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)

The article reviews the developing studies of visuality with respect to their own focus on cultural and political fields in which visual communication unfolds. I found that that some of the academic interests related to visuality can be located within the broader or intersecting field of cultural and political studies and provide successful tools of analysing and describing the communicational interactions within local communities situated in broader contexts of mobility. Some light is shed on the visualisations of the (...) current condition of the nation-state with respect to globalizing or Europeanising tendencies. Also, I discuss a more general impact of mobility and novel visualisations of the public and cultural sphere. (shrink)

This paper is a review of the 6th European Spring School (Maó, 2011). We have considered all the communications (key-note lectures, papers and posters). After introducing the meeting and a few details about the organization, we have presented an idea of the topics discussed during the School. We have followed a classification based on the type of narrative used. Finally, we have introduced some conclusions, new challenges, and future work.

Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic (...) landscape images in biology, we develop a descriptive framework applicable to heuristic roles of various visual metaphors in the sciences. (shrink)

Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic (...) landscape images in biology, we develop a descriptive framework applicable to heuristic roles of various visual metaphors in the sciences. (shrink)

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)

Engineering sketches and drawings are the building blocks of technological design and production. These visual representations act as the means for organizing the design to production process, hence serving as a "social glue" both between individuals and between groups. The author discusses two main capacities such visual representations serve in facilitating distributed cognition in team design work As conscription devices, they enlist and organize group participation. As boundary objects, they facilitate the reading of alternative meanings by various groups (...) involved in the design process. The introduction of computer-aided design into this visual culture of engineering restructures relationships between workers in ways that can hamper the flexibility necessary for these crucial capacities to take place. The data are drawn from a study of the daily practices of engineers engaged in redesigning a turbine engine package. The method is participant observation. (shrink)

Visual turn and replacement of linear sequential communication with visual analogues cause growing variety of scopic regimes and interest in the topic of visuality. This interest is particularly apparent in Lithuanian academic magazines Santalka and Creativity Studies, which are devoted to the topics of philosophy, creative industries and communication within the creative society. The role of images in mass medias, creative industries, advertisement, urban planning, social mapping, various scopic regimes are often analyzed in Lithuanian academic discourse. (...) Traditional university disciplines are replaced by new, unconventional study programs, such as Creative Industries, Entertainment Industries, New Media Art, Visual Communication etc. Students are learning how to generate images and to understand how they function in mass media, advertising, public relations, public show organization, creative project coordination and other creative industries. (shrink)

Barbara McClintock won the Nobel Prize in 1983 for her discovery of mobile genetic elements. Her Nobel work began in 1944, and by 1950 McClintock began presenting her work on "controlling elements." McClintock performed her studies through the use of controlled breeding experiments with known mutant stocks, and read the action of controlling elements (transposons) in visible patterns of pigment and starch distribution. She taught close colleagues to "read" the patterns in her maize kernels, "seeing" pigment and starch genes turning (...) on and off. McClintock illustrated her talks and papers on controlling elements or transposons with photographs of the spotted and streaked maize kernels which were both her evidence and the key to her explanations. Transposon action could be read in the patterns by the initiated, but those without step by step instruction by McClintock or experience in maize often found her presentations confusing. The photographs she displayed became both McClintock's means of communication, and a barrier to successful presentation of her results. The photographs also had a second and more subtle effect. As images of patterns arrived at through growth and development of the kernel, they highlight what McClintock believed to be the developmental consequences of transposition, which in McClintock's view was her central contribution, over the mechanism of transposition, for which she was eventually recognized by others. Scientific activities are extremely visual, both at the sites of investigation and in communication through drawings, photographs, and movies. Those visual messages deserve greater scrutiny by historians of science. (shrink)

Images in the service of scientific knowledge (broadly construed) in early modern Europe have received much scholarly attention in recent years. Given that this was a period where there was a large...

