Graphic Reading Research Articles

Books in Perpetual Becoming: A Conversation with Serge Chamchinov

Books in Perpetual BecomingA Conversation with Serge Chamchinov Alice-Catherine Carls (bio) and Serge Chamchinov (bio) Serge Chamchinov is a man of many languages and a scientist, visual artist, writer, and book binder. He creates first, then self-promotes his books through book reviews, exhibitions, and poetry festivals. Through graphic reading and analytical typography, he develops recurring themes in a palimpsest of books, notebook series, or installations, each becoming part of an ephemeral structure, the "nomadic museum of the artist's book." Alice-Catherine Carls: Your work seems to use a method called "organic," as a plant that grows from a seed and develops little by little, especially one that is cultivated, to obtain not a fragile lily but a powerful and durable oak. The organic method in literature also starts from a seed. This is what I see in your work on Rimbaud. Starting from a poem, you develop books, translations, graphic works involving several authors, translators, and artists. The "drunken boat" seed considered as chaff by many of the poet's contemporaries survives and is doing well, thanks to your work of many years. The livre pauvre is a variant of the organic method that is more specific in scope since it is usually limited to one book with multiple authors. It too is for me one of the ways to shape the book of the future. Both the organic book and the livre pauvre have a genetic file and are unique, of course; their gathering of multiple voices is above all unifying, therefore of great magnitude. Click for larger view View full resolution Serge Chamchinov: For me, the term "organic" is mainly related to chemistry, which has a special place in my biography. I first studied chemistry at the university. The observation over long periods of time of experiments on the picturesque transformation of organic substances in flasks stimulated my imagination and gave me a taste for serial work. Even after I left this field to create my books, I kept this scientific spirit and interest in long-term experience. What fascinates me is the study of the smallest details and the development of a subject. Such an approach corresponds to my artistic projects like the one on Arthur Rimbaud's "The Drunken Boat." On the other hand, the concept of "later genesis," which I often elaborate in my books, opens the way for the book to be "in perpetual becoming." In my creations, I want to touch and even direct the future of the work. The goal is to program certain aspects of the artist's book so that they continue after the work is finished. Knowing, for example, how the support's color and structure will change over time, we can anticipate the visual effect in relation to the image installed on this support. Carls: Your books are out of the ordinary by their size, their appearance, the quality of their paper; from the first glance, the aesthetic of the fonts and the illustrations takes precedence. Taking them in hand is already a "transport" to this elsewhere that any reading promises. What method do you use to produce these books? Chamchinov: The first thing that happened to me in my youth was the discovery of reading as a process that not only follows the writing or the topic at hand but also opens the self. Very often I read books as the invention of something else than what was written. My thoughts were quite far away during such readings, and I discovered a world of the "distant interior," in the words of Henri Michaux. It is the traces of those journeys that I fix in my artist's books. While reading, I would take a pencil and make drawings, and I called it a "graphic reading" method. I developed it in my first artist's book [End Page 50] entitled Clef graphique pour le Château de K. [Kafka], which featured sixty-six drawings. A little later, I came across an article by Hermann Hesse, namely his "Essay on Reading" published in 1920 in the Vienna newspaper Neues Wiener Tagblatt. This article confirmed my thought that there is a form of reading where the...

SOSYAL BİLGİLER ÖĞRETMEN ADAYLARININ GRAFİK OKUMA VE HAZIRLAMA BECERİLERİ: UYGULAMALI BİR ÇALIŞMA

Today, with the possibilities brought by technology, it is seen that the data needed in almost every area of life is presented by using various visual tools. One of these tools is graphics. Graphs are tools that are used effectively in interpreting the data presented to us and in the visualization of more than one data group that has a relationship. One of the most important objectives of the social studies course, which is created by the content obtained from different social science fields, is to help students learn to read and prepare tables, graphics, and diagrams. The case study design, one of the qualitative research designs, was used in this study. The research group of the study consists of 50 senior teacher candidates studying in the social studies teaching program in a state university in the 2021-22 academic year. In the study, the data were collected through an achievement test that included three graphic reading and two graphic preparation questions developed by the researchers. In addition, an interview form consisting of two questions was used in the study to determine the difficulties faced by the students while reading and preparing graphics. It has been determined that both female and male social studies teacher candidates in the study group can read graphics containing few data but cannot read relatively complex graphics containing many data groups and have difficulty showing two or more data groups using any graphics. It was seen that the graphic reading skills of male students were slightly better than female students, and the graphic drawing skills of female students were slightly better than male students. In addition, it was concluded in the study that, as revealed in previous studies, the graphic reading levels of the students were generally moderate, they could not compare the data with each other or from a theoretical point of view, and they could read mostly the graphics prepared at the primary level.

