Digital Visual Research Articles

Post-Internet Latinx Art

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

The Digital Vibrations of Contours

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

Digital Humanities at the CUNY Dominican Studies Institute

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

Digital Desmadres (Mishmashes), Tape, Ink, Paint, Cardboard, Kraft Paper, Xeroxes, Fabric (and more Tape)

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

Disruptive Latinx Visualities and the Chicana por mi Raza Digital Memory Collective

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

Piñata Problems

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

Introduction to the Dialogues on Latinx Digital Humanities and Visual Culture

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

Analysis of the Teaching Path of Animation Film Majors Integrating Digital Visual Space in the Context of Digital Media Art

Abstract In this study, we first adopt the dynamic stereo vision spatial coordinate measurement method of non-zoom cameras, establish a coordinate measurement model based on differential GPS, and study the application of the spatial coordinates of dynamic stereo digital vision systems in animation design. Secondly, the internal and external parameters of the camera are defined as the static error of the dynamic stereo vision system so as to provide an easy and quick-to-use design tool for the teaching of animation film majors. Finally, a test sequence animation sample set is used to verify the teaching effect of digital visual space based on animation design. The results show that in the multi-comparison test of animation quality against pixel bit rate, the animation design samples were found to have frame rates in the range of 5-30 Fps. And under the condition of having extra bandwidth, the animation feature learning evaluation dimension is 2589, and increasing the animation visual frame rate can improve the output picture quality of animation more effectively. It shows that the integration of digital visual space in the context of digital media art can allow students to have enough project sources for learning and practicing so as to improve their professional ability.

MODERN TRENDS IN INTELLIGENT CHATBOT DIGITAL VISUAL IMAGE

Study the digital visual image of intelligent chatbots as a sample, analyze the design trends of the digital image of chatbots and direct the design practice to improve user interaction. In the study, the method of combining literature review and empirical research is adopted. Through the analysis of existing research literature and the collection and analysis of existing design cases, the trend of digital visual image design style of intelligent chatbots is discussed. Design options for digital visual images of chatbots were analyzed, and their comparative classification was created. Based on the study of the directions of evolution of the design of the digital image of the intelligent chatbot, the main types of stylistic solutions have been determined – from traditional to abstract/anthropomorphic. The research aims to explore the latest trends and innovative design ideas in digital image design to meet the needs of users and the challenges of technological progress, create unique and attractive images of intelligent chatbots for users, and realize a new human-computer interaction experience. The results provide guidance and suggestions for innovative design of digital visuals for chatbots aimed at creating more attractive, friendly and effective digital images, as well as increasing the practical value of the application and user satisfaction of chatbots.

DIGITAL VISUALIZATION OF EDUCATIONAL CONTENT IN THE PROCESS OF FORMING DIGITAL COMPETENCE OF FUTURE MATHEMATICS TEACHERS

In the article, the author reveals the essence of the concept of digital visualization of educational content as an educational product created with the help of digital tools and stored in digital format. It was found that digital educational content can be saved both on a local device and accessible on the network through computer tools. Digital visualization of educational content in the process of forming the digital competence of future mathematics teachers is positioned as a technology that provides conditions for students to create and use digital visual materials in mathematics, based on the principle of multimedia and a project approach. The stages of the technology are defined and characterized: motivational and preparatory, which involves motivating mathematics students to create digital educational content by holding motivational events (round tables, watching video materials, presentations of digital educational resources in mathematics, attending online lessons of mathematics teachers, etc.); project-research, which leads to the study of possibilities to visualize various topics from the school mathematics course, as well as the application of a project approach to the digital visualization of educational content in mathematics (mini-projects to create a visual model of the lesson, information projects to create infographics, group projects to create digital notes lectures, manuals, methodical recommendations, distance courses, etc.); content-technological, which involves the selection of digital tools for digital visualization of educational content: tools for creating infographics, mind maps, structural and logical diagrams, video materials, platforms for distance courses, software applications for digital format manuals, etc.; presentation-resultative, which actualizes the final student online conference, at which mathematics students or project groups will present the results of their work: mathematics infographics, mind maps, structural-logical schemes, video materials, distance courses, digital format manuals, etc.

