Graphic Conventions Research Articles

SHAPING THE NARRATIVE: CONTEMPORARY INDIAN AUTHORS' IMPACT ON GENDER AND SEXUALITY REPRESENTATION IN YOUNG ADULT LITERATURE

Through the rich tapestry of contemporary Indian young adult fiction, where visionary writers emerge as architects of societal change and use words as tools for reflection and reform, take off on a transformative journey. Through a variety of perspectives, the narrative revolution is revealed and every writer adds their own distinctive mark to the dynamic canvas of Indian literature. One such author creates a complex narrative that defies stereotypes and breaks down conventional barriers in an intricate examination of love and identity. Another creatively defies graphic novel storytelling conventions, producing a visual and narrative feast that defies accepted writing practices. This literary panorama provides detailed explorations of individual aspirations intricately interwoven with cultural limitations, with a focus on the expectations placed on women by society. Characters contribute to the ongoing conversation about the shifting roles of women in contemporary India by balancing the weight of social norms with individual agency. Furthermore, a noteworthy contribution to the portrayal of LGBT identity serves as a beacon of understanding and inclusivity. The story invites readers to delve into the complex emotional aspects of queer experiences as it gently examines the complexities of identity crises. This work creates a more inclusive literary landscape by breaking new ground and igniting conversations about diversity and representation. Young adult fiction is experiencing a metamorphosis that goes beyond conventional narrative techniques, crafting literary environments that function as windows reflecting the myriad of human experiences. These cultural architects have a lasting influence that reaches beyond library walls and provides readers with a profound opportunity to reflect on their own journeys. These works become more than just stories because they transform societys values about acceptance, love and identity. They also show the boundless possibilities that lie between a books pages. The present research paper examines delves into the intricacies of gender and sexuality while highlighting innovative works that challenge preconceptions, break down barriers and change readers viewpoints. KEYWORDS: Contemporary, adult fiction, transformative, acceptance, gender and identity

Солярное пространство в истории текста романа М.А. Булгакова «Мастер и Маргарита» (часть 2)

The article is devoted to the consideration of the formation of solar space in the history of the text of M.A. Bulgakov’s novel “The Master and Margarita” on the base of its textual analysis. In our work, we rely on the system of editions of the novel that we have established and its main text, reflecting the last creative will of the author to the fullest extent: the first (1928–1930), the second (1932–1936), the third (1936), the fourth (1937), the fifth (last handwritten, 1937–1938), the sixth (final, 1938–1940). The draft texts are conveyed by dynamic transcription, which will make visible the process of writer’s work on the creation and allow us to see the formation of the author’s intention. Graphic conventions are used for this: 1) a piece of text crossed out by the writer — [text]; 2) an insert during the writing process — text; 3) an insert crossed out — [text]; 4) a later insert — {text}; 5) a later insert crossed out — {text}; 6) a conjecture — <text>; 7) reliability of the transmitted author’s text — <sic>; 8) the end of a page and the transition to the next one are indicated by two straight vertical lines ||. When quoting draft texts, the author’s spelling and punctuation are preserved.

Borromini, the Casa dei Filippini and the Two-Way Relationship between Representation and Architectural Form

The stratified relationship and mutual influence between the representation of the project and the form of built architecture manifest above all in the facade design by virtue of its natural rhetorical vocation. This is the case of the Casa dei Filippini, designed by Francesco Borromini in the second quarter of the 17th century in Rome. The perspective niche in its façade appears to be a literal three-dimensional transcription of a graphic convention adopted in the presentation drawings. To understand the context and the reasons for this “translation”, this article historically frames the theme of the facade intended as a mask and its implicit representational qualities, which can configure it as an autonomous work from the building itself; it frames the interferences between architecture and its image in the era of the advent of pseudo-projective representation and the resistance it finds; it focuses on the facade of the Casa dei Filippini and its perspective niche, here surveyed and photo-modeled to determine the size and relationship between the actual and the perceived shape. Through these methodological and operational premises, the article reconstructs the original center of the façade deformation and analyzes the fictitious value of the facade, as testified by Borromini’s attempt to orient its perception through the drawings of his Opus Architectonicum and those derived from them, eventually confirming the two-way relationship between form and representation.