Prevalence and Prognostic Impact of FLT3-ITD and NPM1 Mutations: A Cohort of Patients with Acute Myeloid Leukemia from the ABC-SP, Brazil

Several factors determine the prognosis of patients with Acute Myeloid Leukemia (AML) including mutations in FLT3 (15-25%) and NPM1 (35%), which carry a poor and a favorable prognostic value, respectively. In latest LeukemiaNET classification, such mutations are, together, sole factor for classification groups on all 3 risk groups. Few studies are investigating the prevalence and clinical correlation of these mutations in the Brazilian population. Here we show the prevalence and impact of NPM1 and FLT3 mutations in the ABC region of São Paulo.We prospectively and retrospectively evaluated 38adult AML patients from Hospital Estadual Mario Covas from May 2008 until October 2016.To investigate the mutations, we first extracted the genomic DNA using DNA Illustrative Blood GenomicPrep Mini Spin® Kit from the collection of 5 mL of peripheral blood and bone marrow from patients previously selected. Second, we performed semi-quantitative PCR to amplify the samples using specific primers for NPM1 and FLT3 mutations. The PCR reaction was done through Taq DNA Polymerase Recombinant® reagent, according to the manufacturer's protocol. The product obtained using primers is approximately 318bp for NPM1 wild-type allele and 322bp for mutant allele of NPM1 and 393bp for wild-type FLT3 alleles and greater than 393bp for mutated alleles of the same gene.30-50 ng of DNA was used for amplification of the sequence of interest. After PCR reaction, we performed purification of the PCR product with PureLink PCR Micro® Kit.Afterward, the purified material was diluted with water nuclease-free. FLT3 material was diluted between 1:20 (if weak staining in the gel) and 1:30 (if high staining and DNA drag on the gel). While the dilution of NPM1 material ranges from 1:5 (if weak staining in the gel) to 1:10 (if high staining and DNA drag on the gel).Finally, we analyzed the PCR product, a mixture of 8.8 μL formamide, 0.2 μL GeneScan™ 600 LIZ® Size Standard v2.0 and 1 μL purified PCR product was made. This mixture was pipetted into a 96-well plate and incubated at 95 °C for 3 minutes, placed on an ice sheet for 5 min and taken to the capillary electrophoresis apparatus (Applied Biosystems 3500) programmed for analysis of long fragments. The injections were pre-analyzed in the Gene Mapper 5 program. As a result of the investigation, we had a good graphic reading of 38 samples for the FLT3 mutation and 34 for NPM1. We found 10 mutated samples for FTLT3 and 7 for NPM1 (26.3 and 20.6%, respectively). We conclude that FLT3 and NPM1 mutations are frequent in the Brazilian population, further studies are needed to confirm our preliminary results. DisclosuresNo relevant conflicts of interest to declare.

Graphic Reading Performance of Students with Visual Impairments and Its Implication for Instruction and Assessment

Introduction: The ability of students to engage with graphical materials supports learning in science, technology, engineering, arts, and mathematics areas. For students with visual impairments, understanding the factors that contribute to the effective interpretation of graphics can promote meaningful access to the curricula. Methods: Forty students with visual impairments completed multiple-choice question tasks for five types of graphics presented in their medium of choice and provided difficulty ratings. The teachers of students with visual impairments rated the students on several factors. Statistical analyses investigated the relationship between performance differences and teacher-rated factors. Results: Significant differences in performance between print and tactile graphics users were found for bar graph, map, and total correct responses on all tasks. For some tasks, perceived difficulty by tactile graphic users did not align with actual performance. Teachers’ ratings of students who had Individualized Education Program goals for graphics, independence in using graphics, problem-solving ability, mathematics ability, and frequency of engaging with graphics contributed to significant differences in performance across total correct and most individual graphic results. Discussion: Although medium type was a significant contributor across graphic types, some teacher-rated variables appeared to mitigate the importance of medium on student performance. Depending on the graphic type, experience, content knowledge, skills with graphics, and confidence and motivation can all affect student performance when interpreting graphics. Implications for practitioners: Teachers should provide students with early and frequent opportunities to engage with graphics and support their problem-solving abilities regarding how to engage with different graphic types to enhance their independent use of graphics.