Assessing Gender Perception Differences in Color Combinations in Digital Visual Interfaces Using Eye tracking – The Case of HUD

To examine the cognitive gender differences of color combinations in the visual system in the digital visualization interface, we simulate six common driving scenarios with a head-up display (HUD) and process adaptive and multicolor coding forms, and then analyze the cognitive patterns and visual characteristics of HUD color combinations by men and women through eye-tracking experiments based on quantitative color extraction. The achieved results reveal that there exist gender cognitive differences in users’ search performance and cognitive efficiency of HUD color combination vision. Additionally, through cognitive experiments and data analysis, we extract three cognitive evaluation latitudes of interface color combinations, namely discriminability, perceptibility, and cognitive performance, and develop a cognitive evaluation model of interface color combinations. This investigation aims to provide useful guidelines for digital visual interface designers to better meet the requirements of users of various genders, enhancing the safety and efficiency of color combination design.

Cityscapes Transformed: Immersive Exploration at the Intersection of Culture, Computation, and Curatorial Practices

Designing a novel approach to existing art collections requires a shift in perspective. Computational approaches allow for an agnostic approach to cultural assets—akin to distant reading—,affording a capacity for embracing estrangement as a fertile design strategy. This paper investigates the potential convergence of these fields through the lens of machine curation and audience engagement, specifically examining the influence of contemporary machine learning models on curatorial methodologies. This investigation takes the form of a project conceived for the 2023 Helsinki Art Biennial and as a collaboration between the Centre for Digital Visual Studies (MPG, University of Zurich) and the media artist Yehwan Song, aptly titled Newly Formed City. Exploring the art collection of the Helsinki Art Museum (HAM), we seek to reinterpret the cityscape of Helsinki through a machine-oriented perspective. Utilising visual-textual models, we relocate unexhibited artworks to public locations, where, through the creation of context-based computer generated 360-degree panoramas, artworks are placed. Consequently, the outdoor sites are changed by the presence of the artworks, creating a new speculative geography where the city and its art collection are visually fused together. Interaction is achieved through a web interface, offering visitors the opportunity to move through an alternative version of the city and interact with its cultural heritage on a large scale, exploring the capacities for creativity located at the crossroads of a reflective exchange between vicinity and ignorance, machinic analytical prowess, and the uncanny and the unexpected.

“I Don’t Need Your Help! I’m a Scientist!” Biotechnology, Digital Visual Effects, and (the Lack of) Human Control of Life in Zoo

This article explores the American television series Zoo (CBS, 2015–2017). The show’s convoluted narrative revolves around mutations that are put into motion by genetic engineering. These mutations first affect animals and later humans The article argues that the biotechnological control of life, which takes center stage narratively, is mirrored in the television show’s use of digital visual effects to create animals. More importantly, Zoo suggests that this control of life is nothing but an illusion, as the mutation quickly gets out of hand and leads to unexpected consequences. Thus, the television series reflects the Anthropocene condition, which is characterized by the emergence of humankind as a planetary force; however, the planetary effects of anthropogenic activities have been largely unwanted. While Zoo seems to expose these processes of our age, the article also stresses that as a television show, Zoo must reach a broad audience. Thus, the critique of human fantasies of planetary control are, somewhat paradoxically, accompanied by an anthropocentrism which arguably undermines the show’s ecological subtexts.

Development and Validation of the First Smart TV-Based Visual Acuity Test: A Prospective Study.

