Search Results (21)

In the recent K-12 educational literature, arts-based data visualization has been positioned as a compelling means of rendering data science and statistical learning accessible, motivating, and empowering for youth, as data users and producers. However, the only research to attend carefully to youth’s data-based, artistic storytelling practices has been limited in scope to specific storytelling mechanisms, like youth’s metaphor usage. Engaging in design-based research, we sought to understand the art and design decisions that youth make and the data-based arguments and stories that youth tell through their arts-based data visualizations. We drew upon embodied theory to acknowledge the holistic, synergistic, and situated nature of student learning and making. Corresponding with emerging accounts of youth arts-based data visualization practices, we saw regular evidence of art, storytelling, and personal subjectivities intertwining. Contributing to this literature, we found that these intersections surfaced in a number of domains, including youth’s pictorial symbolism, visual encoding strategies, and data decisions like manifold pictorial symbols arranged to support complex, multilayered, ambiguous narratives; qualitative data melding community and personal lived experience; and singular statements making persuasive appeals. This integration of art, story, agency, and embodiment often manifested in ways that seemed to jostle against traditional notions of and norms surrounding data science. Full article

This article attempts to document why the Virgin Mary is symbolically designated by the biblical figure “Ark of the Covenant” (Foederis Arca), as reflected in one of the invocations of the Litany of Loreto (Litaniae Lauretanae). To justify such a designation, the author refers to the systematic analysis of the patristic, theological, and hymnic sources of the Eastern and Western Churches, in which the Virgin Mary is labeled as the “Ark of the Covenant” for her virginal divine motherhood, her supreme holiness, and her supernatural privileges. The perfect coincidence, with which for more than a millennium the Fathers, theologians, and liturgical hymnographers of the Greek-Eastern and Latin Churches alluded to the Virgin Mary through this biblical symbol, demonstrates the strong coherence of the Mariological theses of the Christian doctrinal tradition on the person and spiritual attributes of the Virgin Mary. These coincident interpretations of the Fathers, theologians, and hymnographers of the Eastern and Western Churches will allow us to justify our iconographic interpretations of 10 European pictorial annunciations of the fourteenth and fifteenth centuries in whose scenes a container appears, almost always with books inside: such circumstance allows us to conjecture that the intellectual authors of these paintings of the Annunciation included in them this container to illustrate, as a visual metaphor, the textual metaphor with which the Fathers, theologians, and hymnographers symbolized the Virgin Mary as the Ark of the Covenant containing the Legislator of the new covenant. Full article

This research was conducted in 2019 in collaboration with Japanese colleagues, with the research tasks translated from the original Japanese. In Finland, a total of 1112 students from grades 7–9 in primary school participated in the study. In our article, we examine Finnish students’ mastery of the concept of percentages and how they express their mathematical thinking about percentages in a multimodal way. A multimodal expression of mathematical thinking can typically take the form of natural language, written mathematics, pictorial representations, mathematical symbolic language, or combinations of these, which can be used to manage information, such as through tables. Our focus is on Finnish primary-school students’ mastery of the concept of percentages, and we then narrow our analysis to tasks where students have used a multimodal approach. We analyze the representations of the concept of percentages and the related thought processes. The concept of percentages was best mastered in grade 9 and weakest in grade 7. Students mostly used a combination of pictorial language, natural language, and mathematical symbolic language to describe their solution processes. However, describing their thinking in different ways did not necessarily highlight possible errors in their reasoning. Full article

There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century. Full article

This article explores the pictorial representation of the Buddhist hell in Kamakura (1185–1333) Japan, with a focus on a mid-thirteenth century rokudō-e, or Pictures of the Six Realms, preserved at Shōjuraigōji Temple. The examination revolves around how these scroll paintings convey messages of salvation by representing the symbolic architecture of the hell realm, the lowest level within the six realms. By scrutinizing the visual representation of hell landscapes in four hell scrolls in the Shōjuraigōji set, the study unveils the architectural symbolism of boundaries and pathways. A visual analysis of two hell-tearing narrative scrolls further reveals that the key iconography involves the destruction of the architectural symbols of hell. Through tracing the concurrent processes of constructing and destroying the imaginary space of hell, the study demonstrates that the conceptual and visual construction of hell is coupled with an equally pronounced intent for hell-tearing. Lastly, based on the visuality of the hell-escaping narratives, the medium of hanging scrolls, and the centrality of an Enma scroll within the Shōjuraigōji set, the author proposes a spatial arrangement of this set of fifteen scrolls that could systematically convey the visual massage of “escaping from suffering in the six courses”. Full article