In this article I propose that a postphenomenological approach to science and technology can open new analytical understandings of how material artifacts, embodiment and social agency co-produce learned perceptions of objects. In particle physics, physicists work in huge groups of scientists from many cultural backgrounds. Communication to some extent depends on material hermeneutics of flowcharts, models and other visual presentations. As it appears in an examination of physicists’ scrutiny of visual renderings of different parts of a (...) detector, perceptions vary in relation to social and bodily experiences. Vision in physics has seemingly allowed an objective perception at a convenient distance of the body. This article challenges this view and proposes that the variations can be analysed as cultural at two echelons with the help of a postphenomenological approach combined with cultural psychological theory of artifacts. A third echelon presumably constitutes the phenomenological limit to culture in science. Even this last resort of subjectivity can be embraced by a postphenomenological approach. The process of culturalization in physics can be defined as a process of situating knowledge in a body whose continuous learning of micro-and macro perceptions makes scientific renderings unstable. Taken together postphenomenology, following the distinctions between body one and body two, and combined with cultural psychological learning theory, enables new insight into what constitutes culture in science. (shrink)

There is mounting evidence that language comprehension involves the activation of mental imagery of the content of utterances (Barsalou, 1999;Bergen, Chang, & Narayan, 2004;Bergen, Narayan, & Feldman, 2003;Narayan, Bergen, & Weinberg, 2004;Richardson, Spivey, McRae, & Barsalou, 2003;Stanfield & Zwaan, 2001;Zwaan, Stanfield, & Yaxley, 2002). This imagery can have motor or perceptual content. Three main questions about the process remain under‐explored, however. First, are lexical associations with perception or motion sufficient to yield mental simulation, or is the integration of lexical semantics (...) into larger structures, like sentences, necessary? Second, what linguistic elements (e.g., verbs, nouns, etc.) trigger mental simulations? Third, how detailed are the visual simulations that are performed? A series of behavioral experiments address these questions, using a visual object categorization task to investigate whether up‐ or down‐related language selectively interferes with visual processing in the same part of the visual field (followingRichardson et al., 2003). The results demonstrate that either subject nouns or main verbs can trigger visual imagery, but only when used in literal sentences about real space—metaphorical language does not yield significant effects—which implies that it is the comprehension of the sentence as a whole and not simply lexical associations that yields imagery effects. These studies also show that the evoked imagery contains detail as to the part of the visual field where the described scene would take place. (shrink)

Drawn sequences of images, like those in comics and picture stories, are a pervasive and fundamental way that humans have communicated for millennia. Yet, the study of visual narratives has only recently gained traction in Cognitive Science. Here we explore what has held back the study of the cognition of visual narratives, and why researchers should join in scholarship of this ubiquitous aspect of expression.

This paper raises the question of the prominence and use of statistical graphs in science, and argues that their use in problem solving analysis can best be understood in an ‘interactionist’ frame of analysis, including bio-emotion, culture, social organization, and environment as elements. The frame contrasts both with philosophical realism and with social constructivism, which posit two variables and one way causal flows. We next posit basic differences between visual, verbal, and numerical media of perception and communication. (...) Graphs are thus seen as key interactive sites where different media are transformed into more interpretable forms. Examples are taken from Limnology where numbers are transformed into graphs to find patterns in them, and thus, by implication in the environmental materials from which the numerical measurements were taken. Their revisualization by passes a human cognitive limitation, for the direct analysis — interpretation of lists and tables of numbers, visual imaging being a cognitive strength. Sense of problem, conceptual repertoire, and social relations are seen to direct this pattern search and interpretive process. (shrink)