English

The purpose of this study is to analyse the content knowledge on graphs of pre-service elementary mathematics teachers from an anthropological perspective. 112 pre-service elementary mathematics teachers participated in the study. Concentric mixed pattern research method has been used in the study. The data was collected through Graphic Content Knowledge Scale and interview method in order to examine the content knowledge of primary school math teacher candidates related to graphics anthropologically. This scale which was developed within the frame of determined institutional recognitions includes graphic concept and its usage conditions, graphic types and different display forms, making proper transformations between graphics related to a given context, graphic reading, graphic interpreting and graphic drawing skills. In addition, for the purpose of having a more detailed review of the individual recognitions of the 10 participants, a semi-structured interview scale has been developed and used during the interviews. Data acquired have been analysed by using ecologic and praxiologic approach suggested within the framework of Anthropological Theory of the Didactic. The knowledge scale and interview data have been subjected to content analysis and descriptive analysis to interpret the individual recognitions of the pre-service teachers within the scope of institutional recognitions. As a result, it has been observed that the individual recognitions of pre-service teachers related to column, circle and line graphs conform to the institutional recognitions, however in institutional recognitions the techniques specified for column graphs are being used for histogram, hence they have difficulties in comprehending the differences between histogram and column graph. It has also been concluded that they were not aware of a theory based on graph knowledge. Key words: Anthropological theory of the didactic, ecological approach, graphic knowledge, mathematical content knowledge, praxiological approach, preservice teachers. &nbsp

Multimodal Literacies, Late Seventeenth-Century English Illustrated Broadsheets, and Graphic Narratives

Theorists of modern comics and graphic narratives point to seventeenth-century English illustrated broadsheets as being the primitive beginning of sequential graphic reading practice. Examination of both topical and decorative broadsheets designed for public display in the mid and late seventeenth century, however, reveal a more complex, multimodal reading experience that was accessible and appealing to the wide range of literacies that operated during this period. Broadsheets' sophisticated blending of visual, oral, and textual practices can be made more visible through the lens of our contemporary discussions of multimodal reading and learning practices.

Zwei Formeln zur exakten Berechnung des Hörverlusts für Zahlen

In Germany assessment of hearing loss for numbers is used to calculate the percentage hearing loss from speech audiometry and for plausibility checking with pure tone thresholds. It is common practice to take a graphical reading from the speech audiogram to determine the hearing loss for numbers. This study searches for a mathematical formula for the exact calculation of the hearing loss for numbers from the intelligibility values measured. With analytical methods on the basis of the standard curve following DIN 45626-1, two simple formulas for the calculation of the hearing loss for numbers were developed. The hearing loss for numbers a(1) is calculated as a(1)=p(1)+(50-v(1)) (p(2)-p(1))/(v(2)-v(1))-18,4 for two available measured values and as a(1)=p(1)-0,13 v(1)-11,9 if only one measured value is used, with v(i )being number intelligibility in percent at the level p(i) in decibels (dB) of measurement number i. Number intelligibility of all inserted pairs of values must be between 30% and 70% because the standard curve of DIN 45626-1 runs approximately linearly only in this range. The calculated value for the hearing loss for numbers is subsequently mathematically rounded up to 5 dB as well as for the conventional graphically determined value. With the presented formulas the hearing loss for numbers can be calculated exactly from the measured values of the Freiburg number test especially in matters of expertise if the conventional graphical determination of this value does not seem to be unambiguous.

Sintonização de estados quânticos: um estudo numérico do oscilador harmônico quântico

The quantum harmonic oscillator is described by the Hermite equation.1 The asymptotic solution is predominantly used to obtain its analytical solutions. Wave functions (solutions) are quadratically integrable if taken as the product of the convergent asymptotic solution (Gaussian function) and Hermite polynomial,1 whose degree provides the associated quantum number. Solving it numerically, quantization is observed when a control real variable is tuned to integer values. This can be interpreted by graphical reading of Y(x) and |Y(x)|2, without other mathematical analysis, and prove useful for teaching fundamentals of quantum chemistry to undergraduates.

Primary Exploration and PreExperimental Designs on the Measurement of Cognitive load as well as Statistics-Graph Reading Comprehension in Mathematics

Graphic reading comprehension composes of the complicated mental process which differs from that involved within the text reading comprehension. Graphic reading comprehension, theoretically speaking, contains three pivotal phases: encoding, translating and identifying. Hence, the article aims to apply the modeling of graphic reading comprehension for exploring and framing the primary model of the mental contemplate concerning statistic-graph reading comprehension in mathematics. Furthermore, experimental designs will be contended in this study and criteria of eyetracking based on cognitive loads will be regarded as the evaluated units with a view to testifying the hypothetic mental model in the future research.

