In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a (...) crucial resource for critical reflection. Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism’s vital contribution to public life. (shrink)

This paper proposes a theory of text on-screen as “unvoiceover.” It addresses both the case for captioning as social good and the affordances (aesthetic, affective) of writing in or over the moving image. Advancing an argument informed by perspectives from d/deaf Studies, Critical Disability Studies and Digital Interface Studies, and applying modes of analysis from literary criticism alongside those proper to the study of moving image and sound, it examines the idiosyncrasies of text-in-motion as non-sonorous, fugitive counterpart to the (...) traditional, troublesome “voiceover.” To develop a poetics of the unsounding voice on-screen, the paper focalizes its argument through multimedia artist Liza Sylvestre’s Captioned series: a body of moving image work that is itself, paradoxically, uncaptioned. Framing Sylvestre’s lyrical “unvoiceover” as a reimagining of the lost roles of film explainers and literary intertitles, I argue that the artist’s takeover of the caption track intervenes critically in contemporary debates about the ethics of audio-visual translation, situated description and access as public ethos rather than private concern. Posing the artist’s personal-and-political writing as suggestive of a lower-case analogue to Deaf Gain, I show how Sylvestre’s “unvoiceover” educates its “receivers” in the purpose and functioning of captions. By reading Sylvestre’s writing on-screen more closely than its fugitive form seems to invite, I show how the unvoiceover encultures its own demands on its readers and elicits its own habits of reading. By scrutinizing how Sylvestre’s series makes the case for captioning, this paper makes the case for a new appraisal of the aesthetic, affective and political affordances of the unvoiceover as writing on the run. (shrink)

There is a widely held view that visual representations (images) do not depict negation, for example, as expressed by the sentence, “the train is not coming.” The present study focuses on the real-world visual representations of photographs and comic (manga) illustrations and empirically challenges the question of whether humans and machines, that is, modern deep neural networks, can recognize visual representations as expressing negation. By collecting data on the captions humans gave to images and analyzing the occurrences of negation phrases, (...) we show some evidence that humans recognize certain images as expressing negation. Furthermore, based on this finding, we examined whether or not humans and machines can classify novel images as expressing negation. The humans were able to correctly classify images to some extent, as expected from the analysis of the image captions. On the other hand, the machine learning model of image processing was only able to perform this classification at about the chance level, not at the same level of performance as the human. Based on these results, we discuss what makes humans capable of recognizing negation in visual representations, highlighting the role of the background commonsense knowledge that humans can exploit. Comparing human and machine learning performances suggests new ways to understand human cognitive abilities and to build artificial intelligence systems with more human-like abilities to understand logical concepts. (shrink)

The context and caption of a photograph often suggest that the content described is real. When this happens an assertion is made?at least implicitly. Newspapers provide such a context, and viewers naturally understand news photographs assertively. If in such a context, the content described is not real, then the viewer is likely to be deceived. Willful viewer deception is practiced by photographers in a variety of common situations in which it is unjustifiable.

This is a short, and therefore necessarily very incomplete discussion of one of the great questions of modern philosophy. I return to a station at which an interpretative train of thought of mine came to a halt in a paper written almost 20 years ago, about Wittgenstein and Chomsky,[1] hoping to advance a little bit further down the track. The rule-following passages in the Investigations and Remarks on the Foundations of Mathematics in fact raise a number of distinct issues about (...) rules, meaning, objectivity, and reasons, whose conflation is encouraged by the standard caption, "the Rule-following Considerations".[2] So, let me begin by explaining my focus here. (shrink)

According to Ernst Gombrich, cartoons provide us the chance to “study the use of symbols in a circumscribed context [and] find out what role the image may play in the household of our mind” (Gombrich 1973, 190). This paper looks at some underexplored implications and outcomes of Ernst Gombrich’s conceptual schemata when such a schemata is applied to cartoons. While we might easily avoid defamatory reference when picking out a subject in writing or speech, cartoon depictions, especially those unaccompanied by (...) speech bubbles or captions, often rely on a visual symbolism typified by the warping of some features the removal of others, and the manifestation of some visual trope or other, more easily lend themselves to defamatory reference. While harms to the referent are many in cases of defamatory cartoons, this paper focuses on the harms to the viewers of such cartoons by the depicter’s message and mode of representation, unique to the cartoon form. I will focus on the harms of misinformation of the viewer by the visual schemata (Gombrich 1960) present in certain cartoons, and the way this misinformative visual schemata (Ibid) may also restrict the possibility of conceptual revisions in its viewership. Harms of this kind come out uniquely in cartoons via norms of cartooning (as a particularly stylized and symbolic mode of visual representation) and the norms of interaction employed in the act of viewing a cartoon. As we’ll see in our case study of the infamous Jyllands Posten cartoons of Muhammad the Prophet, even in cases where a cartoon representation bears no visual similarity to its referent, viewers can easily and reliably pick out the referent by calling to mind, in our focal case, the defamatory stereotypes, stock figures and icons inextricably linked with the referent. I argue that the damage to viewers of these sorts of depictions lies not in the fact that the viewer manages to pick out the intended referent of the depiction but what tools they use to pick out the referent and how such tools of reference (mis)inform their understanding of the referent they’ve picked out. (shrink)