(1) Background: While smartphones are among the primary devices used in telemedical applications, smart TV healthcare apps are not prevalent despite smart TVs' penetrance in home settings. The present study's objective was to develop and validate the first smart TV-based visual acuity (VA) test (Democritus Digital Visual Acuity Test (DDiVAT)) that allows a reliable VA self-assessment. (2) Methods: This is a prospective validation study. DDiVAT introduces several advanced features for reliable VA self-testing; among them: automatic calibration, voice recognition, voice guidance, automatic calculation of VA indexes, and a smart TV-based messaging system. Normal and low vision participants were included in the validation. DDiVAT VA results (VADDiVAT) were compared against the ones from: (a) the gold-standard conventional ETDRS (VAETDRS), and, (b) an independent ophthalmologist who monitored the self-examination testing (VARES). Comparisons were performed by noninferiority test (set at 2.5-letters) and intraclass correlation coefficients (ICCs). DDiVAT's test-retest reliability was assessed within a 15-day time-window. (3) Results: A total of 300 participants (185 and 115 with normal and low vision, respectively) responded to ETDRS and DDiVAT. Mean difference in letters was -0.05 for VAETDRS-VARES, 0.62 for VARES-VADDiVAT, and 0.67 for VAETDRS-VADDiVAT, significantly lower than the 2.5 letter noninferiority margin. ICCs indicated an excellent level of agreement, collectively and for each group (0.922-0.996). All displayed letters in DDiVAT presented a similar difficulty. The overall accuracy of the voice recognition service was 96.01%. ICC for VADDiVAT test-retest was 0.957. (4) Conclusions: The proposed DDiVAT presented non-significant VA differences with the ETDRS, suggesting that it can be used for accurate VA self-assessment in telemedical settings, both for normal and low-vision patients.

Use of Digital Twins-Based Intelligent Navigation Visual Sensing Technology in Environmental Art Design of Scenic Spots

The study expects to solve the bottleneck problem in the field of intelligent navigation visual sensing and build a network system of information physics, to achieve a visual sensor which can correspond the depth and color of a scene. It aims to improve the robustness and accuracy of color recognition of color structured light in a complex environment. Based on the digital twins (DTs) technology, the effective transformation of logistics process and physical entity to quasi-real-time digital image is realized. The omnidirectional vision sensing technology of a single viewpoint and the panoramic color volume structured light generation technology of a single emission point are integrated. The new active 3D panoramic vision sensor is achieved for which makes the current visual sensing technology developed into the visual perception of body structure. This technology is adopted in the preliminary design of environmental art in the scenic spot, and it can predict the design feasibility of environmental art in the scenic spot, avoid mistakes in decision-making to a great extent and save human and material resources. And also it can analyze and predict some possible dangerous situations, which can greatly improve the environmental safety factor of the scenic spot. In the improvement stage of environmental art design in the scenic spot, using active 3D vision sensing technology can obtain more comprehensive information and is more conducive to the selection of design schemes.

Visual Appropriation: A Self-reflexive Qualitative Method for Visual Analysis of the International

AbstractThis article introduces visual appropriation as a method in critical international political thinking and acting, contributing to the evolving repertoire of multiple, pluralist methods for visual analysis of international relations operating in a digital visual environment. We define appropriation as reuse of existing visual material—either in its entirety or in part—without substantially altering the immanent characteristics of the appropriated material. As appropriators, scholars are producers of images who capitalize on and actively participate in digital visuality (seeing–changing–sharing). Appropriators are both image-analysts and image-actors but distinct from both, contributing not only to the visual analysis, but also to the visual construction of international relations. Approaching the international through appropriation grants researchers increased agency and responsibility vis-à-vis existing visual materials “out-there.” Rather than exploring a digital space of visual images produced and appropriated by others, researchers consciously and deliberately partake in the production and dissemination of images. As a result, we highlight how we—as scholars and as citizens—are facing research-ethical problematiques linked to ways of showing and seeing inevitably emanating from appropriation.

