This special issue looks at some of the ways that images are adopted, co‐opted, and adapted in the life sciences and beyond. It brings together papers that investigate the role of visualization in scientific knowledge‐production with contributions that focus on the distribution and dissemination of knowledge to a broader audience. A commentary provides a critical perspective. In this editorial we introduce circulation as a practice to better understand scientific images. Along two themes, we highlight connections across the papers. First, (...) the social life of scientific representation follows the contexts, settings, and spaces through which images circulate. Second, authorship, expertise, and trust inform the capacity and the failure of images to circulate. Altogether, this volume raises a set of new questions about circulation as practice in the historiography of images in the life sciences. (shrink)

This article investigates the concept of the ground truth as both an epistemic and technical figure of knowledge that is central to discussions of machine vision and media techniques of visuality. While ground truth refers to a set of remote sensing practices, it has a longer history in operational photography, such as aerial reconnaissance. Building on a discussion of this history, this article argues that ground truth has shifted from a reference to the physical, geographical ground to the surface of (...) the images echoing earlier points raised by philosopher Jean-Luc Nancy that there is a ground of the image that is central to the task of analysis beyond representational practices. Furthermore, building on the practices of pattern recognition, composite imaging, and different interpretational techniques, we discuss contemporary practices of machine learning that mobilizes geographical earth observation datasets for experimental purposes, including tests such as “fake geography” as well as artistic practices, to show how ground truth is operationalized in such contexts of AI and visual arts. (shrink)

Jan Bryant looks at the strategies visual artists and filmmakers are using to criticise the social and economic conditions shaping our historical moment. She then assesses how the world is being positively re-imagined through their work today.

Since the early twentieth century, speculators have used visual methods to detect future trends in prices. The resulting visual hermeneutics has become known as ‘technical analysis’. Although it has some mathematical elements, however, its genealogy is much stranger. This essay traces elements of this tradition including its associations with vibrations and cycles, numerology, astrology and hermeticism. Elements of these traditions can be detected in mainstream trading manuals even today.

Since the early twentieth century, speculators have used visual methods to detect future trends in prices. The resulting visual hermeneutics has become known as ‘technical analysis’. Although it has some mathematical elements, however, its genealogy is much stranger. This essay traces elements of this tradition including its associations with vibrations and cycles, numerology, astrology and hermeticism. Elements of these traditions can be detected in mainstream trading manuals even today.

In the original publication of the article, the following paragraphs have been indented wrongly in the published article.

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 present paper is aimed at showing some correlations between Charles Peirce’s life, his intellectual habits as a logician and mathematician, his semiotic theory and his practice as a geodesist. For this purpose, it makes use of Peirce’s ideas about the nature of visual experience, some facts of his intellectual biography, and his definitions of sign and the term “virtual.” It appears that Peirce’s mature pragmatist and semiotic ideas find some support in his early practice as a (...) scientist and a mathematician, thus providing an interesting example of the intersection of scientific practice and philosophical speculation. (shrink)

Visualizations used in the practice of neuroscience, as one example of a scientific practice, can be sorted according to whether they represent (A) actual things, (B) theoretical models, or (C) some integration of these two. In this paper I hypothesize that an assessment of a chain of visual representations from (A) through (C) to (B) (and back again) is used, as part of the practice of scientific judgment, to assess the adequacy of the "working fit" between (...) the theoretical model and the actual thing or process that the model is intended to explain. (shrink)

Visualizations used in the practice of neuroscience, as one example of a scientific practice, can be sorted according to whether they represent actual things, theoretical models, or some integration of these two. In this paper I hypothesize that an assessment of a chain of visual representations from through to is used, as part of the practice of scientific judgment, to assess the adequacy of the "working fit" between the theoretical model and the actual thing or process (...) that the model is intended to explain. (shrink)

