Development Of Visual Representations Research Articles

Визуальная репрезентация морской тематики в художественной культуре России ХVIII–XIX вв.

Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings. The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.

Representations of Edo-­Tokyo in Illustrations

This paper follows the process of development of visual representations of Edo in publications from its origins in the XVII century to the XIX century when the city began modernization. They primarily took the forms of illustrations of guidebooks or geographies depicting ‘noted places' such as temples and shrines. Due to the prosperity of the city and the development of its own culture, they opened up a new avenue of picture books of ‘noted places' illustrated by ukiyoe artists who played important roles in fostering the unique culture of the city. The idea of ‘noted places' was expanded to include the locations where its citizens enjoyed seasonal outings through those picture books. These pictures often focused on human figures at these places as their backgrounds, while landscape expression with perspective introduced from the West was also developed in these picture books. In the process of evolution of illustrated works of the city, depictions of people enjoying their lives was continuously essential. The fact is convincing when we take into consideration that representations of cities in the history of East Asian paintings often reflected not only their realities but also the desires of those involved in producing them. The presence of people who led pleasant lives there was necessary to complete the image of the ideal cities. Representations of Edo-Tokyo also sought to keep images of its state in older times within them in various ways. It would appear to be a method of preserving the memory of the city which was repeatedly destroyed by fires and earthquakes and continuously changing its appearance.

Mediating Marginality Through Photography: Kent Klich’s El niño: Children of the Streets, Mexico City

This article considers the book El niño: Children of the Streets, Mexico City, a text and image project by Swedish photographer Kent Klich and Elena Poniatowska published in New York in 1999 after a failed attempt to publish it in the Mexican capital. A comparative approach is taken as the themes of El niño’s photographic narrative are considered in the light of an earlier foreign project that confronted marginality in Mexico: Oscar Lewis’s The Children of Sánchez. The role of the photographs and possible interpretations of them are explored. Analysis of the photographic contacts permits discussion on the development of visual representation and reveals Klich’s nuancing in his portrayal of the street children.

Visual Reporting in the Cooperative Group

This equity research based paper evaluates Co-operative Group, the Britain’s largest UK mutual business. In addition, this essay will provide an indication of the visual reporting of Co-operative Group over the last decade, and provides key changes and developments in their financial statements to existing and potential investors. A significantly changes of Co-operative Group visual reporting comes from their financial information, hence, Co-operative Group’s prospect will be heavily affected by colour, graph, photographs and illustration. This paper, therefore, will pay attention to various aspects to analyse, use the full set of financial statements for the year (the document which includes the full statement of financial performance, statement of financial position, cashflow and notes), rather than summary accounts. In the literature review part, visual aids will be taken into account due to its significant impacts on company development of visual representations. Based on all analysis of the visual reporting, therefore, it is a way of turning formal documents into a public relations document.

How do we know he is not talking about himself? Demonstrations in Science Classroom

Although the development of the sciences was mediated in crucial ways by the development of visual representations, language continues to be treated as the dominant representational mode in science teaching. In this study, we focus on instances where demonstrations occur, in which self-references are to be understood as references in general, and investigate the semiotic resources provided by the lecturer to disambiguate references from self-references. Our data corpus is derived from a 3-month study of twelfth-grade biology lessons in human anatomy and physiology. We analyzed all those instances where the lecturer makes reference to someone else in his speech but gestures with or points to his own body. We describe the different resources (markers) used to disambiguate the conflation of self-reference and reference and theorize the phenomenon by building on a dialectical framework for understanding communication.

Severe developmental letter-processing impairment: A treatment case study

We report the case of ET, a 7-year-old child with a severe developmental letter-processing impairment. Detailed assessment revealed multiple impairments of the letter-processing system affecting abstract visual letter representation, semantics, and connections between the phonological processing modules and the orthographic buffer. Treatment methods focused on letter sounding through development of abstract visual representation and semantic representation of letters. Treatment resulted in dramatic and enduring improvements in cross-case matching, letter/number categorization, and letter sounding. Cognitive neuropsychological reading research has largely focused on word processing, with a relative neglect of single-letter processing. The current study investigated letter processing in greater detail than has been usual and outlines a broad theoretical framework for letter processing. ET's assessment and treatment data are used to support and question predictions from the framework. A number of theoretical implications are discussed with reference to ET's data and that of other reported cases of impaired single-letter processing. Finally, the paucity of investigation of letter processing in children is highlighted, particularly with regard to integrity of abstract letter representation in developmental dyslexia.

The Eye of the Lynx: Galileo, His Friends, and the Beginnings of Modern Natural History

Some years ago, David Freedberg opened a dusty cupboard at Windsor Castle and discovered hundreds of vividly coloured, masterfully precise drawings of all sorts of plants and animals from the Old and New Worlds. Coming upon thousands more drawings like them across Europe, Freedberg finally traced them all back to a little-known scientific organization from 17th-century Italy called the Academy of Linceans (or Lynxes). Founded by Prince Federico Cesi in 1603, the Linceans took as their task nothing less than the documentation and classification of all of nature in pictorial form. In this first book-length study of the Linceans to appear in English, Freedberg focuses especially on their unprecedented use of drawings based on microscopic observation and other new techniques of visualization. Where previous thinkers had classified objects based mainly on similarities of external appearance, the Linceans instead turned increasingly to sectioning, dissection and observation of internal structures. They applied their new research techniques to an incredible variety of subjects, from the objects in the heavens studied by their most famous (and infamous) member, Galileo Galilei - whom they supported at the most critical moments of his career - to the flora and fauna of Mexico, bees, fossils and the reproduction of plants and fungi. But by demonstrating the inadequacy of surface structures for ordering the world, the Linceans unwittingly planted the seeds for the demise of their own favourite method - visual description - as a mode of scientific classification. Profusely illustrated and engagingly written, The Eye of the Lynx uncovers a crucial episode n the development of visual representation and natural history. And perhaps as important, it offers readers a dazzling array of early modern drawings, from magnificently depicted birds and flowers to frogs in amber, monstrously misshapen citrus fruits and more.