The first part of this paper surveys the visual technologies that have transformed the modern visual environment and argues for the relevance of their study to an understanding of modernity in general and to the field of religion and science in particular. The term cosmography is adopted for the visual and spatial manifestation of a worldview, and the importance of analyzing and advancing modern cosmography is asserted. In the second part, the focus shifts to one particular (...) challenge presented by modern cosmography: how to represent and find visual meaning in the new range of size scales that have been offered up by the modern scientific worldview. Six strategies for representing and finding meaning in this new expanded picture of the universe are explored. (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)

How can we conceive of the relation between technologies of image-making and the formations of political power, without reducing the former to merely superstructural effects of a pre-existing ideology or deducing the latter from the functional determination inherent in technical apparatuses? In this article, I revisit the notion of the state as a visual form I proposed in an earlier work, arguing that in order to understand the articulation between politics and visuality in modernity we need to pay (...) attention to the performance of showing and seeing that mediates between the spectacle and spectatorship. To grasp the way in which historical change (political and technological) impacts on this constellation, in particular in the transition from photographic to cinematic regimes of visuality between the late 19th and early 20th century, I take these questions through two rather different ‘case studies’: photographer Juan Gutiérrez’s images of Brazilian state rituals in the mid-1890s and Jorge Luis Borges’s short story ‘The Aleph’ of 1949. Whereas Gutiérrez’s photographic series, I argue, announces the cinema and its ways of mobilizing actors and spectators alike, as the limit of a 19th-century visuality primed on the stability and self-enclosedness of viewers and objects, Borges’s story retrospectively enacts the transition from photographic to cinematic seeing in an intratextual battle of acts of transcription from the impossible object at the centre of the plot, which grants infinite, universal visibility to the one who beholds it. Reading the two together, or against one another, then, allows us to see the dimension of transience undercutting the apparent solidity and timelessness with which scopic regimes promise us access to the real. (shrink)

While the distinction between civilians and combatants is fundamental to international law, it is contested and complicated in practice. How do North Atlantic Treaty Organization officers see civilians in Afghanistan? Focusing on 2009 air strike in Kunduz, this article argues that the professional vision of NATO officers relies not only on recent military technologies that allow for aerial surveillance, thermal imaging, and precise targeting but also on the assumptions, vocabularies, modes of attention, and hierarchies of knowledges that the officers (...) bring to the interpretation of aerial surveillance images. Professional vision is socially situated and frequently contested with communities of practice. In the case of the Kunduz air strike, the aerial vantage point and the military visual technologies cannot fully determine what would be seen. Instead, the officers’ assumptions about Afghanistan, threats, and the gender of the civilian inform the vocabulary they use for coding people and places as civilian or noncivilian. Civilians are not simply “found,” they are produced through specific forms of professional vision. (shrink)

This study investigates how Human Factors is applied when designing and developing Immersive Visual Technologies, including Augmented Reality, Mixed Reality, and Virtual Reality. We interviewed fourteen people working at different organizations, that develop IVT applications in the Nordic region. We used thematic analysis to derive themes from the interviews. The results showed an insufficient knowledge and application of HF in IVT development, due to the lack of awareness of both scope and significance of HF, resource allocation strategy, market (...) inertia, stakeholder's involvement, standardization of HF application and IVT uses, and technology maturity. This situation could be improved by allocating experts, adjusting organizational strategy to balance resource allocation, training developers and user organizations to raise awareness and to encourage co-creative design and knowledge sharing, create a sense of ownership amongst stakeholders, and ensure the usefulness of the technology to the user's work. (shrink)

Continuing medico-technical progress has led toan increasing medicalisation of pregnancy andchildbirth. One of the most common technologiesin this context is ultrasound. Based on someidentified `pro-technology feminist theories',notably the postmodernist feminist discourse,the technology of ultrasound is analysedfocusing mainly on social and political ratherthan clinical issues. As empirical researchsuggests, ultrasound is welcomed by themajority of women. The analysis, however, showsthat attitudes and decisions of women areinfluenced by broader social aspects. Furthermore, it demonstrates how the visualtechnology of ultrasound, in addition to otherreproductive technology (...) in maternity care, islinked to the `personification' of the foetusand has therefore contributed to a new image ofthe foetus. The exploration of these issueschallenges some arguments of feministdiscourse. It draws attention to possibleadverse implications of the technology forwomen's reproductive freedom and indicates theimportance of the topic for politicaldiscussions. (shrink)