A range of arguments are presented to demonstrate that (1) human visual orientations are conceptually constituted (concept?bound); (2) the concept?boundedness of visual orientations does not require a cognitivist account according to which a mental process of ?inference? or of ?interpretation? must be postulated to accompany a purely ?optical? registration of ?wavelengths of light?, ?photons?, or contentless ?information'; (3) concept?bound visual orientations are not all instances of ?seeing as?, contrary to some currently prominent cognitivist accounts; (4) the dispute (...) between cognitivist and realist accounts about the phenomenon of ?seeing as? is spurious, and is based upon a confusion about the fundamental analytical distinction made by Wittgenstein between ?seeing? and ?seeing as'; (5) ?perceiving?, ?seeing?, and ?seeing as? are but three of a large array of verbs of human visual orientation, and are not ?master categories? under which one can subsume these other modalities; (6) one cannot deduce a continuity of human visual orientation from a continuity of photon?photoreceptor interaction, a point we characterize as the ?staggered character? of human visual orientations; (7) detailed attention to the grammars of the diverse verbs of human visual orientation can open up a domain of study which we here refer to as a ?praxiology of perception'; (8) the nature of such an inquiry can be illustrated with exemplary reference to the analysis of the properties of ?noticing? as embedded in courses of practical action; and (9) such arguments, which claim that existing perceptual theories overly homogenize what is involved in visual orientations to the world, parallel those of Stroll, who proposes that standard accounts of ?what is perceived? overly homogenize the perceptible environment. (shrink)

What is the relation between image practices and the iconic power of flying and more specifically falconry? The book investigates for the first time this interaction by focusing on common intersections between culture and nature, vision and gaze, tactility and perception, perspective and surveillance, material and symbol. Also questions concerning political iconology, the migration of objects and images of human-animal interactions are addressed. With contributions by Baudouin van den Abeele, Horst Bredekamp, Robert Felfe, Peter Geimer, Yannis Hadjinicolaou, Christine Kleiter, Klaus (...) Krüger, Tanja Michalsky, Andrea Pinotti, Herman Roodenburg, Monika Wagner, Gerhard Wolf and Frank Zöllner. (shrink)

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 195 Pages: 127-167.

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)

In lectures and writings in the decades following the publication of Studies in Ethnomethodology [1967], Harold Garfinkel, the founder of ethnomethodology, developed what he called a “misreading” of the phenomenological writings of Aron Gurwitsch, Maurice Merleau-Ponty and others. Garfinkel’s “misreading” included a selective and creative treatment of themes that Gurwitsch drew from Gestalt psychology, such as figure-ground, Gestalt contexture, and the phenomenal field. Rather than identifying these themes with visual perception demonstrated with picture-puzzles (for example, of animals hidden in (...) foliage) and line drawings of reversible figures, Garfinkel used them to demonstrate praxeological and interactional phenomena: organizations of embodied activity that constitute fields of collective action. Phenomenal fields, for Garfinkel, are formed through embodied work performed in concert with the actions of others. Although Harvey Sacks, the founder of Conversation Analysis, did not explicitly mention Gurwitsch, phenomenology or Gestalt psychology in his writings and transcribed lectures, some of his writings on the sequential organization of conversation seem informed, if only indirectly through his relationship with Garfinkel, by Gurwitsch’s treatment of visual and auditory phenomena. Both Garfinkel and Sacks devised innovative ways to transpose Gestalt phenomena from perceptual psychology to social formations. (shrink)

