40,664 research outputs found

    Reflections on a Collection: Revisiting the UWM Icons Fifty Years Later

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    The University of Wisconsin–Milwaukee Art Collection is home to a sizable donation of Byzantine and post-medieval icons and liturgical objects. Central to this thesis exhibition catalogue are the thirty-two Greek and Russian icons from this collection and their history with collector Charles Bolles Bolles-Rogers. Reflections on a Collection: Revisiting the UWM Icons Collection Fifty Years Later contextualizes the history of icon collecting in the United States and examines the collecting history of these icons. By first focusing on icon collecting and scholarship in Greece and Russia towards the end of the nineteenth and into the twentieth centuries, this catalogue traces the growth of interest in Byzantine and post-medieval Greek and Russian liturgical objects in the West, particularly the United States. Icons and liturgical objects became increasingly desirable for large institutions and museums along with private collectors in the twentieth century. Bolles-Rogers was one such collector. This catalogue sheds new light on the history and acquisition of the Rogers Family Collection of icons and liturgical objects to the UWM Art Collection and shows that the Rogers Family Collection is not only a collection of icons but also a collection that reflects the time period in the art world in which it was assembled

    Visualisations with semantic icons: Assessing engagement with distracting elements

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    As visualisations reach a broad range of audiences, designing visualisations that attract and engage becomes more critical. Prior work suggests that semantic icons entice and immerse the reader; however, little is known about their impact with informational tasks and when the viewer’s attention is divided because of a distracting element. To address this gap, we first explored a variety of semantic icons with various visualisation attributes. The findings of this exploration shaped the design of our primary comparative online user studies, whereparticipants saw a target visualisation with a distracting visualisation on a web page and were asked to extract insights. Their engagement was measured through three dependent variables: (1) visual attention, (2) effort to write insights, and (3) self-reported engagement. In Study 1, we discovered that visualisations with semantic icons were consistently perceived to be more engaging than the plain version. However, we found no differences in visual attention and effort between the two versions. Thus, we ran Study 2 using visualisations with more salient semantic icons to achieve maximum contrast. The results were consistent with our first Study. Furthermore, we found that semantic icons elevated engagement with visualisations depicting less interestingand engaging topics from the participant’s perspective. We extended prior work by demonstrating the semantic value after performing an informational task (extracting insights) and reflecting on the visualisation, besides its value to the first impression. Our findings may be helpful to visualisation designers and storytellers keen on designing engaging visualisations with limited resources. We also contribute reflections on engagement measurements with visualisations and provide future directions

    Born to mutual conversation

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    Historical spaces as narrative: mapping collective memory onto cinematic space

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    The following article proposes and develops a single theory: that unlike written history which tends to privilege chronology, teleology and consequentiality, historical films have increasingly abandoned overt means of narration and instead inscribe historical meanings onto cinematic spaces in historical films. The reason for this shift, I argue, is that recent advances in historiography have begun to encourage scepticism towards the human element in reconstructing narratives. In a world bombarded with media rhetoric from all directions, persuasion from traditionally “authoritative” sources such as voiceovers, prologues, marketing material proclaiming the use of historical experts and research, individual viewpoints, eyewitness accounts, etc, all become open to criticism. In the absence of authorial authenticity, and the gradual erosion of trust in both grand narratives and individual insights, the historical film nevertheless still requires some means by which the viewer can be persuaded of its veracity through shared or collective memory, history proper and lived social experience. It is to answer this need, then, that history and historical narratives have begun to place an emphasis on historical spaces as a means to retell history by creating a “cognitive map”, which offers recourse to an intertextual “representational legacy”
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