We present PhrasIS, a benchmark dataset composed of natural occurring Phrase pairs with Inference and Similarity annotations for the evaluation of semantic representations. The described dataset fills the gap between word and sentence-level datasets, allowing to evaluate compositional models at a finer granularity than sentences. Contrary to other datasets, the phrase pairs are extracted from naturally occurring text in image captions and news headlines. All the text fragments have been annotated by experts following a rigorous process also described in the (...) manuscript achieving high inter annotator agreement. In this work we analyse the dataset, showing the relation between inference labels and similarity scores. With 10K phrase pairs split in development and test, the dataset is an excellent benchmark for testing meaning representation systems. (shrink)

Purpose Online violence has been rampant in the past decade, intensifying the victims’ suffering owing to its rapid dissemination to vast audiences. This study aims to focus on online gender-based violence directed against young Bedouin women who have left their male-dominated home territory for academic studies. This study examined how the backlash against these students, intended to stop changes in traditional gender roles, is reflected in offensive TikTok videos. Design/methodology/approach This research is based on a qualitative-thematic analysis of 77 questionnaires (...) and 30 semistructured in-depth interviews with first-year female Bedouin students aged 18–21 years. Findings The backlash was widespread, with young Bedouin men using offensive videos as “proof” that women have violated codes of honor and morality. The videos exhibited four types of gender-based violence: claims of immoral behavior, aggressive captions that take the footage out of context, allegations of immodest clothing and digital photo editing that produced fabricated results. Examining participants' reactions to the videos, this study revealed two patterns of response: passive acceptance of the situation and an active approach that included reaching out to powerful Bedouin men for solutions. Originality/value This research enriches the literature on online gender-based violence, particularly against women in traditional societies, and suggests practical steps: developing online media literacy in traditional societies, adopting a proactive approach and nurturing social self-competence in women who have been victims of online gender-based violence. (shrink)

The aim of this article is to analyse environmental reporting in the Australian broadsheet newspaper The Sydney Morning Herald. The focus is on a particular kind of new, multisemiotic news story genre that appears regularly in this newspaper, and that makes use of word-image play. Using a social semiotic framework and employing Appraisal theory, we analyse a corpus of 40 stories in terms of evaluative meanings in heading, image and caption, and interpret the significance of our findings in terms of (...) both Critical Discourse Analysis and Positive Discourse Analysis. In particular, we question whether the playing with environmental stories in the news, and the resulting clash between the humorousness of the play and the seriousness of the reported environmental event, is good or bad practice. With its multisemiotic focus, this article aims to make a significant and innovative contribution to the emerging field of ecolinguistics, and the development of Appraisal theory. (shrink)

A perfect starting point for the exploration of philosophical thought, Philosophy offers life-changing perspectives on some of the great questions, from the nature of the mind to the morality of cloning and stem-cell research. No browser will be able to resist the stunning design here: gorgeous full-color photos, many textboxes, and concise captions that inform and interest. These and the lucid writing, with multiple examples and illuminating analogies, will engage readers and provoke them into thought before they know it.... This (...) most attractive volume makes its discipline irresistible. (shrink)

In an advertisement for water filter cartridges, we see a tumbling waterfall. The caption reads, "Like nature, Brita is beautifully simple." What kind of thinking is this? Is nature an objective reality that, in its beautiful simplicity, is unaffected by time, culture, and place? The word _nature _itself: what do we actually mean by it? These are some of the riveting questions examined by Peter Coates as he demonstrates that nature, like us, has a history of its own. Beginning with (...) Roman times, Coates investigates the ideological and material factors that have influenced human perceptions of, attitudes toward, and uses of nature—notably religion and ethics, science, technology, economics, gender, and ethnicity. Nature is seen among its rich panoply of meanings as a physical place, as the collective phenomena of the world, as an essence or principle that informs the workings of the world, as an inspiration and guide for people and a source of authority governing human affairs, and as the conceptual opposite of culture. By examining these aspects of nature, Coates leads us on a spectacular tour of the central intellectual forces of Western civilization. The book is essential reading for those who seek an understanding of the history of ideas and the role of nature in that history. (shrink)