The objective of this essay is to forge a more explicit link between the “visual turn” and the “practice turn” in entrepreneurship research. Specifically, we explore three key aspects of mobilizing visual methods for studying entrepreneurship-as-practice, i.e., data sources, collection strategies, and analytical perspectives, highlighting the important theoretical and empirical promises that visual methods hold for said research. This essay bears implications for researchers and educators working at the intersection of entrepreneurship research, the practice (...) theory, and visual methods. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"A City of Brick":Visual Rhetoric in Roman Rhetorical Theory and PracticeKathleen S. LampPerhaps none of the words Augustus, the first sole ruler of Rome who reigned from 27 BCE to 14 CE, actually said are quite as memorable as the ones Cassius Dio has attributed to him: "I found Rome built of clay and I leave it to you in marble" (1987, 56.30).1 Suetonius too discusses Augustus's building (...) program, offering an alleged quote along with an explanation of his motivation: "Since the city was not adorned as the dignity of the empire demanded, and was exposed to flood and fire, he so beautified it that he could justly boast that he had found it built of brick and left it in marble" (1998, Aug.28.3). Though Suetonius's explanation is practical, Dio argues Augustus's "city of brick" had a more metaphoric or symbolic meaning: "In saying this he was not referring literally to the state of the buildings, but rather to the strength of the empire" (1987, 56.30).Both historians, then, perceive a connection between the physical appearance of the city and Rome's place at the head of the (Roman) world. Maecenas, Augustus's right-hand man who was essentially the minister of culture, explicitly draws attention to this strategy in a speech fabricated by Dio. Maecenas advises Augustus, "Make this capital beautiful, spare no expense in doing so, and enhance its magnificence with festivals of every kind. It is right for us who rule over so many peoples to excel all others in every field of endeavor, and even display of this kind tends to implant [End Page 171] respect for us in our allies and to strike terror into our enemies" (1987, 52.30). Here Dio suggests, albeit in hindsight, that Augustus's building program was a conscious "display" of Rome's supremacy meant to elicit a reaction, particularly from those who dwelled outside the city.Though from this passage of Dio's it is possible to argue that the physical appearance of the city of Rome was meant to persuade, or at least elicit some response, the passage does not provide support for the claim that architecture, monuments, and city planning functioned rhetorically in ancient Rome. After all, Quintilian reminds us that "many other things have the power of persuasion" (1970, 2.15.6-9). Nonetheless, this passage does generate questions about the relationship between the Augustan building program, or more broadly the Augustan cultural campaigns, and rhetoric in the principate—specifically about the way in which the cultural campaigns functioned rhetorically to help Augustus gain and maintain power.Recently, I have argued that the Ara pacis Augustae, an Augustan monument commissioned in 13 BCE, functioned as a visual example of a rhetorical text, meant not only to celebrate Augustus's successful campaigns is Spain and Gaul but also to garner public support for Augustus's heir and the process of dynastic succession. Because specific rhetorical techniques often associated with the epideictic genre clearly function on the altar, the Ara pacis demonstrates that Augustus and/or his ministers were thinking rhetorically when constructing at least some Augustan monuments (Lamp 2009). Similarly, architectural historian Diana Favro has argued that certain aspects of Augustan architecture made use of rhetorical techniques related to the canon of memory (1996). These findings are perhaps not surprising given that George Kennedy, writing nearly forty years ago, acknowledged that Augustus, a figure he called "the greatest rhetorician of antiquity, " "developed new techniques of verbal and visual persuasion which took over some of the functions and adapted some of the methods of traditional oratory" (1972, 378, 382).Still, very little attention has been paid to Augustus as a rhetorical figure, which is not to say that scholars of rhetoric have paid no attention to Roman rhetoric. While the classicist Theodore Mommsen, writing in the latter half of the nineteenth century, went as far as to refer to the principate as the "end to the entire discipline of rhetoric" (1992, 125), the decline narrative in regards to Roman rhetoric is shifting. Traditionally, this decline narrative suggested that following the assassination of Cicero, traditional oratory retreated into... (shrink)

Visual representations (photographs, diagrams, etc.) play crucial roles in scientific processes. They help, for example, to communicate research results and hypotheses to scientific peers as well as to the lay audience. In genuine research activities they are used as evidence or as surrogates for research objects which are otherwise cognitively inaccessible. Despite their important functional roles in scientific practices, philosophers of science have more or less neglected visual representations in their analyses of epistemic methods and tools of reasoning (...) in science. This book is meant to fill this gap. It presents a detailed investigation into central conceptual issues and into the epistemology of visual representations in science. (shrink)

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external (...) pictures and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

The tension in evidence-based practice and reflective practice -- The relationship between reflection and action research -- An overview of theories of consciousness and unconsciousness -- What do we mean by creativity? -- Using metaphor and symbolism as analysis -- Infinite possibilities of knowing and transformation -- Concluding thoughts; the linkages to action research and critical creativity.

We propose a new relational direction in higher education that acknowledges external and internal images as integrated in thinking and learning. We expand educational theory and practice that commonly rely on discrete conceptual developments that exclude images. Our argument epistemologically relies on certain semiotic views that consider the role of iconic signs and iconicity (meaning making by the virtue of similarity) as significant in relation to knowledge and learning. The analogical and imaginative work required to discover similarity between external (...) pictures and any educational concept is a form of iconic mind work that opens a space for transformational thinking and creative solutions. The novelty of our argument lies in the schematic philosophy of mind by C.S. Peirce, and specifically, an adaptation of Peirce’s triadic sign diagram for learning, exemplified via an ‘inquiry graphic’ sign and reflective method. This outlook seeks connections in diversity, arguing for an education that acknowledges and teaches intrinsic human relatedness to other humans, beings and things in the environment, thus challenging any notions of anthropocentrism and superiority. It calls for a reaction in international higher education to acknowledge the iconicity of concepts and thinking and embrace integrated image-concept signs for deep and critical teaching-learning, towards a modest educational contribution to counteracting social and environmental crises. (shrink)