Recent debates over adults' theory of mind use have been fueled by surprising failures of perspective-taking in communication, suggesting that perspective-taking may be relatively effortful. Yet adults routinely engage in effortful processes when needed. How, then, should speakers and listeners allocate their resources to achieve successful communication? We begin with the observation that the shared goal of communication induces a natural division of labor: The resources one agent chooses to allocate toward perspective-taking should depend on their expectations (...) about the other's allocation. We formalize this idea in a resource-rational model augmenting recent probabilistic weighting accounts with a mechanism for (costly) control over the degree of perspective-taking. In a series of simulations, we first derive an intermediate degree of perspective weighting as an optimal trade-off between expected costs and benefits of perspective-taking. We then present two behavioral experiments testing novel predictions of our model. In Experiment 1, we manipulated the presence or absence of occlusions in a director–matcher task. We found that speakers spontaneously modulated the informativeness of their descriptions to account for “known unknowns” in their partner's private view, reflecting a higher degree of speaker perspective-taking than previously acknowledged. In Experiment 2, we then compared the scripted utterances used by confederates in prior work with those produced in interactions with unscripted directors. We found that confederates were systematically less informative than listeners would initially expect given the presence of occlusions, but listeners used violations to adaptively make fewer errors over time. Taken together, our work suggests that people are not simply “mindblind”; they use contextually appropriate expectations to navigate the division of labor with their partner. We discuss how a resource-rational framework may provide a more deeply explanatory foundation for understanding flexible perspective-taking under processing constraints. (shrink)

Beyond the observation that both speakers and listeners rapidly inspect the visual targets of referring expressions, it has been argued that such gaze may constitute part of the communicative signal. In this study, we investigate whether a speaker may, in principle, exploit listener gaze to improve communicative success. In the context of a virtual environment where listeners follow computer-generated instructions, we provide two kinds of support for this claim. First, we show that listener gaze provides a reliable real-time index (...) of understanding even in dynamic and complex environments, and on a per-utterance basis. Second, we show that a language generation system that uses listener gaze to provide rapid feedback improves overall task performance in comparison with two systems that do not use gaze. Aside from demonstrating the utility of listener gaze in situated communication, our findings open the door to new methods for developing and evaluating multi-modal models of situated interaction. (shrink)

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

Art history on the edge : iconology, media, and visual culture -- Four fundamental concepts of image science -- Image science -- Image X text -- Realism and the digital image -- Migrating images : totemism, fetishism, idolatry -- The future of the image : Rancière's road not taken -- World pictures : globalization and visual culture -- Media aesthetics -- There are no visual media -- Back to the drawing board : architecture, sculpture, and (...) the digital image -- Foundational sites and occupied spaces -- Border wars : translation and convergence in politics and media -- Art X environment -- The historical uncanny : phantoms, doubles, and repetition in the war on terror -- The spectacle today : a response to retort -- Coda : for a sweet science of images. (shrink)

Cognitive Science, Volume 46, Issue 5, May 2022.

This paper evaluates a general argument for the conclusion that visual representations in science must play the role of truth bearers if they are to figure as legitimate contributors to scientific arguments and explanations. The argument is found to be unsound. An alternative approach to assessing the role of visual representations in science is exemplified by an examination of the role of structural formulas in organic chemistry. Structural formulas are found not to play the role of (...) truth bearers; nonetheless, they contribute to the arguments and explanations of organic chemistry. An early success of conformational analysis is presented in order to illustrate the role of structural formulas in the discourse of organic chemistry. *Received January 2007; revised July 2009. †To contact the author, please write to: Department of Philosophy and Religious Studies, Rowan University, 201 Mullica Hill Road, Glassboro, NJ 08028; e‐mail: [email protected]. (shrink)

This article examines three cases of mid-20th-century oil media—oil-related imagery, iconographies, and media—in visual culture: a series of popular science books entitled The Story of Oil published in the US, an oil-themed set of Kuwaiti postage stamps (1959), and an art exhibition in Zurich (1956) titled Welt des Erdöls: Junge Maler sehen eine Industrie (World of Petroleum: Young Artists See an Industry). While depicting crude oil in its natural habitat was a common photographic theme in the early 20th-century (...) United States, the material discussed shows that, by the mid-20th century, crude oil no longer had the same visual presence. The iconography of oil in the three case studies came to rely increasingly on images of oil infrastructure and on context-specific depictions of living within petro-modernity or petro-culture, meaning lifestyles fueled by cheap fossil energy. However, it is not just the changes in visual representations of petroleum that matter; any debate about the visibility and invisibility of petroleum has to take into account the very media through which petroleum has become visually communicated—that is, the precise forms of oil's mediatization. The aesthetic negotiation of petroleum through media-based visual representations has been crucial for the dematerialization of fossil matter in its conversion to fossil energy, as well as the decoupling of sites of extraction from sites of production and consumption in the public imagination. As petro-culture has morphed into national or even global culture (rather than representing just one possible energy source among many), oil media has paved the way for our intimate relationship with fossil energy-dependent lifestyles, which is one of the biggest drivers of climate change. (shrink)

