driven or based on acts of visualizing—are different to object perceptions both phenomenologically and in terms of their functional roles as states. Thus, although the penetrability of the visual processes does mean that subjects can have visual experiences with contradictory contents, perceptual belief is adopted at most towards one set of contents, and questions of warrant and justification are raised only for those contents. A rule-proving exception is provided by trompe-l’oeils. (shrink)

law's oscillation between power and meaning -- Law's screen life : visualizing law in practice -- Images run riot : law on the landscape of the neo-baroque -- Theorizing the visual sublime : law's legitimation reconsidered -- The digital challenge : command and control culture and the ethical sublime -- Conclusion : visualizing law as integral rhetoric : harmonizing the ethical and the aesthetic.

Visualizing Emotions in the Ancient Near East. Edited by Sara Kipfer. Orbis Biblicus et Orientalis, vol. 285. Fribourg: Academic Press, 2017. Pp. viii + 293, illus.

(2013). Visualizing a Mass Murder: The Portraits of Anders Bering Breivik in Danish National Dailies. Journal of Mass Media Ethics: Vol. 28, No. 1, pp. 64-67. doi: 10.1080/08900523.2013.755083.

This paper presents methods to visualize the structure of trees that occur in genetic programming. These methods allow for the inspection of structure of entire trees even though several thousands of nodes may be involved. The methods also scale to allow for the inspection of structure for entire populations and for complete trials even though millions of nodes may be involved. Examples are given that demonstrate how this new way of “seeing” can afford a potentially rich way of understanding dynamics (...) that underpin genetic programming. The examples indicate further studies that might be enabled by visualizing structure at these scales. (shrink)

This article explores the image and the concept of the Christa, evaluates its significance for contemporary feminist theology and spiritual practice, and suggests ways in which the notion of the Christa needs to be enlarged and developed. A distinction is made between visualizing the Christa in art and film, conceptualizing the Christa in theological discourse, imagining the Christa in fiction and poetry and ritualizing the Christa in liturgy and prayer. Whilst considerable attention has been paid to visual representations of (...) the Christa, and feminist theologians have written about the Christa, little attention has been paid to the Christa in poetry and fiction, or as a focus of feminist prayer and ritual. (shrink)

Hinton’s methodology of perceiving four-dimensional space is based on the application in higher dimensions of the geometric properties of objects that exist in our familiar three-dimensional space and on colouring all the points of these objects according to their movement through these four dimensions. Hinton applied his methodology on coloured cubes, thus leading to a mental perception of the hypercube. In this article, we evolve Hinton’s methodology aiming at the mental perception of the hypersphere, based on tracing and colouring the (...) hypersphere’s points according to their four coordinates. Finally, we describe an interactive application that we developed for visualizing the hypersphere. (shrink)

The sciences use a wide range of visual devices, practices, and imaging technologies. This diversity points to an important repertoire of visual methods that scientists use to adapt representations to meet the varied demands that their work places on cognitive processes. This paper identifies key features of the use of visualization in a range of scientific domains and considers the implications of this repertoire for understanding scientists as cognitive agents.

The history of scientific illustrations is a story that correspond the cultural, economic, political and scientific history of the world. A look into the history of sciences displays that pictures and illustrations had a decisive role for the sciences progressive success and rising societal status from the sixteenth century. The illustrations visualized the unknown to graspable facts. Without the pictures the new discovered continents, the blood circulatory system and the body’s muscles had remained theoretical proclamations. The scientific discoveries became visible (...) and communicated, to a wider audience by its illustrations. The scientific illustrations and maps were intertwined with an epistemic ambition to unveil the true natural order. During the seventeenth century the concept of objectivity was interpreted as a quest for revealing nature’s ideal order, a task only feasible for the brilliant artist to accomplish. The epistemic ambition concurred with the belief that only one true ontological order existed that the scientific knowledge had to uncover. This concept of objectivity was succeeded by the modern concept of objectivity which equated objectivity with impartiality and elimination of the scientist’s subjective bias. The view from “nowhere” is still a valid, ruling definition of objectivity. However, the presence and huge expansion of computational pictures in the sciences as well in everyday life raises the question if a new sense of objectivity is framed. In physics and chemistry the produced pictures intend to be contributions to an ongoing theoretical discussion, about a nature in constant flux, let it be molecules or artificially processed materials in the nanoscale. The traveller designs her own map in advance, mixing the Google earth features with the personal arrangements. For both the scientists and the laymen the modernist objective virtues of detachment, impartiality and disinterestedness have been supplemented by a return of subjective involvements. (shrink)

This essay considers the structure of risk in health campaign formation and design by examining an early 20th century federal campaign to reduce infant mortality. Health campaigns navigate the gap between study and practice, translating quantitative findings into prescriptive responses for individual consumers of the text. By focusing specifically on the visual rhetoric of risk, this campaign serves as a case study to examine how the public was taught to see and understand risk and preventive health at a critical point (...) in the development of public health in the United States. (shrink)

The ambition of this article is to propose a way of visualizing the Anthropocene dialectically. As suggested by the Dutch atmospheric chemist Paul Crutzen and the professor of biology Eugene F. Stoermer, the term Anthropocene refers to a historical period in which humankind has turned into a geological force that transforms the natural environment in such a way that it is hard to distinguish between the human and the natural world. Crutzen and Stoermer explain that the Anthropocene has begun (...) after the Holocene, the geological epoch that followed the last ice age and lasted until the industrial revolution. Drawing on a number of figures such as the “tenfold” increase in urbanisation, the extreme transformation of land surface by human action, the use of more than 50% of all accessible fresh water by humans, and the massive increase in greenhouse emissions, Crutzen and Stoermer conclude that the term Anthropocene describes aptly mankind's influence on ecological and geological cycles (Crutzen & Stoermer, 20... (shrink)

The article shows how two domains of Neurath’s broad and multifaceted work are related to each other: the concepts and methods he wanted to implement in political economics, on the one hand, and the methods of visualization that he and his interdisciplinary team developed at the Social and Economic Museum of Vienna, on the other. Some of Neurath’s suggestions in both domains are surprisingly modern even today.

