The visualization strategy of small multiples (Tufte, 1983, 1990, 1997) is not merely the clever or ordered arrangement of similar and personable images; small multiples—purposeful compositions of similarly sized, repeated illustrations—contain a great deal more than the sum of their respective parts. The purpose of this study is to define a set of objectives and guiding tactics for using small multiples in the visual language of instructional designs. This study aims to (1) compile a targeted literature review cataloging the historical treatment of small multiples and their pedagogical and cognitive virtues and (2) analyze examples of small multiples usage in visual design artifacts to determine efficacious and expansive applications of this technique.

The theory of mediatized war implies that any study of conflict that takes place in modern times must also consider the impact of the media within that conflict, especially including new media and communication technologies. Images as visual representations of war have become a part of the information warfare and used to create narratives rooted in the culture of media witnessing (Mortensen) but sometimes entirely divorced from reality (Baudrillard’s simulacrum). The purpose of this thesis was to study images from two Telegram channels, in order to analyze the visual representation of the Russo-Ukrainian War in 2022. A qualitative content analysis was used on the images, to observe and interpret the visual themes and context of the images. The theoretical framework that was applied to the categories were the theory of the visual, the culture of witnessing in war, and mediatization of war. The results indicate that both channels try to employ features of media witnessing, with a notable difference that the Russian channel presented a more sanitized, gore-less, and staged version of war while the Ukrainian one focused on the casualties and horrors of war. The study contributes to the fields of mediatization of war and visual representation of war by focusing on the previously unstudied material and combining this unique case with a broad theoretical and empirical body of knowledge.

This thesis explores how research is implicated in the constitution of post-war environments, and gives an account of being and becoming a researcher in post-war Bosnia. My main contention is that when peace and conflict researchers conduct research in post-war contexts, their presence, practices, and the consequential production of knowledge and representations, have political effects. I argue that the implications of this have not been fully explained, acknowledged, or problematised within Conflict Resolution, which tends to rely on research approaches and assumptions taken from ‘normal’ science. This thesis suggests how reflexivity and alternatives methodologies, including visual research might be used to represent the emotional, sensory, and often intangible elements of post-war realities. It enacts an engagement in the politics of research and uses reflexive writing and visual methods to draw attention to the importance of the relational aspects of research in postwar environments. Visual journeys are also used to argue that visual methods can provide a way of revisiting the epistemological and ontological assumptions about lived experiences and realities in post-war settings. The thesis is based upon one year of ethnographic fieldwork undertaken in Bosnia, and is also informed by eighteen months of volunteer work with a Bosnian Community Centre in Dewsbury, West Yorkshire. / Economic and Social Research Council (ESRC)