Солярное пространство в истории текста романа М.А. Булгакова «Мастер и Маргарита» (часть 1)

The article is devoted to the consideration of the formation of solar space in the history of the text of M.A. Bulgakov’s novel “The Master and Margarita”. The author of this paper try to understand the writer’s intention based on a textual analysis of the novel. In our work, we rely on the system of editions of the novel that we have established and its main text, reflecting the last creative will of the author to the fullest extent: the first (1928–1930), the second (1932–1936), the third (1936), the fourth (1937), the fifth (last handwritten, 1937–1938), the sixth (final, 1938–1940). The draft texts are conveyed by dynamic transcription, which will make visible the process of writer’s work on the creation and allow us to see the formation of the author’s intention. Graphic conventions are used for this: 1) a piece of text crossed out by the writer — [text]; 2) an insert during the writing process — text; 3) an insert crossed out — [text]; 4) a later insert — {text}; 5) a later insert crossed out — {text}; 6) a conjecture — <text>; 7) reliability of the transmitted author’s text — <sic>; 8) the end of a page and the transition to the next one are indicated by two straight vertical lines ||. When quoting draft texts, the author’s spelling and punctuation are preserved.

Visual resemblance and interaction history jointly constrain pictorial meaning

How do drawings—ranging from detailed illustrations to schematic diagrams—reliably convey meaning? Do viewers understand drawings based on how strongly they resemble an entity (i.e., as images) or based on socially mediated conventions (i.e., as symbols)? Here we evaluate a cognitive account of pictorial meaning in which visual and social information jointly support visual communication. Pairs of participants used drawings to repeatedly communicate the identity of a target object among multiple distractor objects. We manipulated social cues across three experiments and a full replication, finding that participants developed object-specific and interaction-specific strategies for communicating more efficiently over time, beyond what task practice or a resemblance-based account alone could explain. Leveraging model-based image analyses and crowdsourced annotations, we further determined that drawings did not drift toward “arbitrariness,” as predicted by a pure convention-based account, but preserved visually diagnostic features. Taken together, these findings advance psychological theories of how successful graphical conventions emerge.

Visualizing Spatial Gaze Data in the Perception of 3D Objects

AbstractIn response to the rapid development of mobile eye tracking, this paper proposes methods for the visualization of gaze patterns in three dimensions. Methods are divided into two basic categories, beginning with translations from 2D graphic conventions to those that incorporate 3D mesh geometries. They are first discussed in principle and thereafter demonstrated on actual gaze data of sculptural reproductions. The tracing of eye movements of objects in the round required consideration of variables typically unaccounted for in conventional eye-tracking visualization, most importantly with regards to the moving position of the viewing eye. A major advantage of 3D visualizations is the capacity to present gaze information simultaneously on obverse, reverse, and oblique surfaces of perceptual attention. The included methods provided for effective communication of a subject’s perceptual distribution over potentially complex stimulus geometries.

Second Nature, a Practice-led Design Investigation into Consumerism Responding to Sustainable Home Habits

This article discusses a graphic design project about unsustainable habits around the home and their effects on climate change. The article reflects on practice-led design research, asking: How can graphic design be used to provoke young adults to make positive changes towards their unsustainable consumer habits in their homes? The design project entitled: Second Nature - is an awareness campaign that combines the researcher’s passion for environmental sustainability and creative practice as a way of expression through graphic design conventions. The project responded to the research question with a communication campaign, consisting of a series of design artefacts, including a poster series, a zine set, social media presence and a website. The artefacts allow the audience to consider the negative impact their habits cause, providing ways to make small changes towards a more sustainable lifestyle. In conducting the study, reflective and heuristic enquiry was utilised as an approach to problem-solving. In the enquiry, the project employed methods such as contextual review of knowledge, mind mapping, sketching and mock-ups to ideate, reflect and test. The article adopts a commentary on practice and evidences the design decisions to the context, including how the artefacts engage with the audience. The research contributes to the current discourses about climate change in a world dominated by consumerism, proposing and unpacking how an awareness campaign can be used as a tool to combat the depletion of our greater home, earth.