The generation and use of 3D images and visualizations through remote sensing, Building Information Modeling, and Augmented Reality technologies, have come to play a significant role in construction engineering practice. Although these technologies are promising, their potential can be misjudged when potential end-users are unaware of key assumptions that were made by developers. Realistic expectations require insights into the ways in which these technologies transform input collected into 3D visualizations and how these visualizations are possibly used on (...) construction sites. This study’s objective is hence to explore the form of technological mediation that the generation and use of 3D images and visualizations provide between a human and objects, or aspects of these objects, that would otherwise be largely imperceptible to professionals in construction practice. We show that algorithms pre- and post-process data through their technological selectivities, which function as mediators. Double mediations of augmented and engaged relationships play a dominant role in the use of 3D images and visualizations and enhance the situational awareness of professionals in construction practice. This is the first study that applies this perspective to increase the understanding of the mediating role of 3D images and visualizations in construction practice. (shrink)

Writing Technology in Meiji Japan: A Media History of Modern Chinese Literature and Visual Culture. By Seth Jacobowitz. Harvard East Asian Monographs, vol. 387. Cambridge, Mass.: Harvard University Asia Center, Harvard University Press, 2015. Pp. xii + 299. $39.95.

This editorial introduces the Special Double Issue of Philosophy of Photography (15.1&2), which focuses on the impact of novel technologies on photography and through this on our understanding of the contemporary world. It sketches the contents of the featured articles and articulates some of the technical developments, concerns and questions that inform and link them.

The impact of digital media and technology on performance arts is evident when digital visual effects (VFX) filming techniques are introduced on a film set. Digital technologies influence the film actor’s approach to be congruent to and authentic within the circumstances of the scene. Actors require an effective skillset and strategies to successfully deliver an embodied performance aligning with the various digital VFX techniques. Focusing on imagination, action and emotion that would facilitate such an embodied performance, we drew (...) on relevant neuroscientific notions such as neuron reactivation, conceptual blending, as-if body states and affordances. Additionally, we incorporated relevant embodied performance concepts from Stanislavski, Laban/Bartenieff Movement Studies, Effector Patterns including the Emotional Body Approach and Lessac Kinesensics to the development of a digital acting programme, advancing the actor’s required skills and providing on-set digital acting strategies to support congruency with digital VFX and authenticity within the diegetic reality. The efficacy of this programme was determined by assessing pre- and post-intervention recordings of both a control and an experimental group of trained actors. Reflection-on-action journals from participants supplemented the assessment. The assessments and journals indicate that the acquired skillset and on-set digital acting strategies effectively improve the actor’s performance with digital VFX filming technology. (shrink)

Background: Facial attractiveness influences our perceptions of others, with beautiful faces reaping societal rewards and anomalous faces encountering penalties. The purpose of this study was to determine associations of visual attention with bias and social dispositions toward people with facial anomalies. -/- Methods: Sixty subjects completed tests evaluating implicit bias, explicit bias, and social dispositions before viewing publicly available images of preoperative and postoperative patients with hemifacial microsomia. Eye-tracking was used to register visual fixations. -/- Results: Participants with (...) higher implicit bias scores fixated significantly less on the cheek and ear region preoperatively (P = 0.004). Participants with higher scores in empathic concern and perspective taking fixated more on the forehead and orbit preoperatively (P = 0.045) and nose and lips (P = 0.027) preoperativel. -/- Conclusions: Participants with higher levels of implicit bias spent less visual attention on anomalous facial anatomy, whereas participants with higher levels of empathic concern and perspective taking spent more visual attention on normal facial anatomy. Levels of bias and social dispositions such as empathy may predict layperson gaze patterns toward those with facial anomalies and provide insights to neural mechanisms underlying the "anomalous is bad" paradigm. (shrink)

Scientific advancement is inextricably linked to cultural advancement, and historically the arts have worked hand in hand with technological change. This essay explores some of the connections that exist between science, technology, and the arts, privileging instances where technological change resulted in new forms of artistic creation. Although the role of the arts in contemporary society has ebbed in comparison to that of technology and science, the essay argues that quality, meaningfulness, and longevity are key components in how the arts (...) can retain cultural value in today’s technocentric world. It explores significant instances from the history of music and visual art as the authors make the case that the methods of science and art are both distinct yet commensurate in their ability to shape the values and ideas of contemporary society. (shrink)

This paper comments on five articles in the special issue “Circulating Images in the Life Sciences.” It sees the papers as unified by two themes. The first is their attention to the processes of legitimation. The second is the embedding of the images in textual cultures, which changed over time from the mid‐nineteenth century to the very recent past, most notably with the recent advent of digital culture.