Made available in DSpace on 2016-04-27T14:30:57Z (GMT). No. of bitstreams: 1 Ana Maria Torres Alvarez.pdf: 9796970 bytes, checksum: 1ce21173e9432840f1a381eb874070b4 (MD5) Previous issue date: 2012-04-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis is part of the Education: Curriculum Doctoral Program - field of study New Technologies in Education, presenting itself as a result of studies conducted by this researcher in the last four years about the visual representation, and specifically, the infographics. The objective was to analyze the value of infographics as a teaching and learning strategy considering the hypothesis that reading and production of infographics by the apprentices can provide the enhancement of critical and creative thinking. To validate the hypothesis part of the research was devoted to the theoretical production that passed over areas of Education, Semiotics, Media and Cognitive Sciences. In the second phase of the research were planned and presented two editions of a research-training course for teachers within a context in which they could integrate into my research as collaborators. Both editions of the course were conducted in distance mode by the Instituto Ayrton Senna. For the production of the thesis, we used a qualitative approach, and each stage of the investigation were set out specific research methods. Thus, for the theoretical basis, we chose literature and bricolage method. In planning and development of research-training course was followed the method of action research. The software Implicative and Coesitive Hierarchical Classification (CHIC) and maps of clouds keyword (tag clouds) we found different angles of analysis of the data set collected in the course, which involved testimonials, dialogues and activities. From these data it was possible to know the impressions of the participants about the potential of infographics as a new resource for teaching and learning, and identify possible improvements of the proposed appropriation and dissemination of this practice in schools / A presente tese insere-se no Programa de Pós-Graduação em Educação: Currículo, na linha de pesquisa Novas Tecnologias em Educação, apresentando-se como fruto dos estudos realizados por esta pesquisadora nos últimos quatro anos sobre a representação visual e, especificamente, a infografia. O objetivo foi analisar o valor da infografia como instrumento de ensino e de aprendizagem considerando a hipótese de que a leitura e a produção de infográficos pelos próprios aprendizes podem propiciar o aprimoramento do pensar crítico e criativo. Para validar a hipótese, parte da investigação foi dedicada à produção do referencial teórico que transitou pelas áreas da Educação, da Semiótica, da Comunicação Social e das Ciências Cognitivas. No segundo momento da pesquisa foram planejadas e apresentadas duas edições de uma formação-investigação, dentro de um contexto em que sujeitos interessados na temática pudessem se integrar à minha pesquisa como colaboradores. Ambas as edições da formação foram realizadas na modalidade a distância pelo Instituto Ayrton Senna. Para a produção da tese, seguiu-se a abordagem qualitativa e, em cada etapa da investigação foram definidos métodos de pesquisa específicos. Sendo assim, para a fundamentação teórica, optou-se pela pesquisa bibliográfica aliada à bricolagem. No planejamento e desenvolvimento da formação-investigação, foi seguido o método de pesquisa-ação. O software Classificação Hierárquica Implicativa e Coercitiva (CHIC) e os mapas de nuvens de palavras-chave (tag clouds) foram utilizados para obter diversos ângulos de análise do conjunto de dados coletados no curso, que envolveu depoimentos, diálogos e atividades. A partir desses dados foi possível conhecer as impressões dos participantes sobre o potencial da infografia como um novo instrumento de ensino e de aprendizagem, bem como identificar possíveis desdobramentos da proposta de apropriação e disseminação dessa prática nas escolas

Information technology has played several important roles in group decision making, such as communication support and decision support. Little is known about how information technology can be used to persuade members of a group to reach a consensus. In this dissertation, I aim to address the issues that are related to the role of visual representation technology (VRT) for persuasion in a forecasting context. VRTs are not traditional graphical representation technologies. VRTs can select, transform, and present data in a rich visual format that facilitates exploration, comprehension, and sense-making. The first study investigates conditions under which teams are likely to increase the use of VRTs and how the use of VRTs affects teams' consensus development and decision performance. The second study evaluates the effects of influence types and information technology on a choice shift. A choice shift is the tendency of group members to shift their initial positions to a more extreme direction following discussion. A choice shift is also called group polarization. To complement my first two studies, I conduct a laboratory experiment in my third study. I explore the effect of VRTs and team composition on a choice shift in group confidence.

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This thesis examines representations of cancer in contemporary art, with a particular focus on unruly, un-idealized bodies at risk. In bringing together the discourses of art history and medicine, its aim is to engage conventions of visualizing cancer, and more importantly, to highlight the ways in which contemporary artists challenge dominant representations, re-imagining the cancerous body from an embodied perspective. Chapter One provides a context for images of cancer by examining an artistic account of how medicine constructs the body against an artists representation of her own cancerous body. Theorizing cancer as an abject condition, Chapter Two examines representational strategies for visualizing cancer that trouble distinctions between inside/outside, self/other, subject/object, healthy/diseased. Building on themes of gender, health, and identity, Chapter Three considers representations of chemotherapy-induced hair loss and baldness as the most visible signs of cancer, but highly unstable and performative ones that call the representational status of the disease into question. / History of Art, Design and Visual Culture