Reading the graphics: what is the relationship between graphical reading processes and student comprehension?

Research on comprehension of written text and reading processes suggests a greater use of reading processes is associated with higher scores on comprehension measures of those same texts. Although researchers have suggested that the graphics in text convey important meaning, little research exists on the relationship between children’s processes prompted by the graphics in informational text and their overall comprehension of the same texts. In this study, 30 second-graders read 2 informational texts, were prompted to share their thinking whenever they looked at a graphic, retold each text in their own words, and answered 8 comprehension questions about each text. Correlations between students’ scores on the post-reading comprehension measures and the reading processes prompted by the graphics suggested that: (1) the number of times any process was prompted by the graphics was significantly correlated with scores on the retelling measure for one book, but not for the retelling measure of the other book or for the comprehension question measure for either book; (2) there were no significant correlations between the number of different processes prompted by the graphics and students’ scores on any comprehension measure; (3) a number of individual processes were positively correlated with retelling and/or comprehension question scores.

Le Petit Journal des Refusées : A Graphical Reading

Le Petit Journal des Refusées:A Graphical Reading Johanna Drucker (bio) Gelett Burgess' witty 1896 San Francisco publication Le Petit Journal des Refusées provokes two important questions that make us think about how we understand the cultural role and aesthetic identity of certain modern works of innovative art. First, can we do a critical reading of a literary work through attention to its graphic properties? Second, can we talk about an aesthetic work as modern without either straining to align it with the utopian vision and politics of the nineteenth-century avant-garde or reading it only as a product of mass culture?1 In the case of Le Petit Journal, a study of its graphic characteristics leads us into analysis of a work whose innovative expression is situated within a middle-brow world, far from radical ideals except those of playful humor but wonderfully self-conscious about the scene on which it depends. My first encounter with this publication came long before I would have been able to frame the critical issues I address here. I spotted it on the desk of the then curator of the History Department at the Oakland Museum when I was an assistant to the Registrar.2 I had been hired for my typing skills, and such an encounter was as unlikely as it was life changing. Already actively immersed in a world of small press printers and experimental writers, I could recognize how unique a graphic work it was at a glance. The wallpaper cover, the trapezoidal shape, the strangely weird and wonderfully intriguing image on the front were so fascinating I could not keep myself from transgressing decorum and seizing the thing for examination. Questions immediately arose to drive my research. I wanted to know how this publication compared to its contemporary context and whether its graphic form was as unusual as it looked, or whether it borrowed and recycled graphic elements already in use. Returning to this after three decades, I can frame that original response in terms of critical considerations about experimental work and modern publications. Studies of modernism have suffered from two binarisms. The first critical formulation divided works of art from those of mass production.3 The various proponents of Frankfurt school and critical theory argued that the rarified aesthetics of esoteric fine art was a political tool to counter the mind-numbing, formulaic products of the culture industries.4 Since so many modern artists, especially in the twentieth century, are fascinated with mass [End Page 137] culture, practitioners of critical theory had to justify these acts of appropriation and media transformation. Theoretical language assigned a redemptive uplift, specifically, a quality of critique, to the act of bringing the dross of mass production across the line and into the realm of fine art but never allowed for the flow of ideas and values to praise mass cultural works.5 In the second binarism, cultural studies theorists condemned esoteric art as elitist and argued for the empowering effects of subculture audiences created through mass-culture artifacts.6 In these dreary struggles, the supporters of Brecht or Beckett do mortal combat with the fans of Stephen King and Star Wars (usually in academic realms far removed from any but the most symbolic political acts). But critical theorists and cultural studies proponents are united by their adherence to a larger principle: the myth of a utopian role for art or aesthetic experience as a politicizing force in culture. To argue otherwise, they suggest, is to fall into the camp of the neo-conservatives and align one's aspirations for fine art to either an Arnoldian notion of moral improvement, or abandon all moral responsibility and give over to mere hedonistic pleasure or rampant consumerist tactics.7 But between the pole of art as politics (whether through esoteric resistance, activist didacticism, interventionist strategies, or organizing principles) and that of art as product, lies an enormous terrain filled with works of fine art that were not and never could be considered utopian—but which are indisputably modern. This outline of critical positions is over-simplified, but is meant to point to the problem that arises immediately in trying to read a...