The paper focuses on the complex relations between aesthetics and phenomenology as they show themselves within the core locus of their interplay—the realm of the visible and the invisible. To do so, the paper examines a specific case study, a Rembrandt painting—A Woman Bathing in a Stream (1654)—through which the discussion illuminates the interconnected and inseparable relationship between aesthetics and phenomenology in relation to Merleau-Ponty’s ontology of the visible and the invisible. The reading addresses both dimensions of the visible: the (...) essential intersubjective aspect of life and its complex visual representation in art. To achieve this, the paper first explores Merleau-Ponty’s late aesthetic ontology—a phenomenology that perceives the aesthetic realm, particularly the visible domain, as originating from human corporeal existence, thereby redefining the act of seeing and the concepts of the visible and the invisible; I show the manner in which invisible elements permeate our visual experience in the Rembrandt painting and in seeing as such. The paper also reveals the unique ontological role of painting and the painter in unveiling the aesthetic world, and in guiding the philosopher toward a vision that true philosophy—phenomenology—must embrace. The paper concludes by rethinking the significance of aesthetics, and especially, the arts, to phenomenological thought, and the necessity of phenomenology to aesthetic thought. (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)

Can we find different means of communicative visual solutions to aid societies in the development of multicultural global communities? This means not revolving only around a particular language or even human language, but rather the concept and structure of communication. This transforms any kind of sign, body gesture or visual element into a method of communication, not simple phenomena. The aim of the research is to use media art and new technology to establish a better (wide) visual (...) communicative language in multicultural societies and provide a solid bridge between east and west, through in-depth visual/technological experimentation, seeking a transcultural visual solution to the problem of visual integration. Can any perceivable phenomenon become a conveyor of meaning? While language is based very much on common agreements, the way each of us responds to a message can be entirely different. Communication therefore creates diversity from uniformity: the idea of mixing setups of humans and machines (robots, computers, etc.) that are somehow able to communicate. The communication would give rise to some sort of choreography of movements that is synchronized because of the communication but diverse because of different responses to the communication. (shrink)

In classrooms, museums, health clinics and beyond, the educational uses of visual media have proliferated over the past fifty years. Film, video, television, and digital media have been integral to the development of new pedagogical theories and practices, globalization processes, and identity and community formation. Yet, Brian Goldfarb argues, the educational roles of visual technologies have not been fully understood or appreciated. He contends that in order to understand the intersections of new media and learning, we need (...) to recognize the sweeping scope of the technologically infused visual pedagogy—both in and outside the classroom. From Samoa to the United States mainland to Africa and Brazil, from museums to city streets, _Visual Pedagogy_ explores the educational applications of visual media in different institutional settings during the past half century. Looking beyond the popular media texts and mainstream classroom technologies that are the objects of most analyses of media and education, Goldfarb encourages readers to see a range of media subcultures as pedagogical tools. The projects he analyzes include media produced by AIDS/HIV advocacy groups and social services agencies for classroom use in the 1990s; documentary and fictional cinemas of West Africa used by the French government and then by those resisting it; museum exhibitions; and TV Anhembi, a municipally sponsored collaboration between the television industry and community-based videographers in São Paolo, Brazil. Combining media studies, pedagogical theory, and art history, and including an appendix of visual media resources and ideas about the most productive ways to utilize visual technologies for educational purposes, _Visual Pedagogy_ will be useful to educators, administrators, and activists. (shrink)

In this article, I consider ‘skin portraiture’: a mode of representation that privileges quasi-anonymous, fragmented, magnified and anatomized images of skin. I argue that this mode of representation permits a heightened awareness of embodied experiences such as reflexivity, empathy and relationality. Expanding understandings of difference through its engagement with haptic imagery and visuality, skin portraiture reorients the boundaries between ‘I’/‘not I’ and subject/object – often through touch – and challenges the cultural commitment to traditional notions of bodily autonomy. By doing (...) so, skin portraiture functions as an antagonistic form of portraiture; that is, as a kind of anti-portraiture that pushes the genre into an expanded visual field and, at times, beyond representation. Exploring the skin-as-technology metaphor, I show that bio art skin portraiture creates chimeric skins through tissue culturing practices, permitting bodies to become radically relational. Bio art skin portraits celebrate the genetic and cellular differences between bodies through a visible collapse of epidermal boundaries, which engenders a hyper-haptic mode of seeing beyond the subject and her or his skin. Analysing the bio art of Jalia Essaïdi, ORLAN and Julia Reodica, and drawing on the work of Laura Marks and Erin Manning, this article explores the skin-as-technology metaphor in order to offer the arts and humanities an innovative understanding of contemporary embodiment. (shrink)