Ernst Friedrich's War Against War is an important document in the struggle against the barbarism of modern warfare. Outraged by the unprecedented brutality and massive destruction of the First World War, Friedrich sought out and then published this collection of pictures and other visual artifacts which illustrate not only the human suffering and death produced in the war but also the lies and hypocrisy of the political and economic forces which promoted it. Aiming at an international audience, Friedrich had the (...) book's introduction written in four languages-- German, Dutch, English and French--and accompanied his collection of images with captions in these languages.{1} It was the first extensive published collection of photographic images of the atrocities of World War I, and thus brought the public face to face with a powerful panorama of the horrors of war through the media of photography and other mass images. Friedrich hoped that when they actually saw the reality of modern warfare, people everywhere would become more critical of war, the military, and militarism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aviation and the Aerial View:Le Corbusier's Spatial Transformations in the 1930s and 1940sM. Christine Boyer (bio)Part One: The Aerial ViewAviation and Equipment. A London publishing house, The Studio, Ltd, sent Le Corbusier a letter in January 1935, inquiring whether he would be interested in collaborating on a new series of books to be titled The New Vision. The promoters explained that each book in the series would be devoted (...) to a unique event in industrial design, with specific attention paid to the designers, their aims, and the potential these designs held for social and human development. They would begin the series with a volume on the airplane. Le Corbusier was asked to write an introductory essay, supply captions for the images they had already collected, and offer a few suggestions for additional illustrations.1Accepting the invitation, Le Corbusier in his reply, however, transformed the project: instead of the word "airplane" he preferred "aviation," by which he meant all the prodigious phenomena opening vast new horizons in space and influencing the future of "equipment" in the broadest sense of the word.2 Already in Precisions (1930) he had written, "I replace the word 'urbanism' by the term 'equipment.' I have already replaced the term 'furniture' by that of 'equipment.' Such stubbornness shows well that we are purely and simply claiming tools for work, for we do not want to die of hunger facing the embroidered flowerbeds of aesthetic urbanism" [143]. To his bag of equipment, Le Corbusier now adds "aviation," a tool of modern communication forging new modes of exchange and new links between nations.3The material subsequently sent by the publishing house to Le Corbusier also met with lukewarm reception: he favored more lively documentation such as the view from an airplane as it flew over cities—vast open terrain, the sea, and the forests. And he wanted more picturesque treatment of the lives of aviators, their psychological and social attitudes including analysis of the great aerial routes being drawn between Europe and America, Africa, or Asia. The publishing house was unable to fulfill Le Corbusier's [End Page 93] expectations, reminding him that their focus was limited to "the airplane" and that they expected to receive all his material by May.4What did Le Corbusier mean by "aviation" and the "epic of the air," a phrase he used in the preface of the subsequent book Aircraft (1935)? What new horizons did aviation open and how did this affect the perception of space and the process of reading the terrain as a two-dimensional map or a plan? And what did aviation have to do with "equipment"? Just the year before Le Corbusier had seen the Exposition de l'Aéronautique in Milan for which Mussolini offered the maxim: "Aviation is grand, small, or nothing at all, depending on whether public awareness of aviation is grand, small, or nothing at all."5 Le Corbusier, ever the great publicist, accepted the challenge to spread the meaning of "aviation" in the inclusive sense of the word entailing adventure and service, organization, and machinery.The rapid growth of aviation during the interwar period was mercurial, dramatically reshaping perception of the world and of space. There were daring flights of aviators challenging the breath of oceans and deserts, the heights of Everest, the length of Africa, the uncharted terrain of the North and South Poles. The airplane not only internationalized cartography; it was a tool for exploring and controlling the colonies. While aerial photography, which recorded in precise detail the realistic shape of landmasses, coastlines, seas, deserts, and mountains, perfected the process of mapmaking and enriched the documentary archive of the planet.Yet even more stunning, aviation continually shrunk the size of the globe after the initial KLM flight between Amsterdam and Jakarta took off in 1924. Then the time needed to navigate the 9000 miles was 55 days; within five years it had been reduced to a mere 12 days. A world map criss-crossed with national air routes came into view. In the 1930s civil airlines began to offer passenger and mail service between London and the Middle East, then on to India and... (shrink)

Writing the history of anything is a challenge, but endeavoring to write the history of an idea, particularly one as enduring, chimeric, emotive, and misunderstood as “utopia,” is truly a task only to be undertaken by either an intellectual giant or an utter fool. Fortunately for readers, Professor Gregory Claeys, from the University of London, is the former. This relatively large-format book is richly illustrated and printed on glossy “art” paper, ensuring that the rich colors are not lost. The strikingly (...) beautiful cover includes an evocative painting from an 1850 version of Gulliver’s Travels. The liberal inclusion of bright images, and captioned boxes elaborating on a theme or person, is very .. (shrink)

By turns beautiful, poignant, frightening, and funny, Eyewitness is a personal pictorial record of life in Northern Ireland over nearly forty years. Murphy's photographs are accompanied by detailed and candid captions revealing the events, people, and atmosphere in the region. This book is distributed for O'Brien Press, Dublin and is for sale only in the United States, it's territories and dependencies, Canada, and the Philippines.

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFront Cover. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionBack Cover.Emoretta (...) Yang Emoretta Yang lives in Ithaca, New York, and is a frequent contributor to diacritics. Her photographs and captions are on pages 2, 4, 19, 35, 51, 62, and 88. The cover and back cover photographs are also hers.Copyright © 1999 The Johns Hopkins University Press... (shrink)

"Philosophy of Happiness: A Critical Introduction" summarizes (a) what philosophy of happiness is, (b) why it should matter to us, (c) what assistance we can draw from philosophy, empiric science, religion, and self-help sources, and (d) why taking an independent approach is both necessary and feasible. -/- The article is in PDF format, 60 pages. The table of contents links directly to the listed captions. Also available in an html version under the phone variant of the referenced philosophy of happiness (...) website. -/- Table of Contents -/- 1. The Definition of Happiness. -/- 2. The Definition of Philosophy of Happiness. -/- 3. Taking Refuge from the Complexity of Happiness. -/- 4. Self-Help Contributions to Philosophy of Happiness. -/- 5. Religious Contributions to Philosophy of Happiness. -/- 6. Philosophical Authorities on Philosophy of Happiness. -/- 7. Happiness Studies by Sciences Beyond Philosophy. -/- 8. Independent Approaches Toward a Philosophy of Happiness. -/- 9. Further Reading. (shrink)

In this study, we demonstrate how perceptions of nursing are constructed in close connection with the development of the Nordic welfare states. Drawing on Gillian Rose's framework for analysing the social and political implications of visual materials, we analysed selected visual representations of nursing published in Danish and Norwegian professional nursing journals in the period 1965 to 2016. The analyses were conducted in an iterative process in three phases. First, we reviewed all visuals spanning the entire period to obtain an (...) overview of developmental trends in the material. Second, selected visuals and associated captions were subjected to more thorough analysis. Third, we further examined and discussed the visuals in light of societal and political movements and ideologies in Danish and Norwegian healthcare policies over this period. Our analysis shows that visual representations of the nurse–patient relationship and of the patient's and the nurse's roles and responsibilities changed over this period and that the visualisations corresponded with and supported developments in the Danish and Norwegian welfare states as these first consolidated and then moved towards individualisation and the competition state. Our study demonstrates that nurses in these states are political actors implementing health policies embedded in various knowledge regimes. (shrink)