Making Room for Post-Authentic Domesticity

This creative response interrogates the persona that seems to inhabit sex webcam platforms, online services where people can stream and monetize amateur sexual performances (Henry & Farvid 2017; Jones 2020). If the perception of authenticity has been a crucial feature of camming since its inception (Senft 2008), this impression is no longer conveyed only through amateur signifiers (Hernández 2019). Domesticity on the sexcam platform oscillates between two poles. One of them is incarnated by the professional webcam studio, where uninhabited rooms are presented as private yet generic spaces (Korody 2019). The other pole is the personal space, staged for its transmission through the platform. Decorative trends and habits crossover between these extremes, creating a new type of domesticity with no other purpose than the sexual spectacle. The product of this mutual influence is referred to as ‘post-authentic domesticity’ in this article. Drawing upon literary studies, post-authenticity implies a fiction that engages with an ‘authentic’ referent but does not aim to replicate it (Gefter Wondrich 2020). As such, domesticity in the sexcam platform is both a second-hand reference and a space where its online persona unfolds.The exploration of this post-authentic domesticity is conveyed by means of a website that replicates some of the graphic conventions of sexcam performers’ profiles. The website is divided into different pages that address distinct aspects in the form of short poems. The images accompanying the texts, created by the author, were made using ASCII characters and they reference empty webcam rooms observed in the sexcam platform Chaturbate during 2022. The abstract character of the images aims to emphasize the role of the audience in the construction of online intimacy and meaning.

Mapping Indigenous Land: Native Land Grants in Colonial New Spain by Ana Pulido Rull (review)

Reviewed by: Mapping Indigenous Land: Native Land Grants in Colonial New Spain by Ana Pulido Rull Paula López Caballero (bio) Mapping Indigenous Land: Native Land Grants in Colonial New Spain by Ana Pulido Rull University of Oklahoma Press, 2020 DURING THE FIRST CENTURY of Spanish colonization in the Americas, the most common means of obtaining plots of land—for Indigenous peoples as well as Spaniards—was to request a royal land grant (mercedes reales). The grants were documents issued by the representatives of the king in Spain's colonies: the viceroy and the Real Audiencia. In New Spain (present-day Mexico), records created to request, oppose, or negotiate these land grants included a painting or map as part of the evidence presented by parties involved. Forty-eight examples of these paintings, created between 1571 and 1617, are stored in the Mapoteca of the Archivo General de la Nation. From this corpus, Pulido Rull selected fourteen paintings for detailed analysis, which along with their legal records form the empirical basis of this book. Pulido Rull's historical investigation is complemented by infrared and ultraviolet radiation analysis of these documents, which makes it possible to document how the maps were modified, possibly during the course of legal arguments. The book also includes twenty-seven color plates and fifty-one black-and-white images. Pulido Rull argues that these maps were sites of cross-cultural communication between Indigenous peoples and Spaniards in which Indigenous views regarding disputed lands can be observed. She proposes understanding these maps as subjective interpretations of space created according to a specific intentionality. They can therefore be read as a mechanism for the participation and negotiation of Indigenous painters, as well as those they represented, in the legal processes for awarding land grants. The book comprises five chapters. After a clear, concise introduction, the first chapter provides general historical context on legal processes for obtaining lands. This pedagogical chapter is useful for nonspecialists. The second chapter, the book's longest, may be read as the flip side of the first one, as it examines the most formal aspects of the whole corpus of maps: pictorial strategies for representing space, questions related to the maps' authorship, and the graphic conventions used within them. Chapter 3 examines records, created mainly by Indigenous nobles, for requesting land grants. Analysis of these records demonstrates the opportunities available to these elites and the [End Page 177] privileged position they managed to maintain throughout the first century of colonization. The fourth section analyzes records in which maps were used to oppose land grants. In contrast to the previous chapter, this chapter displays the practical rather than legal limits of the colonial system: upon reviewing the cases, it is clear that bending the law was a common practice for magistrates, above all to favor Spaniards over Indigenous peoples. The final chapter presents cases in which Indigenous peoples affected by land grants opted to negotiate instead of simply opposing the grants. Analysis of these cases clearly illustrates the multiple ways in which maps contributed to legal processes and resolution of conflicts. The most explicit example is that of Huixquilucan (State of Mexico), where a Spaniard requested two plots of land for goat herding. In order to prevent goats invading plots used for crop cultivation, the town authorities presented a map to the courts. The visual discourse of this document organizes space in such a way that implies that land grants could only be awarded in specific locations. This message is actually retained as an argument in the written transcriptions of the record, showing how the artist had the opportunity not only to represent the territory of the town but to influence the decision of the magistrates and judges by favoring the position of the affected Indigenous residents of Huixquilucan. In short, the multiple, rigorously and minutely analyzed cases in this book are clear examples of the complexity and reach of the perspective that Pulido Rull develops. The promising hypothesis she proposes is to understand, in the same analytical movement, both the practical exercise of the law established by the colonial order and the artistic expression developed by mapmakers. In doing so, Pulido Rull contributes to the...