Over the last four years I have been drawing on aspects of my own visual art practice (‘data capture’ digital drawing performances, 2004–) in my drawing teaching at the University of Cape Town. For this article I would like to share these projects and discuss the relevance of incorporating multimedia engagement in the teaching of traditional drawing at a tertiary level. First, moving images, sound, digital devices such as smartphones, tablets and engagement in online platforms are primary mediators of (...) experience for many urban citizens. I find it relevant for students to not only reflect critically on the use of digital tools and online social platforms, but to experience and explore engaging with them directly as an experience by making them physical through drawing. In my experience through my teaching practice I have observed how this embodiment of the technology can provide useful tools of processing the volume of immaterial information that we engage with on a daily basis. A physical processing of multimedia material can also operate to provide an interesting engagement with perception, cognition and orientation. At another level, by bringing different media together in the physical studio of life drawing, there can be an interesting reflection and experience of different states of being in the world. These aspects are discussed through descriptions of a selection of my own creative practice and a second-year drawing project I teach at the Michaelis School of Fine Art, University of Cape Town titled, ‘Interface: Image and text, the portrait as Dialogue’. (shrink)

This special issue explores the power that images with a techno-scientific content can have in international relations. As we introduce the articles in the collection, we highlight how the study of this influence extends current research in the separate (but increasingly interacting) domains of history of science and technology, and political science. We then show how images of different types (photographs, cartoons and plots) can inform inter-state transactions through their public appeal alongside the better-studied dialogic practices of the diplomatic arena. (...) Finally, we offer an analysis of the interlacing of different diplomatic tracks based on words and images and conclude that, in contrast with words, images conflate agency and argument, therefore creating opportunities to inform transactions and negotiations which their designers may not have even intended. (shrink)

_Expanding Hermeneutics_ examines the development of interpretation theory, emphasizing how science in practice involves and implicates interpretive processes. Ihde argues that the sciences have developed a sophisticated visual hermeneutics that produces evidence by means of imaging, visual displays, and visualizations. From this vantage point, Ihde demonstrates how interpretation is built into technologies and instruments.

Visual analytics is a new interdisciplinary field of study that calls for a more structured scientific approach to understanding the effects of interaction with complex graphical displays on human cognitive processes. Its primary goal is to support the design and evaluation of graphical information systems that better support cognitive processes in areas as diverse as scientific research and emergency management. The methodologies that make up this new field are as yet ill defined. This paper proposes a pathway for development (...) of visual analytics as a translational cognitive science that bridges fundamental research in human/computer cognitive systems and design and evaluation of information systems in situ. Achieving this goal will require the development of enhanced field methods for conceptual decomposition of human/computer cognitive systems that maps onto laboratory studies, and improved methods for conducting laboratory investigations that might better map onto real-world cognitive processes in technology-rich environments. (shrink)

This paper revisits some early applications of audio-visual imaging technologies used in physiology in a dialogue with reflections on Henri Bergson’s philosophy. It focuses on the aspects of time and memory in relation to spatial representations of movement measurements and critically discusses them from the perspective of the observing participant and the public exhibitions of scientific films. Departing from an audio-visual example, this paper is informed by a thick description of the philosophical implications and contemporary discourses surrounding (...) the scientific inventions, technologies and theories of moving image technologies, representations of time, and the measurement of bodies in motion such as those by the French physiologist Étienne-Jules Marey. The application of Bergson’s thinking will show how the scientific graphing and representations of the body through technologies inevitably stand in tension with the limits and potentials of the ‘human apparatus’ and its abilities, filters and internalised processes of perception, memory and consciousness. It proposes an ontological approach to scientific imaging technologies and a critical engagement with the ‘realism’ debate in the discourse of audio-visual media. (shrink)

The thesis explored here is that ?image technologies? prominent in today's communications technologies are acidic to traditional cultures. I parallel examples from the history of early modern science and its optical instrumentation with the rise of cinema and television and other audio?visual technologies to show a similar history and effect. One dominant contemporary phenomenon which occurs through image technologies is the appearance of pluriculture, a unique mediation of the multi?cultural. The challenge of pluriculture vis?à?vis the (...) contemporary forms of reaction to the phenomenon is also examined. (shrink)

Despite the importance of effective observational analysis in the technical aspects of climbing performance, limited research informs this aspect of climbing coach education. Thus, the purpose of the present research was to explore cognitive-perceptual mechanisms underpinning visual search strategies of expert and novice climbing coaches through the novel combination of eye-tracking technology and retrospective think-aloud methodology. Analysis of gaze data revealed expert climbing coaches to demonstrate fewer fixations of greater duration, and fixate on distinctly different areas of the (...) class='Hi'>visual display, than their novice counterparts. Retrospective think-aloud interviews further demonstrated differences in the cognitive-perceptual mechanisms underpinning these visual search strategies, with expert coaches more cognisant of their visual search strategy. To expand, the gaze behaviour of expert climbing coaches was underpinned by hierarchical and complex knowledge structures relating to principles of climbing movement. This enabled expert coaches to actively focus on the most relevant aspects of a climber’s performance for analysis. Findings demonstrate the utility of combining eye tracking and retrospective think-aloud interviewing as a new, efficient methodology of capturing the cognitive-perceptual processes of climbing coaches to inform coaching education/strategies. (shrink)