In both academic literature and the media, financial conflicts of interest in human subjects research have come center-stage. The cover of a recent edition of Time magazine features a research subject in a cage with the caption human guinea pigs, signifying perhaps that human research subjects are no more protected from research abuses than are laboratory animals. That magazine issue highlights three well-publicized cases of human subjects research violations that occurred at the University of Oklahoma, the University of Pennsylvania, and (...) Johns Hopkins University.At St. John Medical Center in Tulsa, Oklahoma, a study that was co-sponsored by the University of Oklahoma Health Sciences Center investigated an experimental vaccine for malignant melanoma. In that case, the chair of the university's institutional review board — the committee within each medical institution charged with ethics review of human research projects undertaken at that institution — and the dean of the University's College of Medicine allegedly concealed from both the IRB and the United States Food and Drug Administration a report by an outside consulting firm that had found severe deficiencies with the melanoma vaccine study being conducted at the medical center. (shrink)

Dissociative symptoms have been related to higher rapid eye movement sleep density, a sleep phase during which hyperassociativity may occur. This may enhance artistic creativity during the day. To test this hypothesis, we conducted a creative photo contest to explore the relation between dissociation, sleep, and creativity. During the contest, participants (N = 72) took one photo per day for five consecutive days, based on specific daily themes (consisting of single words) and the instruction to take as creative a photo (...) as possible each day. Furthermore, they completed daily measures of state dissociation and a short sleep diary. The photos and their captions were ranked by two professional photographers and two clinical psychologists based on creativity, originality, bizarreness, and quality. We expected that dissociative people would rank higher in the contest compared with low-dissociative participants, and that the most original photos would be taken on days when the participants scored highest on acute dissociation. We found that acute dissociation predicted a higher ranking on creativity. Poorer sleep quality and fewer hours of sleep predicted more bizarreness in the photos and captions. None of the trait measures could predict creativity. In sum, acute dissociation related to enhanced creativity. These findings contribute to our understanding of dissociative symptomatology. (shrink)

Instagram serves as a powerful instrument for youth socialization, self-expression, and self-performance in visual online spaces. Using social semiotics and multimodal discourse analysis, this study examines the potential ideological meanings and implications of selfie-shooting and sharing on Instagram on young adults’ self-concept. A corpus of 110 questionnaires, including almost 85 captioned selfies, was surveyed as multimodal utterances. In doing so, this study argues that selfies can create young adults’ split-selves while constructing their multiple personas in visual online spaces. This marks (...) the significance of viewing selfie-creators not only as authors of their selfies, but rather as viewers of a three-fold self: an ideal-self, a projected-self, and an internal-self, to negotiate social and power relationships, while (re)positioning observer-observed roles. This study claims originality in unraveling how young adults use visual and textual mediated communication to represent and perform their split-selves. It suggests that selfie-shooting-sharing has become a key self-performance tactic and behavior in online cultures. Therefore, young adults deploy selfies and captions to posit a redefinition of certain social values, such as aesthetics and freedom, while deploying their selfies and captions. Challenging certain orthodox social allegiances, they conceive wildness, messiness, and exuberance as emerging neo-aesthetics components of appeal. This study contributes to the literature on personal visual communication with insights on how Egyptian young adults perform their self-concept via the semiotic practice of selfie-shooting-sharing. (shrink)

In this article I discuss Larry Sultan and Mike Mandel’s Evidence, 1977 contextualized by Graham Harman’s text, produced for ‘dOCUMENTA’, The Third Table, 2012. It is my contention that, although Evidence may have been produced to subvert the modernist tropes of authorship and narrative, or to draw our attention to visual material, which is ‘ready-to-hand’, the photographs can also be explored as a visual metaphor for Graham Harman’s approach to Object-Orientated Ontology. I seek to demonstrate that there is significance in (...) analysing the work in the context of Harman’s description of relations, his concepts of ‘overmining’ and ‘undermining’ and debates surrounding ‘OOO’. The article is a reading of the photographs, where the caption-less, unreferenced images, selected by Sultan and Mandel from various institutions and recontextualized in relation to art, are explored through ideas contained in Harman’s short text. (shrink)

During World War II, both the US and Canadian governments issued a series of propaganda posters aimed at reducing spending and redirecting private households’ financial expenditures into the general war effort. Many of those posters, developed by some of the cleverest advertisers of the time, drew on Puritanism’s most deeply rooted principle: self-restraint. One propaganda poster succinctly exemplifies the underlying logic: as an elegant couple looks up at a gigantic elephant for sale, the caption sternly reminds them to be thrifty: (...) “If you don’t need it … don’t buy it!”.If you don’t need it, don’t buy it. Propaganda Poster WWII. Ottawa... (shrink)

In visually cataloging the endearing and enigmatic ways in which the built environment takes shape, 'Best Practices' proposes a new way of thinking about neighbourhoods, housing developments, streetscapes, and storefronts, not so much as places defined by building codes, dimensions, or geographic features, but as assemblages of ad hoc interventions and incidental ephemera. Drawing on the history of architecture, media theory, cultural anthropology, and urban studies, 'Best Practices' pairs photographic documentation with extensive captions and citations to define a territory within (...) the margins between the sanctioned and unsanctioned, the regulated and unregulated, the tasteful and tacky, the novel and the nonsense. While not necessarily in opposition of those mechanisms, Best Practices asserts that interest, knowledge, and meaning are more often generated on the lines that divide such categories. This book advocates for a more thorough consideration of the unauthorised remodels, slap-dash handiwork, haphazard paint jobs, half-hearted do-it-yourself projects, cracked facades, contradictions, compromises, and coincidences. (shrink)