In practice, scientists must convey data in a “representational style”. Various authors seek to explain the epistemic role of scientific visual representation in terms of formal conventions. Goodman also tends to dismiss the epistemic relevance of human cognition. My position is that visual conventions are nonarbitrary, in that they play to scientists’ cognitive abilities and limitations. My account draws on Perini's formal analysis, scientific case studies, and empirical literature on global pattern detection in neurotypicals, autistics, and dyslexics.

In today’s science, the output of measurement processes are often visual representations of the data detected. Moreover, we find such visual data as parts of scientific reasoning in different contexts. In this article, we will take a look at two of them. On the one hand, visual representations are used as a kind of surrogate for the real object to ask questions about it – we will call this the exploratory use of visual data. On the (...) other hand, visualisations are often used to communicate research results to scientific peers or to laymen. Instances of the latter case we will subsequently call the explanatory use of visual data. However, in both contexts the question arises what might justify these epistemic practices. Believing without reasons is epistemically irresponsible, it leads to gullibility. Thus, we will try to answer the question whether there are any reasons to support our epistemic practices concerning scientific visualisations in the above-mentioned senses and whether these are good reasons to rely on. (shrink)

Perhaps none of the words Augustus, the first sole ruler of Rome who reigned from 27 BCE to 14 CE, actually said are quite as memorable as the ones Cassius Dio has attributed to him: "I found Rome built of clay and I leave it to you in marble" .1 Suetonius too discusses Augustus's building program, offering an alleged quote along with an explanation of his motivation: "Since the city was not adorned as the dignity of the empire demanded, and (...) was exposed to flood and fire, he so beautified it that he could justly boast that he had found it built of brick and left it in marble" . Though Suetonius's explanation is practical, Dio argues Augustus's "city of brick" had a more metaphoric or . (shrink)

Philosophy of science has characterized scientific knowledge as fundamentally propositional . This account leads to an inability to recognize and articulate the significant role of non-propositional, visual representation in the practice of science. Toward the development of a more productive framework for understanding visual representation in science, the present study critiques the standard philosophical view, reviews the literature on visual representation in science, and examines the scientific case of neuroscience. Specifically, the study looks at current research (...) known as "functional mapping of the human brain" which uses neuroimaging technologies such as positron emission tomography in the localization of particular functions in the human brain. This case study suggests that, contrary to previous accounts in philosophy of science, visual representation and propositional representation work together as parallel, interacting, interwoven practices in the discovery/construction of scientific knowledge. Visual representations are not reduced to--translated into--linguistic and mathematical propositions, but instead are used in their multidimensional forms. The present study focuses on the external, materialized visual representations used in the practice of science, as opposed to internal, mental images that might be studied by cognitive psychology. Several hypotheses are proposed which describe aspects of the role of these visual representations in the practice of science. These include the following: a primary function of visual representation is the representation of structure which is made possible by the use of actual space in the process of visual representation; visual comparisons among visual representations of real objects and processes, visual representations of theoretical models, and visual representations of integrations of the two are used to assess the fit of the theoretical models to the real objects and processes; the construction of visual prototypes or prototypical visual representations of objects of scientific research are used to categorize and stabilize--hold stationary for the purposes of scientific examination--such objects; and the construction of material models make it possible for scientists to interact with and/or manipulate materialized structures as representations of real systems. (shrink)

Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, (...) there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study. (shrink)

While most research in public relations and strategic communication concentrates on textual elements, this contribution shifts the focus to the growing importance of visual elements. The theoretical background is based on visual theory and the concept of strategic mediatization. By using a large-scale quantitative survey among 3,387 European communication professionals, this study is the first empirical evidence of communication professionals’ perspectives concerning visual communication. Therefore, the paper empirically demonstrates a visual turn in strategic communication. Although practitioners (...) have been using visual elements since the very beginnings of their trade, only a minority guide these activities through a sound management process. This calls for a deeper consideration of visual communication management in practice and visual public relations research in academia. (shrink)