Visual research is a fast-growing interdisciplinary field. The flexibility and diversity of visual research methods are seen as strengths by their adherents, yet adoption of such approaches often requires researchers to negotiate complex ethical terrain. The digital technological explosion has also provided visual researchers with access to an increasingly diverse array of visual methodologies and tools that, far from being ethically neutral, require careful deliberation and planning for use. To explore these issues, the Symposium on Exploring (...) Ethical Frontiers of Visual Methods was held at the University of Melbourne, Australia, on 4 March 2014. The symposium was hosted by the Visual Research Collaboratory, a consortium of Australian and Canadian visual researchers, with support from Melbourne Social Equity Institute, University of Melbourne. The symposium represented the culmination of a process to develop a resource outlining principles of ethical practice for visual researchers and ethics committee members, the Guidelines for Ethical Visual Research Methods, which were launched at the event. The Guidelines present a framework for considering ethical matters in visual research, distinguishing six groups of issues united by an overarching theme: confidentiality; minimizing harm; consent; fuzzy boundaries; authorship and ownership; and representation and audiences. (shrink)

One of the crucial fields of study that is getting more attention is association rule mining. It is crucial to databases' knowledge discovery (KDD). KDD and association rule mining have a very broad use. It has evolved at a rapid rate over the past fifteen years. Association Rule Mining is a novel technology, although it is still in the discovery and development stages. Video is an illustration of interactive media data since it contains text, pictures, meta-data, visual, sound, and (...) different kinds of data. It is frequently used for a variety of important likely reasons, such as security and reconnaissance, amusement, healthcare, educational endeavours, and sports. One of the main issues for the local data-mining research community is video data mining, which aims to find and comprehend fascinating examples from the large volume of video data. Video data mining is still in its infancy when compared to mining other sorts of data. It is pivotal to grasp and naturally mine the information from video databases considering the continually extending computerized libraries and video databases. Differentiating association rules between components in a significant video library is critical in the field of video data mining. As per continuous imaginative work, association rule mining is being utilized rapidly in various tasks, including perception, social affairs, broadcast news, sports, records, films, clinical data, as well as on the web and individual media assortments. This exploration tries to give a far-reaching method to association rule extraction from video databases. (shrink)

Visual cortical prostheses (VCPs) have the potential to provide artificial vision for visually impaired persons. However, the nature and utility of this form of vision is not yet fully understood. Participants in the early feasibility trial for the Orion VCP were interviewed to gain insight into their experiences using artificial vision, their motivations for participation, as well as their expectations and assessments of risks and benefits. Analyzed using principles of grounded theory and an interpretive description approach, these interviews yielded (...) six themes, including: the irreducibility of benefit to device functionality, mixed expectations for short-term device functionality and long-term technological advancement of visual prostheses, and a broad range of risks, concerns, and fears related to trial participation. We argue that these narratives motivate a nuanced set of ethical considerations related to the complex relationship between functionality and benefit, the intersection of user experience with disability justice, and the import of expectations and indirect risks on consent. (shrink)

The critical examination of the film American Beauty reveals characteristics illustrative of the form of culture coextensive with modern technological societies. This form of culture creates an imbalance favoring the aesthetical over the ethical dimensions of human orientation. Absorption into the aesthetical dimension of the electronic or digital visual image significantly reduces the capacity of culture to nurture a meaningful symbolic world. The relative absence of a meaningful symbolic world leaves both identity and social relationships without a foundation.

The article situates Kittler’s view on the question of visual technology within his general media theory and critically examines Kittler’s optical paradigm with regard to questions of (visual) technology, discourse, strategy and style. Focus is given to the link between visual technology and the Renaissance period.