Heinrich Wittenwilers ›Ring‹ als Krisenexperiment: Erwartung und Störung didaktischer Kommunikation

Heinrich Wittenwilers ›Ring‹ als Krisenexperiment: Erwartung und Störung didaktischer Kommunikation

Information Visualizations and the Interpellation of a Social Subject

Though rarely used in critical discussion of information visualizations, theories of enunciation created in the context of linguistics and media theory offer an insight into the way graphic displays create and interpellate social subjects. The argument made here is that while the graphic conventions used for the display of information create the appearance of neutral statements, they are actually structured as modes of address. Critical tools can expose the power relations structured into visualizations and address the ways in which a social subject is specifically produced and positioned) within cultural systems. In addition, using the familiar maps of Covid outbreaks as an example, this discussion points to the various ways in which human experience, individual and collective, is erased from view, even as the scale of tragedy and suffering increases. This piece calls for a new critical understanding of the relations between subject production and graphical conventions as a way to read information visualizations and also infuse them with affective force that registers the human dimensions of data.

The Image of networks

This text presents a synthesis of a wider research that attempts to reflect on the concept of network starting from its representations. First, the characteristics with representations that were the subject of the research are described. The representations that follow a particular graphic convention called graph theory have been selected. The representations based on this theory, which we will call reticular, are particularly suitable for describing a network. Subsequently, some research results emerging from the study and the redrawing of these representations are described such as the recognition of the figures within the reticular representations and their prevailing forms. Finally, it is described how this organizational form of networks that emerges from reticular representations portrays forms of spatial proximity other than physical proximity.

Conceptual Metaphor and Graphical Convention Influence the Interpretation of Line Graphs.

Many metaphors in language reflect conceptual metaphors that structure thought. In line with metaphorical expressions such as 'high number', experiments show that people associate larger numbers with upward space. Consistent with this metaphor, high numbers are conventionally depicted in high positions on the y-axis of line graphs. People also associate good and bad (emotional valence) with upward and downward locations, in line with metaphorical expressions such as 'uplifting' and 'down in the dumps'. Graphs depicting good quantities (e.g., vacation days) are consistent with graphical convention and the valence metaphor, because 'more' of the good quantity is represented by higher y-axis positions. In contrast, graphs depicting bad quantities (e.g., murders) are consistent with graphical convention, but not the valence metaphor, because more of the bad quantity is represented by higher (rather than lower) y-axis positions. We conducted two experiments (N = 300 per experiment) where participants answered questions about line graphs depicting good and bad quantities. For some graphs, we inverted the conventional axis ordering of numbers. Line graphs that aligned (versus misaligned) with valence metaphors (up = good) were easier to interpret, but this beneficial effect did not outweigh the adverse effect of inverting the axis numbering. Line graphs depicting good (versus bad) quantities were easier to interpret, as were graphs that depicted quantity using the x-axis (versus y-axis). Our results suggest that conceptual metaphors matter for the interpretation of line graphs. However, designers of line graphs are warned against subverting graphical convention to align with conceptual metaphors.