Cycling in the Flattened City: Urban Assemblages and Digital Visual Research

As urban assemblage theory emphasizes a conceptualization of the city as movement, constituted through the processual interactions between different human and non-human actors. This approach has been recognized as potentially valuable for the study of active bodies in urban environments ( Rick and Bustad 2020 ). Moreover, this approach also encourages the development and implementation of innovative methodologies aimed at conveying the complexity of urban life ( McFarlane and Anderson 2011 ). This article contributes to this approach through the use of digital visual research methods while experiencing a monthly cycling event in Baltimore, Maryland. In particular, we discuss how GoPro cameras might be utilized within the study of the embodied experience of urban cycling, and how this experience demonstrates the assemblage of human, machine, and urban environment. Following Sumartojo and Pink (2017) , we describe how GoPro recordings of active urban embodiment work to provide more than second-hand representations of others’ experiences, and instead can serve to collect and analyze ‘traces’ of the assemblages of urban physical cultures.

PENGGUNAAN OBSERVASI VISUAL DIGITAL PADA INTERAKSI GURU DAN ANAK DALAM KELAS PAUD

The interactions in Indonesian early childhood classes are still traditionally done without using digital visuals. The impact is that the data obtained is difficult to be reexamined. Therefore, this paper focuses on how digital visual observation is applied in investigating the quality of teacher-child interactions, it is used to determine the context or individuals associated with interaction, the impact of teacher-child interactions on child development. Data was collected through observation on 6 teachers with the number of children was 15 children. The study found that visual data illustrates various features of teacher-child interaction. Digital video observation provides a holistic view on the process of interaction, dominance in teacher-child interactions, and the impact of interactions on children's development in documenting all features and processes of child development that cannot be captured through traditional observations. In particular, digital visual observation brings a new perspective and becomes an effective methodological tool for understanding teacher-child interactions.

A Possible Framework for Digital Visuality.

With the ongoing penetration of digital technologies and tools across the world, the act of conducting visual research increasingly entails a capacity to incorporate a broader horizon characterised by multimodality and multisensoriality, by algorithmic and automated logics and importantly by new possibilities for collaboration. Such an expanded terrain requires an expanded ethnographic approach and also a grounded rethinking of what images (the key tools at our disposal) are, mean and do. Images today embrace a new role as multimodal, multi-sensory and multi-perspectival producers of relations, of material, spatial and temporal engagements with the world that surrounds them. Indirectly commenting upon the papers that make up this special issue, the present paper aims to offer some theoretical and methodological guidelines on how to address, understand and use the terrain of contemporary digital visual practices.

Sensory experiences of digital photo-sharing—“mundane frictions” and emerging learning strategies

Digital technologies are increasingly ubiquitous in everyday life forming part of the way we live and experience the world. This article will specifically scrutinise how mobile phone cameras, digital photographing and the use of web-based photo-sharing sites and communities become part of the meaning-making practices through which the everyday is lived and understood. In doing so, I advance the concept of “mundane friction” through which to discuss the experience, meaning-making and pedagogy generated through operating screen-based technologies. Indeed, media participates in everyday worlds beyond its role as a provider of content and for communication. The question that will be addressed here is how this media presence can be understood from an embodied and sensory perspective, and is based in a study of sensory aspects of teenagers use of web-based photo-diaries. Further, this discussion leads to questions of how an appreciation of digital visuality as more than representational acknowledges the meaning of mundane friction caused by habitually touching, rubbing, clicking, pinching through media technologies as part of the sensory emplacement process that establish people as situated learners. In turn, problematising this tangible friction as pivotal for understanding digital visuality gives reason to argue for research methods that acknowledge digital visual material as more-than-visual and theory that moves toward the unspoken, tacit and sensory elements of learning in everyday practices. Thus, the aim of this article is to elaborate on the embodied, the methodological and the pedagogical dimensions of “mundane friction” in meaning-making activities, and its pedagogical implications.