Playing with correct intonation is one of the major challenges for a string player. A player must learn how to physically reproduce a target pitch, but before that, the player must learn what correct intonation is. This requires audiation- the aural equivalent of visualization- of every note along with self-assessment whether the pitch played matches the target, and if not, what action should be taken to correct it. A challenge for successful learning is that much of it occurs during practice, (...) typically without outside supervision. A student who has not yet learned to hear correct intonation may repeatedly practice out of tune, blithely normalising bad habits and bad intonation. The real-time reflective nature of intonation and its consistent demand on attention make it a ripe target for technological intervention. Using a violin augmented to combine fingerboard sensors with audio analysis for real-time pitch detection, we examine the efficacy of three methods of real-time feedback for improving intonation and pitch learning. The first, aural feedback in the form of an in-tune guide pitch following the student in real-time, is inspired by the tradition of students playing along with teachers. The second is visual feedback on intonation correctness using an algorithm optimised for use throughout normal practice. The third is a combination of the two methods, simultaneously providing aural and visual feedback. Twelve beginning violinists, including children and adults, were given four in-situ 20-30 minute lessons. Each lesson used one of the intonation feedback methods, along with a control lesson using no feedback. We collected data on intonation accuracy and conducted interviews on student experience and preference. The results varied by player, with evidence of some players being helped by the feedback methods but also cases where the feedback was distracting and intonation suffered. However interviews suggested a high level of interest and potential in having such tools to help during practice, and results also suggested that it takes time to learn to use the real-time aural and visual feedback. Both methods of feedback demonstrate potential for assisting self-reflection during individual practice. (shrink)

Diffusions in Architecture: Artificial Intelligence and Image Generators delves into the impact of Diffusion AI algorithms and generative image models on architecture design and aesthetics. The book presents an in-depth analysis of how these new technologies are revolutionizing the field of architecture. The architects presented in the book focus on the application of specific AI techniques and tools used in generative design, such as Diffusion models, Dall-E2, Stable Diffusion, and MidJourney. It discusses how these techniques can generate synthetic images (...) that are both realistic and imaginative, creating new possibilities for architectural design and aesthetics. This comprehensive overview of the impact of Diffusion AI algorithms and generative image models on the field of architecture shows how they are changing the way architects approach their work. With a foreword by Lev Manovich—artist, writer and one of the world's most influential digital culture theorists. Sharing the work and insights of a team of designers and theorists from a range of backgrounds, offering disciplinary depth, and covering the full impact of these tools and models on architecture, Diffusions in Architecture includes information on: Fresh perspectives on design and aesthetics, with designs, images, and commentary from 22 leading architects, theorists, and designersThe potential of prompt engineering and text-to-image models applicable to a broad interdisciplinary audienceWhether image generators, or AI in general, will be an aid for human design, or potentially displace humans from the market fundamentals of a larger debate in the architectural discourse (and practice) on the use of image generatorsCollecting the different ideas that have emerged in the field, Diffusions in Architecture provides architects, designers, concept artists, and theorists with an overview of this cornucopia of architectural imaginations produced in a common effort between humans and artificial intelligence. (shrink)

This interview with media anthropologist, Rebecca L. Stein, conducted by Noa Levin and Andrew Fisher in Spring 2023, takes her recent book Screenshots: State Violence on Camera in Israel and Palestine (2021) as its starting point in order to explore issues of state violence and the militarization of social media in Israel/Palestine. This book marks the culmination of a decade-long research project into the camera dreams introduced by digital imaging technologies and the fraught histories of their disillusionment. Stein discusses (...) the way her research has critically conceptualized the recent history of hopes invested in the digital image in this geopolitical context, by the occupier as much as the occupied, and charts the failures and mistakes, obstructions and appropriations that characterize the conflicted visual cultures of Israel/Palestine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Exploring Visual Culture: Definitions, Concept, ContextsPaul DuncumExploring Visual Culture: Definitions, Concept, Contexts, edited by Matthew Rampley. Edinburgh: Edinburgh University Press, 2005, 257 pp., $32.00 paper.I review this new introductory text in light of its competition as a textbook for undergraduates and as an introduction for graduate students. Other such texts include Barnard, Elkins, Mirzeoff, Walker and Chaplin, and Sturken and Cartwright,1 which appears to be the (...) most widely used. Rampley's anthology stands up well among these competitors, especially for those who wish to transition from art to contemporary popular visual culture rather more gently than other texts that, for many students, might come as too abrupt a disjuncture from mainstream practice in schools of art and design. As Matthew Rampley states in his excellent introduction, if the book has an original contribution to make, it is to situate an acknowledgment of traditional practices and issues into the makeup of visual culture studies. Unlike other texts, mentioned above, which tend to stress screen and print media, Rampley's agenda is to remind readers of the historical origins of many recent developments as well as the contribution of cultural forms other than two-dimensional ones. Thus, chapters are included that trace the history and continuing contribution of traditional media; art, design, craft, and architecture each receive individual chapters. MacDonald, for example, describes the complex meanings of craft and its relationship to fine art and design from classical times to today, as well as summarizes the characteristics and politics of craft today. Furthermore, the influence of technology is charted principally through conventional art, and the chapters on photography, film, and fashion are likewise cast largely in terms of historical accounts of whether these forms should be considered to be art.The historical bias is equally evident in the pictures used to illustrate the text. While, for example, there are contemporary popular images, such [End Page 118] as a cover of the Sun newspaper and a photograph of Punks, there are as many crossover images—postcards of famous art portraits and a Michelangelo on a T shirt—as well as many conventional artworks. Delacroix, Corbert, Rauschenberg, David, Fuseli, and Van Goyen are each featured. Some of the popular images are also historical, such as George Mêlées 1902 classic film Voyage to Moon and advertisements from the1930s.Sometimes the historical material takes up much of the space, with recent developments given only cursory treatment, and sometimes the material is dealt with in ways that seem rather old-fashioned to this reader. For example, Glyn Davis's chapter on photography and film is primarily a potted historical account of the relationships between these two cultural forms and art. Further, Davis does not just describe the arguments for and against their inclusion as art but is clearly engaged with these issues himself, an engagement that many proponents of visual culture would find rather quaint—that is, rather less interesting than the particular contribution that these forms make to contemporary life and for whom the question, "Is it art?" is no longer of any particular interest. This art orientation also colors Davis's view of Hollywood films. Clearly preferring "art" films, he completely ignores the role of popular film in exploring the fears, anxieties, beliefs, and so on of the wider public. By contrast, Richard Williams argues against architecture as a form of art, with its limited concerns with aesthetics, style, and canonical buildings, in favor of architecture as discourse and spatial experience. He is more interested in the reception of architecture than its production—first with architecture as signs, as meanings that are mutable, contingent, and arbitrary; and, secondly, as ordinary urban lived experience, with how architecture is but one element within the experience of urban environments.Typical of the avoidance of technical terms in the book as a whole, Williams beautifully describes the difference between structuralism and poststructuralism without once mentioning either of these terms, and in a chapter on architecture he manages to use the term "postmodern" only once. Similarly, in Neil Mulholland's chapter on representation and realism, cultural border crossing and indigenization are both described, albeit briefly, though without recourse to these terms... (shrink)