The concept of cuteness, which can evoke positive emotions in people, is an essential aspect to consider in artificial intelligence design. This study aimed to investigate whether the use of baby schema designed avatars in computer-mediated communication elicits higher positive attitudes than neutral avatars and whether the ethnicity of the cute avatars influences individuals' perceived level of cuteness. 485 participants from Israel and Japan viewed six avatar images, including three baby schema avatars of different visual characteristics and ethnicities (...) (Caucasian, Asian, and Black) and three neutral avatars. Participants rated their attitudes on each avatar, and the results revealed that the baby schema designed avatars were rated cuter, more likable, approachable, and pleasant than the neutral mature avatars. Cultural differences were also evident, as the Caucasian baby schema avatar was rated cuter among Japanese participants, while the Asian and Black baby schema avatars were rated cuter among Israeli respondents. The study findings suggest that cute avatar design can serve as a powerful tool for promoting positive interactions in computer-mediated communication, especially in cultures that highly value cuteness, such as Japan. However, the subjective nature of cuteness is evident as attitudes toward cuteness varied significantly across cultures and individuals. This research highlights the significance of cultural diversity and emphasizes the importance of considering cuteness as a crucial aspect of artificial intelligence design, particularly when creating avatars intended to elicit positive emotions from users. Therefore, designers should be mindful of potential cultural and individual differences in the perception of cuteness while developing avatars for various applications. (shrink)

Aby Warburg’s Mnemosyne Atlas (1925–1929) is a prescient work of mixed media assemblage, made up of hundreds of images culled from antiquity to the Renaissance and arranged into startling juxtapositions. Warburg’s allusive atlas sought to illuminate the pains of his final years, after he had suffered a breakdown and been institutionalized. It continues to influence contemporary artists today, including Gerhard Richter and Mark Dion. In this illustrated exploration of Warburg and his great work, Georges Didi-Huberman leaps from Mnemosyne Atlas into (...) a set of musings on the relation between suffering and knowledge in Western thought, and on the creative results of associative thinking. Deploying writing that delights in dramatic jump cuts reminiscent of Warburg’s idiosyncratic juxtapositions, and drawing on a set of sources that ranges from ancient Babylon to Walter Benjamin, Atlas, or the Anxious Gay Science is rich in Didi-Huberman’s trademark combination of elan and insight. (shrink)

Batik industry, Indonesia’s traditional practice of dying cloth through wax resist methods, is considered an important source of intangible cultural heritage andprotected under UNESCO. The industry is very diverse and many different colors and motives are used. Research in this article focuses on Batik in Yogyakarta,Surakarta, Lasem, Tuban and Garut regions. This paper studies the connotative implications of Batik’s cultural significations that pass on from older to youngergenerations revealing the importance of visuality and touch in constructing meaning within certain cultures.