Bringing readers from aww to awful! in a matter of seconds, I Don't Really Love You seamlessly blends images of charming pets with hilarious, soul-crushing captions about the existential dread that seems to permeate daily life. Darkly humorous one-liners, from "Birthdays don't matter" to "Inadequacy haunts me endlessly," will peek out from behind the forms of calm cats and happy-go-lucky puppies, creating an unexpected contrast that takes readers on a journey from delightful to depressing (and back again!) Pet lovers and (...) humor lovers will be captivated in equal measure, with more than 75 full-color photographs of cats and dogs in a range of breeds, alongside an off-beat, subversive voice. With the perfect attitude for our rapidly changing world, this quirky book will make readers laugh out loud (after sending them crawling under the covers to contemplate their existence). (shrink)

The present study investigated children’s understanding development of multiple graphics, here paired conventions commonly used in primary school textbooks. Paired graphics depicting everyday objects familiar to the children were used as the basis for an analogy task that tested their comprehension of five graphics conventions. This task required participants to compare pictures in a base pair in order to complete a target pair by choosing the correct picture from five alternative possibilities. Four groups of children aged 5, 6, 8 and (...) 10 years old respectively (total N = 105), completed 45 analogy task items built around nine conceptual domains. Results showed mainly an overall increase of comprehension performance with age for all the tested conventions. There were also differences between the five conventions and an interaction between age and convention type. Further, children's explanation of the conventions (justification of the choices in the analogy task) were also analyzed. This investigation showed the analogy task answers were a more reliable measure of the "actual" level of understanding of the conventions than the justification themselves. The findings show that younger students tried to actively compare the pictures of the pairs and to search for a relevant meaning of the pairs, however, the youngest children have a limited capacity to interpret paired graphic conventions and our results suggests that this aspect of graphic conventions develops slowly but effectively over the course of children’s schooling. Because "graphicacy" knowledge and skills are not typically taught in primary school classrooms (in contrast with literacy and numeracy), its development is likely acquired incidentally with increasing exposure to varied paired graphics during primary school education. Given the high reliance of today’s educational resources on graphics-based explanations, the results from this study may signal a need for (i) for more attention to learning graphics conventions (and more generally to graphics explanations) from teachers in primary school and (ii) for a better design of the graphics with their contextual accompanying texts and captions, from designers. (shrink)

Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the (...) fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. (shrink)

A facsimile edition of Letters from Ludwig Wittgenstein : with a memoir / Paul Engelmann (Oxford : Basil Blackwell, 1967) with the artist's addition of 26 captioned reproductions of b&w photographs tipped onto 26 of the pages. The photos. show historical street scenes in Ghent, each paired with a modern (1992) view of the same location, following urban redevelopment. Modern photos. are by Wouter Rawoens, archival photos. by De Wulf, Michiel Hendryckx, Rawoens and Rol-Action.

In contrast to symbol-manipulation approaches, Cognitive Linguistics offers a modal rather than an amodal account of meaning in language. From this perspective, the meanings attached to linguistic expressions, in the form of conceptualisations, have various properties in common with visual forms of representation. This makes Cognitive Linguistics a potentially useful framework for identifying and analysing language-image relations in multimodal texts. In this paper, we investigate language-image relations with a specific focus on intersemiotic convergence. Analogous with research on gesture, we extend (...) the notion of co-text images and argue that images and language usages which are proximal to one another in a multimodal text can be expected to exhibit the same or consistent construals of the target scene. We outline some of the dimensions of conceptualisation along which intersemiotic convergence may be enacted in texts, including event-structure, viewpoint, distribution of attention and metaphor. We take as illustrative data photographs and their captions in online news texts covering a range of topics including immigration, political protests, and inter-state conflict. Our analysis suggests the utility of Cognitive Linguistics in allowing new potential sites of intersemiotic convergence to be identified and in proffering an account of language-image relations that is based in language cognition. (shrink)