Cities have consistently served as fertile grounds for the emergence and growth of radical ideas, political transformations, and social movements, with urban landscapes nurturing visionary concepts, idealism, and revolutionary ideologies. This research delves into the captivating world of radical cities, exploring the power of image and visual narratives to communicate and comprehend urban activism within diverse contexts. By analyzing various case studies and student works, we aim to create, study, and reimagine vivid portrayals of urban activism, radical urbanism, and future (...) socio-spatial developments. The focus lies on developing innovative visual modalities and collaborative critical pedagogical approaches that engage with the complexities of radical cities across North America, Latin America, Asia, Europe, and beyond. In this study, we explore the potential of image and visual narratives to decode and understand pivotal societal transitions in radical cities. By employing imaginative and critical pedagogy, we aspire to foster a more profound comprehension of urban activism and its impact on shaping the cities of the future. (shrink)

Depictive expressions of thought predate written language by thousands of years. They have evolved in communities through a kind of informal user testing that has refined them. Analyzing common visual communications reveals consistencies that illuminate how people think as well as guide design; the process can be brought into the laboratory and accelerated. Like language, visual communications abstract and schematize; unlike language, they use properties of the page (e.g., proximity and place: center, horizontal/up–down, vertical/left–right) and the marks on it (e.g., (...) dots, lines, arrows, boxes, blobs, likenesses, symbols) to convey meanings. The visual expressions of these meanings (e.g., individual, category, order, relation, correspondence, continuum, hierarchy) have analogs in language, gesture, and especially in the patterns that are created when people design the world around them, arranging things into piles and rows and hierarchies and arrays, spatial-abstraction-action interconnections termed spractions. The designed world is a diagram. (shrink)

In the current digital era, the borders amongst firms are getting blurred when it comes to value creation. Therefore, the traditional configuration of the value chain is frequently replaced by other ones which include the collaborative participation of different agents. Within this context, global value chains, where the value activities are located in different countries, and industrial clusters, which combine competition and cooperation, are attracting a growing attention of both business leaders and scholars in the recent years. Through a bibliometric (...) analysis, this paper disentangles the intellectual and conceptual structure of the research topic of industrial clusters and global value chains. Results show the multidisciplinary character of the topic, including papers published in different areas, such as business, regional studies and world development, as well as its close link with aspects like innovation, regional development, governance or organization. Finally, this study remarks the research lines that could attract more attention in the immediate future. (shrink)

Visual thinking in mathematics is widespread; it also has diverse kinds and uses. Which of these uses is legitimate? What epistemic roles, if any, can visualization play in mathematics? These are the central philosophical questions in this area. In this introduction I aim to show that visual thinking does have epistemically significant uses. The discussion focuses mainly on visual thinking in proof and discovery and touches lightly on its role in understanding.

In this Introduction to a special section on ‘Visualizing Surfaces, Surfacing Vision’, the authors argue that to conceive vision in the contemporary world it is necessary to examine its embedding within, expression via and organization on the surface. First, they review recent social and cultural theories to demonstrate how and why an attention to surfaces is salient today. Second, they consider how vision may be understood in terms of surfaces, discussing the emergence of the term ‘surface’, and its transhistorical (...) relationship with vision. Third, they introduce the contributions to the special section, which cover written articles and artworks. They make connections between them, including their exploration of reflexivity and recursion, observation, objectivity and agency, ontology and epistemology, relationality, process, and two- and three-dimensionality. Fourth, the authors consider some implications of an understanding of visualizing surfaces/surfacing vision. (shrink)

Libraries provide access to large amounts of library metadata. Unfortunately, many libraries only offer textual interfaces for searching and browsing their holdings. Visualizations provide simpler, faster, and more efficient ways to navigate, search and study large quantities of metadata. This paper presents GlamMap, a visualization tool that displays library metadata on an interactive, computer-generated geographic map. We provide detailed discussion of how GlamMap benefits the work of librarians and researchers. We show how geographic representations help librarians to perform tasks such (...) as collection assessment and how geographic information helps researchers to identify important scientific resources. (shrink)

Psychological traits and disorders are often interrelated through shared genetic influences. A combination of maximum-likelihood structural equation modelling and multidimensional scaling enables us to open a window onto the genetic architecture at the symptom level, rather than at the level of latent genetic factors. We illustrate this approach using a study of cognitive abilities involving over 5,000 pairs of twins.

ArgumentThis article analyzes for the first time the earliest western maps of diseases in China spanning fifty years from the late 1870s to the end of the 1920s. The 24 featured disease maps present a visual history of the major transformations in modern medicine from medical geography to laboratory medicine wrought on Chinese soil. These medical transformations occurred within new political formations from the Qing dynasty (1644–1911) to colonialism in East Asia (Hong Kong, Taiwan, Manchuria, Korea) and hypercolonialism within China (...) (Tianjin, Shanghai, Amoy) as well as the new Republican Chinese nation state (1912–49). As a subgenre of persuasive graphics, physicians marshaled disease maps for various rhetorical functions within these different political contexts. Disease maps in China changed from being mostly analytical tools to functioning as tools of empire, national sovereignty, and public health propaganda legitimating new medical concepts, public health interventions, and political structures governing over human and non-human populations. (shrink)