Teaching bioethics with visual education tools, such as movies and comics, is a unique way of explaining the history and progress of human research and the art and science of medicine to high school students. For more than a decade, bioethical concepts have appeared in movies, and these films are useful for teaching medical and research ethics in high schools. Using visual tools to teach bioethics can have both interpretational and transformational effects on learners that will enhance (...) their overall understanding of complex moral and legal issues in medicine and research.High school students are uniquely suited to learn bioethics because they will soon become legal adults. As adults, they will make moral decisions that may affect their health and wellbeing as well as that of their communities and societies.However, not all visual education tools are appropriate for bioethics pedagogy in high school. Bioethics film and comic producers must consider the specifics of student age, race, gender, belief, level of education, and sexual orientation. Such tools must not be dominated by either dystopic or utopic genres, must aim for objectivity, and must consider the complexity of ethical decision making. It is critical that the teacher, who is the final arbiter regarding the use of visual tools in the classroom, determines that the visual learning tool is acceptable for students in any particular education context. In addition, during the conceptualization and creation of these tools, bioethics film and comic producers must work harder to ensure that these visual tools are devoid of any form of stereotyping. (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)

In recent years, a multitude of datasets of human–human conversations has been released for the main purpose of training conversational agents based on data‐hungry artificial neural networks. In this paper, we argue that datasets of this sort represent a useful and underexplored source to validate, complement, and enhance cognitive studies on human behavior and language use. We present a method that leverages the recent development of powerful computational models to obtain the fine‐grained annotation required to apply metrics and techniques from (...) Cognitive Science to large datasets. Previous work in Cognitive Science has investigated the question‐asking strategies of human participants by employing different variants of the so‐called 20‐question‐game setting and proposing several evaluation methods. In our work, we focus on GuessWhat, a task proposed within the Computer Vision and Natural Language Processing communities that is similar in structure to the 20‐question‐game setting. Crucially, the GuessWhat dataset contains tens of thousands of dialogues based on real‐world images, making it a suitable setting to investigate the question‐asking strategies of human players on a large scale and in a natural setting. Our results demonstrate the effectiveness of computational tools to automatically code how the hypothesis space changes throughout the dialogue in complex visual scenes. On the one hand, we confirm findings from previous work on smaller and more controlled settings. On the other hand, our analyses allow us to highlight the presence of “uninformative” questions (in terms of Expected Information Gain) at specific rounds of the dialogue. We hypothesize that these questions fulfill pragmatic constraints that are exploited by human players to solve visual tasks in complex scenes successfully. Our work illustrates a method that brings together efforts and findings from different disciplines to gain a better understanding of human question‐asking strategies on large‐scale datasets, while at the same time posing new questions about the development of conversational systems. (shrink)

This essay is a discussion of effective teaching in the science‐and‐religion classroom. I begin by introducing Alfred North Whitehead's three stages of learning—romance, discipline, and generalization—and consider their implications for powerful pedagogy in science and religion. Following Whitehead's three principles, I develop a number of additional heuristics that deal with active, visual, narrative, cooperative, and dialogical learning styles. Finally, I present twelve guidelines for how to use e‐mail and class‐based listserves to achieve some of these outcomes.

What does it mean to communicate with visual messages and to convey ideas with the help of images? Is the visual sign capable of substituting the subject when he or she is not present? Can it be relied upon in communication? Can it happen that a gap between the subject’s visual image and identity becomes an insurmountable barrier on the way to understanding? This paper attempts to discover visuality as a weighty addition to the spoken word, (...) to reconsider its role in communication so that it is treated not as a deceptive simulacrum but a representation of the subject in dialogical space, an embodiment of an eternal pure impulse, an aspiration to unfold oneself in front of the other. (shrink)

This is a review of Nicola Mößner’s Visual Representations in Science. Concept and Epistemology.

Works in science and technology studies have repeatedly pointed to the importance of the visual in scientific practice. STS has also explicated how embodied practice generates scientific knowledge. I aim to supplement this literature by pointing out how sound and hearing are integral aspects of experimentation. Sound helps define how and when lab work is done, and in what kinds of spaces. It structures experimental experience. It affords interactions between researchers and instruments that are richer than could be (...) obtained with vision alone. And it is a site for tacit knowledge, providing a resource for the replication of results, and the transmission of knowledge, and the construction of social boundaries within instrumental communities. (shrink)

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)

Corballis suggests that apes lack voluntary control over their vocal production. However, recent evidence implicates voluntary control of vocalizations in apes, which suggests that intentional control of vocal communication predates the hominid-pongid split. Furthermore, the ease with which apes in captivity manipulate the visual attention of observers implies a common cognitive basis for joint attention in humans and apes.