In an emergency, challenges faced by disabled individuals may be exacerbated by ineffective communication, power outages, transportation shortcomings, and inhospitable shelters. During Hurricanes Katrina and Rita, Gulf Coast shelters did not routinely provide closed captioning or sign language interpreters; for individuals with auditory disabilities, understanding instructions issued in these shelters was extremely difficult. Individuals with mobility-related disabilities experienced challenges evacuating from their homes due to public transportation that could not accommodate wheelchairs. After the hurricanes, difficulties arose in identifying wheelchair-accessible (...) trailers and in communicating with disabled trailer residents. Failing to anticipate these challenges intensifies the disadvantaged situation of those with disabilities during an emergency. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How I Lost My HearingJanessa SalesI was born as a healthy and strong hearing person, but I became deaf through a result of painful and traumatic cancer treatments. I was diagnosed with a malignant brain tumor called Germinoma in 2003. I went through surgery, chemotherapy, and radiation. I was good for one and a half years. However, in 2005 when I turned 12 my cancer relapsed. My doctors told (...) me and my family that I had to undergo a much stronger treatment plan called a Bone Marrow Transplant (BMT). One of the possible side effects to this treatment was hearing loss. I unfortunately received this devastating side effect.I still remember the day that I lost my hearing. Before going to sleep that night, I received a dose of chemo. Waking up the next morning, something was terribly wrong. I couldn’t hear anything! I felt as if I were wearing earplugs. I called for my mother and I told her the alarming news, but as she was speaking back to me, I strained to hear her voice. All I saw were her lips moving. My doctors made arrangements for me to get my hearing tested with an audiologist.As the days that passed, I went through a deep depression. My doctors and my family tried different ways to communicate with me. They used note pads or white boards and wrote down what they wanted to say to me. As my hearing lessened, my other senses kicked in. I read body language and expressions. I learned to read lips. It was a little over a month before I got my hearing aids.Going back to school was very difficult, but my hearing loss, in itself, wasn’t as traumatic as the refusal to accept my new life. I spent the next four years trying to be hearing—trying to fix myself— trying to be what I once was. I always strained my ears trying to listen to my teachers. I tried fitting in with my friends, trying to keep up with their conversations, but it was no use. I couldn’t hear a thing; I was lost and confused.However, during my eighth grade year, I was given the choice to transfer to a different school. It was a mainstream school that had a DHH (Deaf and Hard of Hearing) program. It was a scary transition going to a new school, not knowing anybody. I hesitated and did not want to go at first, but eventually I got over my fears.When I transferred over to the other middle school, I still felt lost. I was still trying to be a hearing student. I only knew how to be auditory learner. I couldn’t focus because I wasn’t able to hear my teachers. I was new at sign language, so I couldn’t understand any of my interpreters. I had frequent meltdowns every week.I felt like I didn’t fit into the deaf world or the hearing world. I couldn’t understand either one. I was always misunderstanding my hearing friends, and I wasn’t able to understand my deaf peers because I didn’t fully know their language. I had low self–esteem and I felt like I didn’t belong anywhere.I had to learn to become a visual learner. I was given the use of a Frequency Modulated (FM) system. The FM system is an assistive listening device worn by the speaker to amplify his/her voice and transmit it directly to the listener’s ears via an electronic receiver and special earphones or the listener’s own hearing aids. I also had an interpreter and closed captions when needed.My DHH teacher Mr. H, who was my greatest mentor and role model, set me up with an Individualized Educational Program (IEP) that required that I had to have my homework written down instead being verbally told. I was allowed to have more time on tests when needed, and a note taker for lectures. All of these arrangements really helped me through my new “deaf world.”My mother and I took Sign Language classes at Sacramento State University where Mr. H also taught... (shrink)

The Spoken Image considers the nature of photography, examining the language used in titles, captions and commentaries, particularly as they relate to documentary photography, photojournalism and fashion photography.

Students in 80 kindergarten to grade six classrooms photographed and captioned experiences in class which they identified as examples of democratic citizenship education. With the assistance of a teacher candidate placed in their classroom for a semester, students chose and captioned five of the photographs they considered to best represent demonstrate citizenship education. Four main categories of citizenship events emerged describing key elements associated with democratic citizenship education; shared decision making, participating in a learner-oriented classroom context in which students have (...) some individual choice of daily activities, equality of opportunity, and activities extending into the community and integrating community and classroom. Early grades students (K-3) identified activities they associated with democratic citizenship education while upper grades (4-6) students additionally presented rationales and gave evidence to support their representations. Empowerment, problem solving, and contributing to the common good were additional elements associated with democratic citizenship education in the classes sampled, although these were not strongly represented as were the four key elements. This study provides an initial portrait indicating a need for deeper investigation of K-6 students' own representations of the democratic citizenship education they experience. (shrink)

Students in 80 kindergarten to grade six classrooms photographed and captioned experiences in class which they identified as examples of democratic citizenship education. With the assistance of a teacher candidate placed in their classroom for a semester, students chose and captioned five of the photographs they considered to best represent demonstrate citizenship education. Four main categories of citizenship events emerged describing key elements associated with democratic citizenship education; shared decision making, participating in a learner-oriented classroom context in which students have (...) some individual choice of daily activities, equality of opportunity, and activities extending into the community and integrating community and classroom. Early grades students (K-3) identified activities they associated with democratic citizenship education while upper grades (4-6) students additionally presented rationales and gave evidence to support their representations. Empowerment, problem solving, and contributing to the common good were additional elements associated with democratic citizenship education in the classes sampled, although these were not strongly represented as were the four key elements. This study provides an initial portrait indicating a need for deeper investigation of K-6 students' own representations of the democratic citizenship education they experience. (shrink)

This article examined the warning against evil companions in Proverbs 1:8-19 and the role of the church in addressing the involvement of Tiv youths in crime in Benue State and its implications for actions. Wicked people were zealous in seducing others into the paths of destruction. Would young people shun temporal and eternal ruin? This was the reason for Solomon's instruction in Proverbs 1:8-19. He admonished his son with the caption 'hear,' which presented the son with a choice. However, Solomon (...) implored the child to refuse to take any step in destructive paths of evildoers. The persuasive nature of the pericope was important in addressing the growing crime rate amongst Tiv youths in Benue State. Most youths in Tiv communities were being enticed into joining criminal gangs, secret cults and rituals in order to make quick wealth. Unfortunately, the number of youths in these immoral acts such as YahooYahoo amongst Tiv youths kept on increasing in the midst of the growing number of churches in most Tiv societies. Rhetoric analysis was used as the methodology. As part of recommendations, parents should instruct, discipline and stop their children from engaging in acts that lead to death. The youths should also avoid evil companions to avoid falling into trouble.CONTRIBUTION: Youths are the leaders of tomorrow, which makes admonition to youths a necessity for the growth of the Tiv Society. Proverbs 1:8-19 provides roadmaps that Tiv leaders and the church could adopt in preserving morality among Tiv youths. (shrink)

