The value of multi-disciplinary research and the exchange of ideas and methods across traditional discipline boundaries are well recognised. Indeed, it could be justifiably argued that many of the advances in science and engineering take place because the ideas, methods and the tools of thought from one discipline become re applied in others. Sadly, it is also the case that many subject areas develop specialised vocabularies and concepts and can consequently approach more general problems in fairly narrow, subject-specific ways. Consequently barriers develop between disciplines that prevent the free flow of ideas and the collaborations that on Visual Representations could often bring success. VRI'98, a workshop focused & Interpretations, was intended to break down such barriers. The workshop was held in the Foresight Conference Centre, which occupies part of the former Liverpool Royal Infirmary, a Grade 2 listed building, which has been recently restored. The building combines a majestic architecture with the latest in new conference facilities and technologies and thus provided a very suitable setting for a workshop aimed at bringing the Arts and the Sciences together. of the workshop was to promote inter-disciplinary awareness across The main aim a range of disciplines where visual representations and interpretations are exploited. Contributions to the workshop were therefore invited from researchers who are actively investigating visual representations and interpretations: - artists, architects, biologists, chemists, clinicians, cognitive scientists, computer scientists, educationalists, engineers, graphic designers, linguists, mathematicians, philosophers, physicists, psychologists and social scientists.
Multidisciplinary Approaches to Visual Representations and Interpretations
The value of multi-disciplinary research lies in the exchange of ideas and methods across the traditional boundaries between areas of study. It could be argued that many of the advances in science and engineering take place because the ideas, methods and the tools of thought from one discipline become re-applied in another. The topic of "the visual" has become increasingly important as advances in technology have led to multi-media and multi-modal representations, and extended the range and scope of visual representation and interpretation in our lives. Under this broad heading there are many different perspectives and approaches, from across the entire spectrum of human knolwedge and activity. The editors and authors of this book aim to break down cross-disciplinary barriers, by bringing together people working in a wide variety of disciplines where visual representations and interpretations are exploited. Contributions come from researchers actively investigating visual representations and interpretations in a wide variety of areas, including art history, biology, clinical science, cognitive science, computer science, design, engineering, linguistics, mathematics, philosophy, physics, psychology, and sociology. The book provides a forum for wide-ranging and multi-disciplinary contributions on visual representations and interpretations. * Contributors include researchers actively investigating visual representations and interpretations * Content spans a wide variety of areas including but not limited to biology, sociology, and computer science * Discusses how new technology has affected "the visual" representation of information
Privileging the visual as the main method of communication and meaning-making, this book responds critically to the worldwide discussion about the Arctic and the North, addressing the interrelated issues of climate change, ethics and geopolitics. A multi-disciplinary, multi-modal exploration of the Arctic, it supplies an original conceptualization of the Arctic as a visual world encompassing an array of representations, imaginings, and constructions. By examining a broad range of visual forms, media and forms such as art, film, graphic novels, maps, media, and photography, the book advances current debates about visual culture. The book enriches contemporary theories of the visual taking the Arctic as a spatial entity and also as a mode of exploring contemporary and historical visual practices, including imaginary constructions of the North. Original contributions include case studies from all the countries along the Arctic shore, with Russian material occupying a large section due to the country’s impact on the region
Pictures are often admired for their aesthetic merits but they are rarely treated as if they had as much to offer as the written word. They are often overlooked as objects of analysis themselves, and tend to be seen simply as adjuncts to the text. Images, however, are not passive, and have a direct impact that engages attention in ways independent of any specific text. Advertising, entertainment and propaganda have realised the extent of this power to shape ideas, but the scientific community has hitherto neglected the ways in which visual material conditions the ways in which we think. With subjects including prehistoric artworks, excavation illustrations, artists' impressions of ancient sites and peoples and contemporary landscapes, photographs and drawings, this study explores how pictures shape our perceptions and our expectations of the past. This volume is not concerned with the accuracy of pictures from the past or directly about the past itself, but is interested instead in why certain subjects are selected, why they are depicted the way they are, and what effects such images have on our idea of the past. This collection constitutes a ground-breaking study in historiography which radically reassesses the ways that history can be written.
What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.
This book examines the diverse use of visual representations by teachers in the science classroom. It contains unique pedagogies related to the use of visualization, presents original curriculum materials as well as explores future possibilities. The book begins by looking at the significance of visual representations in the teaching of science. It then goes on to detail two recent innovations in the field: simulations and slowmation, a process of explicit visualization. It also evaluates the way teachers have used different diagrams to illustrate concepts in biology and chemistry. Next, the book explores the use of visual representations in culturally diverse classrooms, including the implication of culture for teachers’ use of representations, the crucial importance of language in the design and use of visualizations and visualizations in popular books about chemistry. It also shows the place of visualizations in the growing use of informal, self-directed science education. Overall, the book concludes that if the potential of visualizations in science education is to be realized in the future, the subject must be included in both pre-service and in-service teacher education. It explores ways to develop science teachers’ representational competence and details the impact that this will have on their teaching. The worldwide trend towards providing science education for all, coupled with the increased availability of color printing, access to personal computers and projection facilities, has lead to a more extensive and diverse use of visual representations in the classroom. This book offers unique insights into the relationship between visual representations and science education, making it an ideal resource for educators as well as researchers in science education, visualization and pedagogy.
“We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past,” declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orientation, and gender. Visual Culture assembles some of the foremost scholars of cultural studies and art history to explore new critical approaches to a history of representation seen as something different from a history of art. CONTRIBUTORS: Andres Ross, Michael Ann Holly, Mieke Bal, David Summers, Constance Penley, Kaja Silverman, Ernst Van Alphen, Norman Bryson, Wolfgang Kemp, Whitney Davis, Thomas Crow, Keith Moxey, John Tagg, Lisa Tickner. Ebook Edition Note: Ebook edition note: all illustrations have been redacted.
Today the question of iconography has taken on a new and more general urgency. As a dominant cultural practice, iconography embraces the politics as well as the poetics of visual representation within their specific historical and cultural conditions. In its contemporary significance the question of iconography moreover reaches beyond disciplinary boundaries of conventional definitions and interpretations of the relation between words and images in a demand to critically compare and contrast their different iconographies as cultural practices of power. In their distinct arguments and from different perspectives, the essays collected in this volume are all similarly concerned with the iconographical power and poetics of the image, including a broad range of visual representations: prints and illustrations, painting, sculpture and concept art, documentary and art photography, film comedy and digital imagery. In all these instances, the image is looked at not as an exclusive and isolated phenomenon but, rather emphatically, as a visual and contextual event; as both the source and target of the collision and the collusion of word and image; as instances and symptoms of contemporary iconographic practice alike. With contributions by Winfried Fluck, Mario Klarer, Mick Gidley, Douglas Tallack, Heinz Ickstadt, Peter Schneck, Maren Stange, Hanne Loreck, Zsofia Ban, Susanne v. Falkenhausen, Deniz Gokturk, Wendy Steiner, Hanjo Berressem, Kaja Silverman, Michael Wetzel.