The archetypal symbols of Mazu’s statues and pictorial art are the mapping of a religious concept, a way of belief, and some programmed behaviours and rituals. They are also emotional imagery used to arouse the cultural awareness of international Chinese, inspire them to help and trust each other, to encourage and to comfort each other, to share weal and woe, and to always forge ahead. From the perspectives of historical memory, visual signs, and cultural identity, this paper explores the construction of archetypal symbols for the statues and images of Mazu. In addition, this paper generalizes the foundation and methods of this construction by analyzing the artistic forms and characteristics of the surviving Mazu images and statues and comparing the rules and regulations for making statues of other religions. Moreover, we consider the function of artistic signs that refer to and symbolize broader religious concepts and beliefs. The purpose of this work is to make the image of Mazu more visually present and strengthen cultural identity. Full article

The primary objective of this study is to assess how the motion of dynamic point symbols impacts preattentive processing on a map. Specifically, it involves identifying the motion velocity parameters for cartographic animated pictorial symbols that contribute to the preattentive perception of the target symbols. We created five pictorial symbols, each accompanied by a unique animation tailored to convey the meaning associated with each symbol. The animation dynamics of symbols on the administrative map were distributed across arithmetic, logarithmic, and exponential scales. Eye-tracking technology was utilized to explain the user’s visual attention. The key findings reveal that, although movement does not uniformly hold the same designation in cartographic communication, it could guide user attention to identify the value peaks in quantitative map visualization. Motion velocity enhances the salience of animated symbols, making them stand out, not only against static elements but also against other animated distractors. Additionally, motion distributions between symbol classes based on exponential or arithmetic scales were identified as the most successful. Nevertheless, certain types of motion, such as rotational, do not perform well with pictorial symbols, even on the most effective motion distribution scale. Full article

Magic, as an emanation of past presence in a picture, emerges as a theme in postmodern theories of photography. It is linked to various forms of actual and symbolic absence; an absence which creates a space that keeps us looking, ostensibly for something that is lost. Photography may not always have been digital, but it has always been magical. Photography Without Pictures explores the critical dialogue and disciplinary uncertainty around the terminology of an expanded photographic that derived from debates surrounding the proliferation of digital media and the previous, ontological question of the nature of photography as a technology and a pictorial medium. It is prompted by Andrew Dewdney’s conviction that in order to deal with the contemporary condition of the networked screen image, we need to “Forget Photography” (2021). Dewdney considers the paradox that while photography is now ubiquitous, it is also peculiarly and magically undead, a simulation at the behest of mutable electronic data. The article examines three instances of critical response to contemporary photography, including the interpretation and response to several photographic artworks and one simulated photograph, to distinguish characteristics of pictoriality, authorship and temporality in photographic pictures. In asking what it means to be a real photographer, we discover that the singular observer/artist has become a crowd in respect of the image sharing culture of post-internet art. Throughout his polemical argument to Forget Photography, Dewdney prefers to use the term image and imagery to refer to both the photographic and the networked image. The terms picture and image tend to be interchangeable in language and inhabit each other in practice, yet there are historical differences and continuities that make the distinction remarkable in considering questions of ontology and media continuity. Pictorial, temporal and illusory ‘magic’ are the themes through which these photographic uncertainties unfold. Full article

The article explores the curious landing of the gazelle in Franz Marc’s pictorial text (1913) and Rainer Maria Rilke’s poem (1907). An analysis of the iconographic and pictorial apparatus sets the foundations for a comparison to the poetic restitution of the same zoomorphic trope. Concepts from Visual Studies and recent iconological-anthropological schools of thought support a hypothesis of migration across time and medium of the gazelle’s symbolism and iconicity. Further, the critical iconology method reveals the possibility of autonomous expression for the zoomorphic trope in the idiosyncrasy produced by her torsion and gaze direction. Consequently, the gazelle offers a new path for decoding a precise historical and artistic attitude beyond expressionist pantheism. The implications of her alienating Orphic gaze are clarified when considered in contextual works and concern the visual projection towards a necessary turning point regarding Rilke’s and Marc’s ontological-aesthetic position. Beyond traditional symbolism, the gazelle depicts a transition toward formal experimentalism in the face of the impending First World War. It outlines the capacity of animal physicality to describe its genesis. Moreover, it illustrates the modern attitudes held towards culturally constructed change by distancing herself from hermeneutic overwriting while moving between precise ontological-aesthetic coordinates. Full article