A major figure in New Confucianism,1 Mou Zongsan 牟宗三 is often considered one of the most important thinkers of twentieth-century China. His philosophical work he labeled "moral metaphysics," a caption inspired by Kant's term "moral theology," marking, at one and the same time, both an homage to and a disapproval of the German philosopher's work. In Mou's view, Kant, unable to come up with a convincing solution to the problem of integrating practical and theoretical philosophy, fails to provide a viable (...) notion of the "Highest Good".2 Mou's own proposal to emend this alleged deficiency rests on two main pillars: the concept of intellectual intuition and the figure of a "perfect teaching"... (shrink)

The concept of 'authenticity' is highly valued on social media sites (SMSes), despite its ambiguous nature and definition. One interpretation of 'authenticity' by media scholars is a human's congruence with online portrayals of themselves (e.g. posting spontaneous photographs from their lives, or using real biodata online). For marketers and 'influencers', these patterns of behaviour can achieve certain gains: sales for a business, or success of a campaign. For existentialist philosophers, using 'authenticity' as a means to an end is against its (...) very definition. In this paper, I investigate what SMS users are looking for by their supposed 'authentic' portrayal online. My experimental approach draws upon empirical data from the Instagram social media site. Using machine learning techniques, descriptions and features of posts - including subjects, captions, and contexts - will be categorised and aggregated. I will then interpret these findings, drawing upon work by Taylor, Golomb, and Guignon, whose works on authenticity are based on mid-20th century existentalists. I argue that the existentialist ideals on authenticity are not necessarily present in contemporary SMS use. I will also argue that the popular interpretation of authenticity on SMSes can be self-defeating, when it seeks to turn the 'for-itself' into an 'in-itself'. (shrink)

In Wyoming Revisited, Michael A. Amundson uses the power of rephotography to show how landscapes across the state have endured over the last century. Three sets of photographs—the original black-and-white photographs taken by famed Wyoming photographer Joseph E. Stimson more than a century ago, repeat black-and-white images taken by Amundson in the 1980s, and a third view in color taken by the author in 2007–2008—are accompanied by captions explaining the history and importance of each site as well as information on (...) the process of repeat photographic fieldwork. The 117 locations feature street views of Wyoming towns and cities, as well as views from the state's famous natural landmarks like Yellowstone National Park, Grand Teton National Park, Devil's Tower National Monument, Hot Springs State Park, and Big Horn and Shoshone National Forests. In addition, Amundson provides six in-depth essays that explore the life of Joseph E. Stimson, the rephotographic process and how it has evolved, and how repeat photography can be used to understand history, landscape, historic preservation, and globalization. Wyoming Revisited highlights the historic evolution of the American West over the past century and showcases the significant changes that have occurred over the past twenty-five years. This book will appeal to photographers, historians of the American West, and anyone interested in Wyoming's history or landscape. The publication of this book is supported in part by the Wyoming Cultural Trust Fund. (shrink)

From Alfred Stieglitz to Trevor Paglen, photographs of the sky have engaged with the relationship between abstraction and representation. This article argues that Stieglitz’s attempt to convert the ‘natural’ abstraction of the sky into the ‘cultural’ abstraction of the modernist image opens a space through which recent photographers have moved to use the sky photograph as a means of interrogating issues of openness and concealment that are at once aesthetic and political. The invisibility of signs of military-industrial power embedded within (...) airspace is, in Richard Misrach’s and Paglen’s photographs, registered but not exactly shown, since the capacity of the photograph to reveal the unseen is challenged by the effectiveness of contemporary modes of concealment. What is shown in these images, however, is the condition of hiddenness itself, which is encountered by Misrach and Paglen not only through the abstraction of the sky photographs but by situating those images within a discursive field – through the use of titles, captions and an explication of working methods – that regrounds the atmospheric as a spectacular function of power’s open secret. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Classical Art: A Life History DAVID CAST This is a wonderful book, rich in its purposes, wide in its range and, thanks to the author’s home institution, Christ’s College, Cambridge, lavishly illustrated with images of objects, many familiar, some less so. And it is written with an elegance and clarity that belies the depths of scholarship in its history. The first letter of the subtitle suggests the tenor (...) of Vout’s account, that since every age has conjured up a different idea of the classical, what is here is yet one more such history, a modest if particular account of what was and is still there in the records made of the Greek and Roman past. The basic metaphor Vout uses to define the focus of this history is that of conversation, whether such conversing is seen to exist between the objects themselves or between the past and the present, between those objects that have outgrown their intended functions to become part of a canon that has dictated taste over the ages, as she puts it, shaping culture and culture’s questions. Thus conversation is here, plus also what Vout is not afraid, when necessary, to call the misappropriations and translocations of the Greek and Roman objects she takes note of. Yet another contribution she adds to the idea of the classical comes from what she calls, perhaps a little awkwardly, the long durée approach to its subjects, seen first when these objects were produced, then as they survived Christianity and the fall of Rome and Byzantium, the French Revolution, modernism and fascism, to live Caroline Vout, Classical Art: A Life History from Antiquity to the Present, Princeton University Press, 2018. xi + 376 pages; 80 color + 132 b/w illustrations. $39.50. ISBN 9780691177038; E-book ISBN9781400890279. arion 27.1 spring/summer 2019 on in galleries and auction rooms, making the heart soar and the blood boil, as Vout claims, even today. It is a complex story she has to tell, difficult yet valuable, and its method is nicely exemplified by the first example considered, the two statues, known as the Tyrannicides, dated to 477–476 BCE, and located now in the National Archaeological Museum in Naples, attributed on the museum caption to the sculptors Kritios and Nesiotes, and dated to 477–476 BCE. The details here are crucial for, on investigation, it is clear these are not the statues that were erected in the Athenian agora to honor the men, Harmodius and Aristogeiton, who, by tradition, had killed the tyrant’s brother Hipparchus. Yet even this second group, as she notes, had been a stand-in, since the first piece to honor these men, made by the sculptor Antenor, had been stolen by the Persians in the sack of Athens in 480–479 BCE. Nor is this group here the actual second group but rather a copy, made by an unknown copyist working under the Roman Empire. What we have here are what might be called pretenders—yet ones, despite doubts about their authenticity, that have long been taken to mark a particular moment in the formal history of Greek art, the advent of the so-called Severe style in Athens and the birth of the classical moment of sculpture. Any full account of these statues depends then on a rich history, plus a range of other events; the existence of ancient casts of the Tyrannicides during the Roman Empire, marking out such statues as art, rather than having still their first meaning; the prior history in the Renaissance of the acquisition of ancient sculpture as a sign of power; the sight of the figure of Aristogeiton, then in the Palazzo Farnese in Rome, by Johann Joachim Winckelmann; the building up of these statues from fragments of other statues; in 1859 the identification of these figures as the Tyrannicides; and finally a reading of classical texts, those of Pausanias, Pliny and Lucian, that spoke, even if in contradictory ways, of all the actors here, Antenor, Kritios and Aristogeiton. To which should be added the recent accounts of these pieces, provided by schol172 classical art: a life history ars of classical art like Brunilde Ridgway, R. T... (shrink)