Multimodal communication research focuses on how different means of signalling coordinate to communicate effectively. This line of research is traditionally influenced by fields such as cognitive and neuroscience, human-computer interaction, and linguistics. With new technologies becoming available in fields such as natural language processing and computer vision, the field can increasingly avail itself of new ways of analyzing and understanding multimodal communication. As a result, there is a general hope that multimodal research may be at the “precipice of (...) greatness” due to technological advances in computer science and resulting extended empirical coverage. However, for this to come about there must be sufficient guidance on key (theoretical) needs of innovation in the field of multimodal communication. Absent such guidance, the research focus of computer scientists might increasingly diverge from crucial issues in multimodal communication. With this paper, we want to further promote interaction between these fields, which may enormously benefit both communities. The multimodal research community (represented here by a consortium of researchers from the Visual Communication [ViCom] Priority Programme) can engage in the innovation by clearly stating which technological tools are needed to make progress in the field of multimodal communication. In this article, we try to facilitate the establishment of a much needed common ground on feasible expectations (e.g., in terms of terminology and measures to be able to train machine learning algorithms) and to critically reflect possibly idle hopes for technical advances, informed by recent successes and challenges in computer science, social signal processing, and related domains. (shrink)

This is a review of Nicola Mößner’s Visual Representations in Science. Concept and Epistemology.

Bilder in Kunst und Wissenschaft sind Orte des Denkens und Forschens.

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)

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)

Review of Nicola Möβner’s 'Visual Representations in Science. Concept and Epistemology'. Forthcoming in Grazer Philosophische Studien.

ArgumentThis article focuses on a problematic character of communication in science. Two solutions are compared: paradigm-based science and the semiotic solution developed in the arts and social sciences. There are several parallels between the latter approach and Marxist dialectics. A third, original, approach to solving communication problems is proposed; it can be labeled “transactional.” It represents a version of the semiotic solution with particular emphasis on interactions, both face-to-face and depersonalized, and the imperative of negotiating and (...) finding compromises. Communication problems existing at two registers of interactions, face-to-face and depersonalized, are differentiated; freedom is interpreted as the capacity to change the registers at will. An in-depth case study of the Coase theorem in economic sciences and legal studies illustrates key points in the proposed analysis. (shrink)

Philosophers of science often make reference — whether tacitly or explicitly — to the notion of a scientific community. Sometimes, such references are useful to make our object of analysis tractable in the philosophy of science. For others, tracking or understanding particular features of the development of science proves to be tied to notions of a scientific community either as a target of theoretical or social intervention. We argue that the structure of contemporary scientific research poses two (...) unappreciated, or at least underappreciated, challenges to this concept of the “scientific community” in the philosophy of science. In particular, we will present two case studies from robotics research, broadly construed, which show that (1) the boundedness of the scientific community is threatened when private citizens can develop scientific and technological advances at minimal expense (democratization), and (2) the discreteness of scientific research programs is threatened by the complexly interrelated environment of contemporary scientific work (interconnectivity). Taken together, the extent of democratization and interconnectivity present a significant challenge for any practically oriented philosophy of science, one which we hope will be taken on directly by philosophers in the future. (shrink)

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)

Drawing from ethnographic, empirical, and historical / cultural perspectives, we examine the extent to which visual aspects of music contribute to the communication that takes place between performers and their listeners. First, we introduce a framework for understanding how media and genres shape aural and visual experiences of music. Second, we present case studies of two performances, and describe the relation between visual and aural aspects of performance. Third, we report empirical evidence that visual aspects (...) of performance reliably influence perceptions of musical structure and affective interpretations of music. Finally, we trace new and old media trajectories of aural and visual dimensions of music, and highlight how our conceptions, perceptions and appreciation of music are intertwined with technological innovation and media deployment strategies. (shrink)