CONSTRUCTING A SELF BETWEEN IMAGE AND TEXT: READING BECHDEL’S FUN HOME

Graphic memoirs offer a visual representation of the relationship between a moment and the construction of memory. McCloud describes the work of the comic author and the reader as a dance between “the seen and the unseen”. This is what makes the medium of graphic memoirs unique, as it “gives so much to its audience while asking so much from them as well” (1993, p. 92). My aim in this paper is to ascertain the impact using graphic conventions has on the effective and affective construction of meaning and identity in Alison Bechdel’s Fun Home: A Family Tragicomic (2006) and howr The Gutter becomes even more significant in graphic memoirs, because the use of panels can fracture the flow of the narrative into the sequenced segments which alternate with the blank spaces of the gutters. These blank spaces represent an effort to redefine the “connections between memory and history, private experience and public life” via a written account and the “act of witness” represented by a combination of the visual and the verbal (Cvetkovich, 2008, 111-20). Using this mix of image and text, Bechdel creates an almost palimpsestic effect as a majority of panels show items layered over other images, indicating a blending between the narrative of Bechdel’s real life experience and the representation of that life experience in the text. For the reader, this can imply a way to address the gaps in knowledge not only for them but also for Bechdel herself.

Implementation of Hybrid Algorithm in Cluster Head using Neural Networks

A Neural Network is a data processing system consisting of large number of simple, highly interconnected processing elements. In this paper a graphical convention is utilized where hubs are orchestrated in the form of cluster. An epic methodology is presented for choice of group head by the utilization of fake neural organization to expand organization's lifetime in WSN and calculation of steering convention dependent on neural organizations (NNs). In the proposed work, a standard burned-through energy is used for the choice of bunch head and and steering convention LEACH is used. The leftover energy is utilized for making group head and for the determination of bunch head using Neural Network. In the proposed system Using LEACHNN algorithm Throughput, packet delivery ratio ,energy is improved by 20%.

Arrows and their modern versions: narrativity signalled by lines in data visualizations

For creating and reading data visualizations, visual literacy is crucial. This article advances the knowledge about graphical variations and conventions related to the basic graphical element of the graphical line used as a connector in data visualizations. Some visual characteristics of connecting lines can be used to show directionality and thus signal a narrative claim. Arrowheads may be one way to do so. However, particularly in a digital environment, other techniques may be used as well. This article presents a corpus study investigating the ways in which narrativity is signalled by connecting lines in current, publicly available digital data visualizations. The central connecting lines of 163 award-winning data visualizations are analysed with focus on their visual forms and how they represent actions and situations. The repeated occurrence of some visual techniques points to conventions formed both by a long tradition of analogue visualization and the advent of digital production techniques and output devices. The presented results are relevant to researchers, educators and practitioners in the data visualization field, as they provide novel empirical data on the use of an omnipresent graphical element.