Modern morality is fundamentally a visual morality. Moral paradigms are embedded in the visual images of the mass media, which have supplanted language as the primary context for moral knowledge. A technological civilization is ultimately one whose only value is that of power. The visual images of the mass media are the “language” of technology; as such, they are about what is (material reality) and what is possible (always a technological possibility). The tension today between what is (...) and what ought to be has been replaced by that between what is and what is possible. (shrink)

A theoretical approach relying on quantum computation in microtubules within neurons can potentially resolve the enigmatic features of visual consciousness, but raises other questions. For example, how can delicate quantum states, which in the technological realm demand extreme cold and isolation to avoid environmental ‘decoherence’, manage to survive in the warm, wet brain? And if such states could survive within neuronal cell interiors, how could quantum states grow to encompass the whole brain? We present a physiological model for (...) class='Hi'>visual consciousness that can accommodate brain-wide quantum computation according to the Penrose–Hameroff ‘Orch OR’ model. In this view, visual consciousness occurs as a series of several-hundred-millisecond epochs, each comprising ‘crescendo sequences’ of quantum computations occurring at ∼40 Hz. (shrink)

In this book, the author explores how video-image technology shapes our psychic and social environments from an art historiographical perspective. We know media technology is dramatically shaping our political and epistemological landscape: this book foregrounds the emergence of performative video images as a key factor in the revaluation of culture and politics. -/- Performative Images draws upon the work of video artists and activists in France between the 1970s and the early 2020s and focuses on significant practices with technology. Video (...) art and video activism are analysed together in the book to revaluate key concepts in media studies and foreground a performative approach to the theory of image technology. -/- The book engages works in visual culture, performance studies, digital studies, critical race theory, and feminist methodologies to account for the changes brought about by video technology in social and psychic life. Performative Images is about art and activists’ engagement in video technology—an engagement that unsettles the hegemonic narrative of dominant media, as well as the apparently politically neutral dimension of communication technology. (shrink)

Foucault's discussion of the panopticon is the best-known engagement with visual epistemology, the relationship of sight and knowledge. Yet the panopticon is only one form of visual epistemology and all technologies of perspective position and situate their subjects. As a colloquial statement of visual epistemology we might say: you are how you see. This essay focuses on the cinematic episteme or how the technology of cinema configures a way of seeing and way of knowing. Specifically this (...) essay takes up a narrower question of visual alterity. Beginning from Hegel's discussion of consciousness, it asks how within and through film we recognise our self and how can we see the other? To carry out the analysis, the essay attends in particular to two films Baby I will Make You Sweat (1994) and La Moderna Poesia (2000) by experimental and underground artist Birgit Hein. These films combine incongruous and even conflicting representational strategies that particularly enable an exploration of visual alterity. Both films on the one hand narrate a highly subjective experience of self/other relations within the context of a travel narrative: a woman seeking to recapture some sense of life, travels to an unfamiliar destination, enters into new environments and takes up relationships, sometimes intimate, with strangers. On the other hand they both rely on a form of aesthetic abstraction that leaves the film without renaissance perspective, panoptic organizing, shot-reverse shot, continuity editing, i.e. an of the typical representational strategies of alterity found in narrative films. (shrink)