Hands represent an important aspect of pictorial narration but have rarely been addressed as an object of study in art history and digital humanities. Although hand gestures play a significant role in conveying emotions, narratives, and cultural symbolism in the context of visual art, a comprehensive terminology for the classification of depicted hand poses is still lacking. In this article, we present the process of creating a new annotated dataset of pictorial hand poses. The dataset is based on a collection of European early modern paintings, from which hands are extracted using human pose estimation (HPE) methods. The hand images are then manually annotated based on art historical categorization schemes. From this categorization, we introduce a new classification task and perform a series of experiments using different types of features, including our newly introduced 2D hand keypoint features, as well as existing neural network-based features. This classification task represents a new and complex challenge due to the subtle and contextually dependent differences between depicted hands. The presented computational approach to hand pose recognition in paintings represents an initial attempt to tackle this challenge, which could potentially advance the use of HPE methods on paintings, as well as foster new research on the understanding of hand gestures in art. Full article

This article aims to highlight the rich doctrinal meanings underlying the textual and iconic designation of the Virgin Mary as the gate of Heaven, a highly brilliant metaphor used by writers and artists to symbolize her saving mediation before her divine Son on behalf of humankind. To justify our interpretations of this textual and iconic symbol, we will proceed first by analyzing an abundant set of fragments of medieval liturgical hymns, which designate the Virgin Mary as the “gate of Paradise” (porta Paradisi) or “gate of Heaven” (ianua Coeli) and other expressions alluding to her power to facilitate the eternal salvation of the faithful. In a second step, we will analyze ten sculptural and pictorial artworks that represent Mary as the gate of celestial paradise or the mediator before God in favor of believers to facilitate their eternal salvation. Full article

As part of a field study (NCT04473768) in children presenting with severe febrile illness to Kisantu hospital (DR Congo), we retrospectively compiled user experiences (not performance) with handheld diagnostic devices assisting triage: tympanic thermometer, pulse oximeter (measuring heart rate, respiratory rate and oxygen saturation), hemoglobinometer and glucometer. Guidance documents for product selection were generic and scattered. Stock rupture, market withdrawal and unaffordable prices interfered with procurement. Challenges at implementation included environmental temperature, capillary blood sampling (antisepsis, order of multiple tests, filling microcuvettes and glucose strips), calibration (environmental temperature, cold chain) and liability-oriented communication with a manufacturer. Instructions for use were readable and contained symbol keys; two devices had printed French-language instructions. Shortcomings were poor integration of figures with text and distinct procedures for the oximeter and its sensor. Usability interview revealed appreciations for quick results, visibility of the display and memory function (three devices) but also problems of capillary blood sample transfer, cleaning, too long of a time-to-results (respiratory rate) and size, fitting and disposal of thermometer probes. Pictorial error messages were preferred over alphanumeric error codes but interpretation of symbols was poor. Alarm sounds of the oximeter caused unrest in children and caretakers perceived the device as associated with poor prognosis. Full article

The aim of the present study was to develop a pictorial questionnaire for the assessment of health-related quality of life (PictoQOL) and to examine its content validity and usability across three exemplary population groups of different origin residing in Germany (non-migrants, Turkish migrants and Arabic-speaking migrants). A mixed-methods design combining qualitative and quantitative methods was used, comprising 6 focus group discussions with a total of 17 participants, 37 cognitive interviews and a quantitative pretest with 15 individuals. The PictoQOL consists of a pictorial representation of a total of 15 different situations. Using a visual Likert scale, respondents indicate how much each situation applies to them. Some representations proved to be culturally sensitive and were adapted. Respondents found the use of an additional graphic layer in the form of symbols in addition to pictures helpful for interpretation. The PictoQOL is considered to allow a more accessible assessment and better comparability of HRQOL across different population groups regardless of their literacy level. It is therefore considered to be superior to existing instruments for routine use in health research and practice. Future studies need to examine its convergent and factorial validity. Full article

How might we teach undergraduate students about Indigenous geographies using historical maps? This paper describes processes associated with the bridging of a historical Kiowa map with computerized geographic information systems (GIS) and undergraduate geography curriculum. The authors applied an indigital framework as an approach for melding Indigenous and Western knowledge systems into a third kind of construct for teaching undergraduate students about historical/contemporary spatial issues. Indigital is the blending of Indigenous knowledge systems, such as storytelling, language, calendar keeping, dance, and songs, with computerized systems. We present an origin story about the indigitization of a historical Kiowa pictorial map, known as the Chál-ko-gái map, at the University of Missouri, USA. Undergraduate student engagement with the map resulted in new questions about Indigenous geographies, particularly map projections, place names, and the meaning of Kiowa symbols. Full article

“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work. Full article