The public transport sector in the urban landscape in Nigeria is a prominent social site for the spatial distribution of automobile graffiti signatures. Transporters have various kinds of symbolic tags on their vehicles that convey different messages which represent their local attitudes, beliefs, religious identities, folk psychology, and safety precautionary measures to recipients (other road users and passers-by). This article, based on two case studies, examines the practice of automobile graffiti on trucks and lorries in Calabar metropolis, Cross River (...) State, south-eastern Nigeria. It investigates the motivations, thematic categories, and subjective semiotic interpretations of these verbal signatures from the perspectives of visual semiotics theory using participant observations, semi-structured interviews, and informal conversations. The study demonstrates that truck drivers/owners use their vehicles as visible artistic platforms in the public space to express their thoughts and sentiments on personal, social, and religious issues affecting the society. The study concludes that these inscriptions and imageries are artistic subcultures that mirror wide ranging value categories and provide outlets for spatial transformation, creative agencies, and social commentaries. (shrink)

Richard Waller, Fellow and Secretary of the Royal Society, is probably best remembered for editing Robert Hooke’s posthumously published works. Yet, Waller also created numerous drawings, paintings, and engravings for his own work and the Society’s publications. From precisely observed grasses to allegorical frontispieces, Waller’s images not only contained a diverse range of content, they are some of the most beautiful, colorful, and striking from the Society’s early years. This article argues that Waller played a distinctly important role in shaping (...) the visual program of the Royal Society by virtue of his multiple functions as reliable administrator and translator, competent natural philosopher, and skilled image-maker. It analyzes Waller’s visual works in the context of his graphic training—in part influenced by his mother Mary More—and situates them within the context of English image-making traditions and Waller’s own natural philosophical interests. Examined as a functional whole, Waller’s career as a Fellow of the Royal Society emerges as an important case study in the fusion of visual and scientific practices in early-modern England. (shrink)

This book is about the relationship between necessary reasoning and visual experience in Charles S. Peirce’s mathematical philosophy. It presents mathematics as a science that presupposes a special imaginative connection between our responsiveness to reasons and our most fundamental perceptual intuitions about space and time. Central to this view on the nature of mathematics is Peirce’s idea of diagrammatic reasoning. In practicing this kind of reasoning, one treats diagrams not simply as external auxiliary tools, but rather as immediate visualizations (...) of the very process of the reasoning itself. Thus conceived, one's capacity to diagram their thought reveals a set of characteristics common to ordinary language, visual perception, and necessary mathematical reasoning. The book offers an original synthetic approach that allows tracing the roots of Peirce’s conception of a diagram in certain patterns of interrelation between his semiotics, his pragmaticist philosophy, his logical and mathematical ideas, bits and pieces of his biography, his personal intellectual predispositions, and his scientific practice as an applied mathematician. (shrink)

This paper concerns local yet systematic problems of contrastive underdetermination of model choice in cognitive neuroscience debates about the so-called two visual systems hypothesis. The underdetermination problem is systematically generated by the way certain assumptions about the representationalist nature of computation are translated into experimental practice. The problem is that behavioural data underdetermine the choice between competing representational models. In this paper, I diagnose how these assumptions generate underdetermination problems in the choice between competing functional models of perception–action. (...) Using the tools of philosophy of science, I describe the type of underdetermination and sketch a possible cure. (shrink)

Purpose This paper aims to review and critically assess the role that data visualizations played as communication media tools to help society during a worldwide crisis. This paper re-creates and analyzes several visualizations, critically and ethically assesses their strengths and limitations and provides a set of best practices that are informative, accurate, ethical and engaging at each stage in a reader’s interest. Design/methodology/approach The paper bases its methodology on the construct of “The Network Society” (Van Dijk, 2006; Castells, 2000, 2006) (...) by creating a series of social networked visualizations, identifying the challenges and pitfalls associated with this communication approach and suggesting best practices in information communication technology. The case study is COVID-19. Findings The research in this study found that visual data dashboards and interactive Web-based charts did play a significant role in helping society understand COVID-19’s impact to make better informed decisions about society’s health and safety. Research limitations/implications Visual expositions of data do have strengths and weaknesses depending on how they are designed, how they communicate the story and how they are ethically deployed. Best practices are provided to help mitigate these limitations. Practical implications Visualizations are certainly not new, but the technology for rapidly developing and sharing them is new. Visual expositions provide an effective media for communicating complex information to a networked society. Social implications Visual expositions provide an effective media for communicating complex information to a networked society. Originality/value This paper highlights the significance of the need to understand complex data in a crisis in a visual format and to communicate the information quickly, persuasively, effectively and ethically to a networked audience. (shrink)