This article considers photography’s role as a visual technology and the consequent effects of expanded frames of knowledge. At the very moment human vision and memory were called into profound doubt, photography provided a mechanical, prosthetic extension to perceptual experience. However, as a technology, it contains the potential for both revelation and control. In this article, photography is considered as a technique that: expands human perception; inscribes its own mechanical operations into new visual forms, therefore enframing and encoding (...) visible knowledge; and can be harnessed as a disciplinary instrument and technique of power. As a consequence, photography’s revealing of hitherto invisible dimensions of reality unfolds within a history of revelation, spectacle and power. (shrink)

Several philosophers of technology have argued that technology mediates human actions. For example, in the branch of post-phenomenology, authors such as Don Ihde and Peter-Paul Verbeek have described the mediating aspects of technology in terms of morality of technology (more prominent in Verbeek) as well as in the sense that technology changes our perception of ourselves and the world (more prominent in Ihde). In this article, different existing types of mediation are presented, critiqued, and enriched. The four types are illustrated (...) by referring to military high-tech environments with a focus on visual data and imaging technologies. These technologies can mediate actions (1) by inviting certain behavior, (2) through amplification and reduction, (3) through built-in norms, and (4) through interpretation. The four types of mediation mainly focus on the technology or technological artifact itself. What these approaches fail to grasp, however, is the specific user practices in which most technologies function. In this article, it is argued that to understand the mediating aspects of technology more fully, attention should be paid to the specific user context in which the technology functions. Therefore, an enriched understanding of the four types of mediation of technology is proposed by taking the lens of normative practices and analyzing the different types of mediation through this lens. The Kunduz airstrike incident, which took place in 2009 in Afghanistan, is a case in which a visual data sharing device called Rover played a prominent role. This case is used in this article to illustrate how technology mediates human actions in military practice. (shrink)

_Expanding Hermeneutics _examines the development of interpretation theory, emphasizing how science in practice involves and implicates interpretive processes. Ihde argues that the sciences have developed a sophisticated visual hermeneutics that produces evidence by means of imaging, visual displays, and visualizations. From this vantage point, Ihde demonstrates how interpretation is built into technologies and instruments.

This paper presents a study of the generation, manipulation and use of visual representations in different episodes of scientific discovery. The study identifies a common set of transformations of visual representations underlying the distinctive methods and imagery of different scientific fields. The existence of common features behind the diversity of visual representations suggests a common dynamical structure for visual thinking, showing how visual representations facilitate cognitive processes such as pattern-matching and visual inference through the (...) use of tools, technologies and other cultural resources. This dynamical model suggests a way of theorizing the interaction of cognitive, socio-cultural and technological aspects of science without losing sight of the essential contribution each makes to the processes of discovery. Whereas scientific work is often construed epistemically, as having the aim of improving the fit between theories and phenomena or culturally given notions of what counts as reality, this study shows that scientists use transformations to modify visual representations in ways that achieve other kinds of match: between a representation and the cognitive demands of a task or between an emerging representation and the social need to communicate and negotiate new meanings in a context of culturally embedded conventions. By showing how images connect each of the overlapping contexts of scientific work the proposed model negotiates the sometimes contested boundary between cognitive and social aspects of science. (shrink)

Diagrams are hybrid entities, which incorporate both linguistic and pictorial elements, and are crucial to any account of scientific and mathematical reasoning. Hence, they offer a rich source of examples to examine the relation between model-theoretic considerations and linguistic features. Diagrams also play different roles in different fields. In scientific practice, their role tends not to be evidential in nature, and includes: highlighting relevant relations in a micrograph ; sketching the plan for an experiment; and expressing expected visually salient information (...) about the outcome of an experiment. None of these traits are evidential; rather they are all pragmatic. In contrast, in mathematical practice, diagrams are used as heuristic tools in proof construction ; notational devices; and full-blown proof procedures. Some of these traits are evidential. After assessing these different roles, I explain why diagrams are used in the way they are in these two fields. The result leads to an account of different styles of scientific reasoning within a broadly model-based conception. (shrink)