Seeing with New Eyes: Developing Visual Literacy in the Sciences

With the widespread availability of digital photography, we have failed to really capture this readily accessible tool and integrate it into student learning in the sciences, or use it as a means to encourage connections as students move from novice towards more expert thinking within their discipline. In the use of digital photography by students in a disciplinary context, expertise can increase as students must (1) first understand what they are seeing, (2) make the connection to their class material, and (3) be able to justify their choice and clarify their assumptions. In particular, the connection-making process together with justification through clarifying assumptions, are facets of expert-thinking that commonly differ from the thinking of novices. Students photographing subject material creates a novel way to facilitate such meaning-making and communication, and serves as a way to move the thinking outside the classroom box. This session will explore a number of possible ways to integrate photography and other visual imagery such as videos, diagrams, sketches, and maps, into student learning. We will look at how we might use photography and other imagery to encourage writing and discussion, provide an out-of-classroom learning opportunity for our students, encourage students to generate questions, and even use photography to evaluate student learning. This interactive session invites participants to explore ways to actively engage students in learning both inside and outside the classroom while developing students’ visual literacy, and enhancing communication skills using visuals. You are encouraged to bring a camera or a camera phone

Opportunities and Challenges of Using Video to Examine High School Students\u27 Metacognition

This article reflects on the opportunities and challenges of using digital video (DV) technology as a visual research tool in qualitative research. The ideas are derived from a multiple case study that examined ten high school students’ metacognitive thinking as they created video representations of their own. The article begins with a brief history of visual research, and an introduction to the context, problem, and definition of metacognition within the study. This is followed by a literature review that examines the use of video in qualitative research and an explanation of the research questions and methodology. As revealed by the embedded video exemplars within this paper, many instances of students’ metacognitive thinking, behavior, and feelings were inferred from video observations of students working on their video artifacts, discussing ideas with their group members, or responding to my questions. In the discussion, I explore the opportunities and challenges of drawing definitive conclusions about students’ metacognitive thinking within video imagery and the multiple possible ways of interpreting this information

A Study of the Role of Visual Information in Supporting Ideation in Graphic Design

Existing computer technologies poorly support the ideation phase common to graphic design practice. Finding and indexing visual material to assist the process of ideation often fall on the designer, leading to user experiences that are less than ideal. To inform development of computer systems to assist graphic designers in the ideation phase of the design process, we conducted interviews with 15 professional graphic designers about their design process and visual information needs. Based on the study, we propose a set of requirements for an ideation-support system for graphic design

The Visual Matrix Method: Imagery and Affect in a Group-based Research Setting

The visual matrix is a method for researching shared experience, stimulated by a sensory stimulus relevant to a research question. It is led by imagery, visualization and affect, which in the matrix take precedence over discourse. The method enables the symbolization of imaginative and emotional material, which might not otherwise be articulated and allows "unthought" dimensions of experience to emerge into consciousness in a participatory setting. We describe the process of the matrix with reference to the study "Public Art and Civic Engagement" (FROGGETT, MANLEY, ROY, PRIOR & DOHERTY, 2014) in which it was developed and tested. Subsequently, examples of its use in other contexts are provided. Both the matrix and post-matrix discussions are described, as is the interpretive process that follows. Theoretical sources are highlighted: its origins in social dreaming; the atemporal, associative nature of the thinking during and after the matrix which we describe through the Deleuzian idea of the rhizome; and the hermeneutic analysis which draws from object relations theory and the Lorenzerian tradition of scenic understanding. The matrix has been conceptualized as a "scenic rhizome" to account for its distinctive quality and hybrid origins in research practice. The scenic rhizome operates as a "third" between participants and the "objects" of contemplation. We suggest that some of the drawbacks of other group-based methods are avoided in the visual matrix—namely the tendency for inter-personal dynamics to dominate the event