Ancient commentators identify several passages in the Iliad as “epigrams.” This paper explores the consequences of taking the scholia literally and understanding these passages in terms of inscription. Two tristichs spoken by Helen in the teikhoskopia are singled out for special attention. These lines can be construed not only as epigrams in the general sense, but more specifically as captions appended to an image of the Achaeans encamped on the plain of Troy. Since Helen's lines to a certain extent correspond (...) to the function and style of catalogic poetry, reading them specifically as captions leads to a more nuanced understanding of both Homeric poetry and Homeric self-reference. By contrasting Helen's “epigrams” with those of Hektor, one can also discern a gender-based differentiation of poetic functions. (shrink)

Taken from a published report on wound ballistics research during World War II, Figure 1 depicts the abdomen of a cat that has been shaved, anesthetized, marked with a grid, and shot. The individual squares are frames, the caption says, “ from a high speed motion picture of a cat’s abdomen, showing the volume changes and movements caused by a 6/32nd inch steel sphere.” We can recognize in this image the conventions of scientific inscription. The technologies are sophisticated, quantitative, impressive. (...) The image speaks for itself. Or does it? What exactly is happening when an anesthetized cat with a shaved abdomen painted with a grid gets shot, in a laboratory, and when that event is hyper-documented in high speed photographs, and deployed in a range of texts as evidence? And what do these human creations — these highly quantified experimental wounds — tell us about the culture and practice of twentieth-century science? (shrink)

The 'Capital of Latin America', Miami is without a doubt the most foreign of US cities. The home of a large Hispanic population and the Latin American headquarters of some 120 multinational corporations, Miami has become more than just America's playground; it's a city whose cultural diversity has given it a vibrant edge and unique sense of place. This is a stunning tribute to this colourful city and introduces readers to its history, architecture, culture, diverse peoples, beaches, tourism, sports teams, (...) and more with an extended introduction and detailed captions from a long-time resident. Showcasing everything from the beaches to the markets and the Art Deco hotels -- in areas such as Biscayne Bay, Coconut Grove, Brickell Avenue, Coral Gables, Miami Beach, and Little Havana - the book shows why this Florida city is the modern, multicultural face of the future. (shrink)

Translated excerpts from works by various authors; original titles and names of the translators given in captions.

The never-before-published photographs and captions from Dorothea Lange's fieldwork in California, the Pacific Northwest, and North Carolina during 1939 for the New Deal's Farm Security Administration come together in an iconic collection that includes defining images of that time in American history.

An important ingredient in understanding such sentences is resolving the question of: level in/of what? protection from what? what sort of documents? danger from what? Each of these is an example coming from novels, television commercials, and news reports. In the first instance, it is from a commercial for a brand of computers. In the commercial, which is pushing the most recent version of that computer, the voice-over announces (1a) just as a teenager exults after having apparently accomplished something worthy (...) of jubilation in a computer game. The message is intentionally interpretable in multiple ways: You are taken to a new level in the game, you are taken to a new level in computing power/speed, and, being a commercial, one also reads that it takes you to a new level in life. The second example is a story caption in a local newspaper. The article is about the shortage of flu shot vaccine in the U.S., and the people are going to Canada for flu shots, seeking protection from contracting the flu. The third example, also from a newspaper report2, requires not just that the FBI agent sold some documents or other, but rather that they were sensitive confidential documents, likely purloined from the FBI itself. The final instance is from a novel. In the novel the protagonist, in seeking to solve a crime, has overlooked something which in retrospect appears terribly obvious. The character’s self-deprecation thus reads: Sherlock Holmes’ reputation as a master sleuth was in no danger of being diminished. Each example, in context, reads seamlessly and poses little challenge to attentive or even inattentive readers and listeners. (shrink)