Пространство «вечного дома» в истории текста романа М.А. Булгакова «Мастер и Маргарита»

One of the important questions in bulgakovian studies is connected with the space of “the eternal house”, peace, which the master had deserved. The author of this paper try to understand the writer’s intention based on a textual analysis of the novel. In our work, we rely on the system of editions of the novel that we have established and its main text, reflecting the last creative will of the author to the fullest extent [1]. The line “The Master – Margarita” is outlined in drafts of the 1931 novel and is developed in its second edition (1932–1936). The third (1936) and fourth (1937) editions are incomplete — they don’t have the episodes considered in this paper. Therefore, our study uses the texts of drafts of 1931, the second, fifth (last handwritten, 1937–1938) and the sixth (final, 1938–1940) editions of the novel. The draft texts are conveyed by dynamic transcription, which will make visible the process of writer’s work on the creation and allow us to see the formation of the author’s intention. Graphic conventions are used for this: a piece of text crossed out by the writer — [text]; an insert during the writing process — text; an insert crossed out — [text]; a later insert — {text}; a later insert crossed out — {text}; a conjecture — <text>; reliability of the transmitted author’s text — <sic>; the end of a page and the transition to the next one are indicated by two straight vertical lines ||.

Arte parietal paleolítico en la cueva de Aitzbitarte V (Errenteria, Gipuzkoa): un nuevo conjunto diacrónico en la Región Cantábrica oriental

El arte parietal paleolítico de la cueva de Aitzbitarte V se descubre en 2015, en el marco de las labores de prospección desarrolladas en la última década en el oriente cantábrico. Hemos documentado una decena de grabados situados en tres sectores profundos de la cavidad y compuestos por representaciones de bisontes y líneas. Las características formales de los primeros son específicas del arte gravetiense en el caso de los sectores A, C y D, y del Magdaleniense en el sector B. En ambos casos las convenciones gráficas presentan paralelos continentales, con el S/SO francés en el primer caso, y con los conjuntos pirenaicos en el segundo. De esta manera, en la cueva de Aitzbitarte V se identifican dos fases decorativas correspondientes a dos periodos distantes en el tiempo, siendo el primer caso de recurrencia gráfica reconocido en la Región Cantábrica oriental.

Redefining shared symbolic networks during the Gravettian in Western Europe: New data from the rock art findings in Aitzbitarte caves (Northern Spain).

The renewal of the archaeological record, mainly through the discovery of unpublished sites, provides information that sometimes qualifies or even reformulates previous approaches. One of the latter cases is represented by the three new decorated caves found in 2015 in Aitzbitarte Hill. Their exhaustive study shows the presence of engraved animals, mainly bison, with formal characteristics unknown so far in the Palaeolithic art of the northern Iberian Peninsula. However, parallels are located in caves in southern France such as Gargas, Cussac, Roucadour or Cosquer. All of them share very specific graphic conventions that correspond to human occupations assigned basically to the Gravettian cultural complex. The new discovery implies the need to reformulate the iconographic exchange networks currently accepted, as well as their correspondence with other elements of the material culture at the same sites. Thus, we have carried out a multiproxy approach based in statistical analysis. The updated data reveals a greater complexity in artistic expression during the Gravettian that had not been considered so far, and also challenges the traditional isolation that had been granted to Cantabrian symbolic expressions during pre-Magdalenian times.

CEViNEdit: improving the process of creating cognitively effective graphical editors with GMF

The rise of domain-specific (Visual) languages and the inherent complexity of developing graphical editors for these languages have led to the emergence of proposals that provide support for this task. Most of these proposals are principally based on EMF and GMF, which effectively help to simplify and increase the level of automation of the development process of the editors, but it is important to recall that these proposals have some important disadvantages, mainly related to the learning curve of these technologies, poor documentation or the complexity of providing all the customisation possibilities to the user. In addition, in the process of developing a domain-specific language, issues related to graphical conventions have historically been undervalued, while most of the effort has been focused on semantic aspects. In fact, definitions of the concrete (visual) syntax of modelling languages in Software Engineering are usually based on common sense, intuition, the reuse of existing notations or emulation of common practices. In order to alleviate the inherent complexity of the EMF/GMF approach for the development of graphical editors and to support the evaluation of the quality of visual notations of modelling languages, this article presents CEViNEdit, an intuitive tool that simultaneously supports the semi-automatic generation of graphical editors and the assessment of the cognitive effectiveness of the visual notation implemented by the editor.