Digital afx: digital dressing and affective shifts in Sin City and 300

In Sin City (Robert Rodriguez, 2005) and 300 (Zack Snyder, 2006) extensive post-production work has created stylised colour palettes, manipulated areas of the image, and added or subtracted elements. Framing a discussion around the terms ‘affect’ and ‘emotion’, this paper argues that the digital technologies used in Sin City and 300 modify conventional interactions between representational and aesthetic dimensions. Brian Massumi suggests affective imagery can operate through two modes of engagement. One mode is embedded in a meaning system, linked to a speci?c emotion. The second is understood as an intensi?cation whereby a viewer reacts but that reaction is not yet gathered into an alignment with meaning. The term ‘digital afx’ is used to describe manipulations that produce imagery allowing these two modes of engagement to coexist. Digital afx are present when two competing aesthetic strategies remain equally visible within sequences of images. As a consequence the afx mingle with and shift the content of representation

The accessible museum: towards an understanding of international museum audio description practices

Introduction: Audio description (AD) in museums is crucial for making them accessible for people with visual impairments. Nevertheless, there are limited museum-specific AD guidelines currently available. This research examines current varied international practitioner perspectives on museum AD, focusing on imagery, meaning, emotion and degrees of objectivity, and the regional differences (Europe, US) in AD traditions, in order to better understand how museum AD can be used to enhance access. Methods: Forty-two museum describers from 12 countries responded to a questionnaire requiring fixed-choice and free-text responses about the purpose and construction of museum AD. Results: Inference tests showed that European describers agreed more strongly than US describers that AD should ‘explore meaning’ (U = 91.00, N1 = 24, N2 = 14, p = 0.03), and ‘create an emotional experience’ (U = 89.50, N1 = 24, N2 = 14, p = 0.03), rating the use of cognitive prompts as more important (U = 85.50, N1 = 21, N2 = 14, p = 0.04). Qualitative data enriched this understanding by exploring participant responses on the themes of mental imagery, objectivity and interpretation and cognitive prompts. This highlighted broader agreement between regions on mental imagery, but more acceptance of interpretation in AD from the European respondents. Discussion: US and European describers’ opinions differ regarding the purpose of AD: whether it is about conveying visual information or whether broader interpretations should be incorporated into descriptions for audiences with visual impairments. Implications for Practitioners: These findings indicate that further discussion is needed regarding the purpose of museum AD, and in particular the way in which objectivity is contextualised. They raise questions about AD providing visual information, and/or seeking to address a wider museum experience, including the stimulation of curiosity or emotion

The simultaneity of complementary conditions:re-integrating and balancing analogue and digital matter(s) in basic architectural education

The actual, globally established, general digital procedures in basic architectural education,producing well-behaved, seemingly attractive up-to-date projects, spaces and first general-researchon all scale levels, apparently present a certain growing amount of deficiencies. These limitations surface only gradually, as the state of things on overall extents is generally deemed satisfactory. Some skills, such as “old-fashioned” analogue drawing are gradually eased-out ofundergraduate curricula and overall modus-operandi, due to their apparent slow inefficiencies in regard to various digital media’s rapid readiness, malleability and unproblematic, quotidian availabilities. While this state of things is understandable, it nevertheless presents a definite challenge. The challenge of questioning how the assessment of conditions and especially their representation,is conducted, prior to contextual architectural action(s) of any kind

Imaginative Vividness

How are we to understand the phenomenology of imagining? Attempts to answer this question often invoke descriptors concerning the “vivacity” or “vividness” of our imaginative states. Not only are particular imaginings often phenomenologically compared and contrasted with other imaginings on grounds of how vivid they are, but such imaginings are also often compared and contrasted with perceptions and memories on similar grounds. Yet however natural it may be to use “vividness” and cognate terms in discussions of imagination, it does not take much reflection to see that these terms are ill understood. In this paper, I review both some relevant empirical literature as well as the philosophical literature attempt to get a handle on what it could mean, in an imaginative context, to talk of vividness. As I suggest, this notion ultimately proves to be so problematic as to be philosophically untenable