The four papers in this volume arise out of a research project, “Making Visible: The visual and graphic practices of the early Royal Society,” funded by the Arts and Humanities Research Council of the United Kingdom.1 The project sought to understand how visual resources and practices contributed to, and shaped the development and dissemination of scientific knowledge in the first fifty years of the Royal Society. The Royal Society, as an early institution dedicated to promoting natural knowledge, has (...) received substantial scholarly attention from historians of science, aided by a rich administrative archive that has been preserved virtually unbroken since its foundation.2 Because modern cataloguing of manuscripts... (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)

This paper demonstrates an empirical analysis of the visual order of membership categories in a way consistent with both an early ethnomethodological research interest and recent arguments in membership categorization analysis. Early ethnomethodological studies have highlighted that we can infer and understand the membership categories of observed people about whom we have no information in advance, even without talking to them. Recent membership categorization analysts have argued the methodological importance of using video data. Given this, fictional films serve as (...) video data to advance the investigation into the visual order of membership categories since audiences do not know the fictional characters’ information in advance and cannot talk to them. We analyze how potential audiences understand fictional characters’ membership categories and how production crew members organize the visual and conversational order of membership categories. The analysis illustrates that our practical inferences of fictional characters’ membership categories are based on conversations among characters and visually available information. Such visually available information includes environments and lighting, as well as characters’ clothes, body orientations, facial expressions, and physical distance from each other. In other words, production crew members of fictional films design the visual and conversational order for remote audiences by arranging visually available information and fictional characters’ conversations. The findings provide insights into the “possible correctness” and “defeasibility” of membership categorization practices. Particularly regarding fictional characters’ membership categories, production crew members can employ the “possible correctness” and “defeasibility” of categorization practices to mislead audiences. (shrink)

Visual academies were unique social formations in the ancien régime, so distinctive that they are best studied as prototype professions. Alone among academies, they were responsible for offering instruction. Alone among educational institutions, they linked liberal instruction to occupational practice. Alone among ‘learned’ occupations, they accommodated an irreducible manual component. The visual Académie in Paris in particular established literally the first ‘graduate school’ in any field of activity and admitted students on the basis of anonymously scored student (...) competitions. Equivalent activities will not begin to emerge in medicine or law until the mid-19th century. Our historical case, in short, calls into question the received orthodoxy regarding the time and place of the first professionalism projects. Instead of focusing on 19th-century Britain, we are now considering mid-17th-century France and thereby preparing the way for a new start in the sociology of professions. (shrink)

Every doctoral thesis requires contextualization within its specific discipline's theoretical bases. For a visual arts practice-based thesis, the relevant bases include those of aesthetics and visual perception. This article reviews a Western history of the domain of visual aesthetic theory, addressing both the _analytical_ philosophical efforts to define art and the _continental_ approaches, which construe art as social construction. It then reviews a third, normative stance that foregrounds cognitive value before definition or sociological context—an _aesthetic cognitivist_ (...) position, art practice as a means of acquiring and sharing experiential knowledge and understanding. Contemporary concerns about environmental aesthetics and somaesthetics are also addressed in the Introduction. Aesthetic theories are related to visual perception theories as an aid to fulfilling the scholarly requirements for a practice-based thesis. (shrink)

What does it mean to be visually literate? Does it mean different things in the arts and the sciences? In the West, in Asia, or in developing nations? If we all need to become "visually literate," what does that mean in practical terms? The essays gathered here examine a host of issues surrounding "the visual," exploring national and regional ideas of visuality and charting out new territories of visual literacy that lie far beyond art history, such as law (...) and chemistry. With an afterword by Christopher Crouch, this groundbreaking collection brings together the work of major art and visual studies scholars and critics to explore what impact the new concept of "visual literacy" will have on the traditional field of art history. Contributors: Matthias Bruhn, Vera Dünkel, Jonathan Crary, Christopher Crouch, Peter Dallow, James Elkins, Henrik Enquist, W.J.T. Mitchell, Richard K. Sherwin, Susan Shifrin, Jon Simons, Barbara Maria Stafford, William Washabaugh. (shrink)

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)