Aquesta tesi doctoral es proposa mostrar l'existència d'una forma específica de construir discursos visuals que correspon a la representació panoràmica, i defensa com, més enllà de la tecnologia utilitzada, aquesta es diferencia d'altres sistemes de representació, com ara la imatge pictòrica, fotogràfica i cinematogràfica. L’aproximació a la representació panoràmica es realitza a partir d’un recorregut històric per les diverses formes de representació panoràmica del territori i per l’anàlisi específic de l’obra fotogràfica de les Rutes amagades de Mallorca, de Jesús Garcia Pastor. Les Rutes amagades de Mallorca, publicació periòdica d’excursions fotogràfiques de Jesús García Pastor, editada sense interrupcions a Palma de Mallorca entre 1964 i 1980, suposa una de les aportacions fotogràfiques més singulars i originals sobre el paisatge realitzades en aquest país. En els setze anys que dura la publicació dels 83 fascicles que componen les Rutes..., García Pastor realitza, edita i publica més de 7.500 fotografies, la majoria de les quals són composicions panoràmiques formades per fotografies juxtaposades que omplen les prop de 3.000 pàgines de l’obra. Més enllà de representar un immens inventari del paisatge mallorquí, les Rutes…, ofereixen un nou apropament fotogràfic al territori: García Pastor construeix un diàleg íntim entre el paisatge i l’experiència del seu trànsit gràcies a la representació panoràmica i d’aquesta manera, composa per a l’espectador la possibilitat quasi bé cinematogràfica, quasi bé virtual, de tornar a experimentar les seves caminades. García Pastor recorre el paisatge amb la fotografia i la representació panoràmica. Posteriorment recopila dades del territori, topònims, i descripcions textuals que van esdevenir el singular llibre Mallorca altiva. Finalment, en una format proper a l’àlbum personal i assumint la pèrdua de dimensió pública, realitza les filmacions videogràfiques. L’ús i l’adaptació de diferents mitjans expressius posa en evidència l’heterodòxia de l’autor i la seva recerca per trobar algun recurs narratiu capaç d’expressar la dimensió panoràmica que per ell té el paisatge de Mallorca. Les diferents aproximacions que Jesús García Pastor fa del territori semblen presagiar les possibilitats de representació i d’experimentació que ofereixen les simulacions virtuals. La panoràmica sembla oferir una visualització on paisatge i territori es fusionen; on reconstrucció i indexació conviuen en forma de simulació espacial. Pocs neologismes han tingut un èxit tant fulgurant i universal com el terme panorama. A pesar del seu origen pictòric, el pas al llenguatge comú fou pràcticament immediat així com el salt a les diferents llengües europees. L’amalgama de significats que contempla i l’apropiació que n’han fet diversos camps de coneixement demostren la laxitud i adaptabilitat del mot. Probablement aquesta ambigüitat sigui motiu, en part, de la dificultat per ancorar-lo de forma exclusiva a un procediment o sistema de representació. Finalment doncs, què diferencia una representació panoràmica de qualsevol altra forma de representació? La recerca històrica ens ha portat fins a Alberti, Brunelleschi i Leonardo, i ens ha permès descobrir novament les dificultats que presenta la perspectiva lineal. Dificultats per localitzar un espectador que es desplaça, així com impossibilitat per contemplar la representació de la trajectòria de la mirada. Les diferents formulacions que permet la imatge panoràmica intenten donar resposta, amb més o menys fortuna, a aquestes dues qüestions: en les panoràmiques esfèriques, considerar un espectador que es desplaça i en les composicions panoràmiques i les imatges panòptiques, donar forma al gir a dreta i a esquerra, amunt i avall de la mirada. / This research aims to show the existence of a specific way of build visual discourse: the panoramic representation. And also defends how, further of the technology used, this system of representation differs from others, such as the static image, pictorial or photographic, and the cinematographic images. The approach to the panoramic representation is carried out from historical perspective. This research analyzes several forms of panoramic representation in visual arts, and does a specific study of the photographic work Rutes Amagades de Mallorca, by Jesus Garcia Pastor. The Rutes amagades de Mallorca, periodical publication of photographic tours by Jesús García Pastor, was edited without interruptions in Palma de Mallorca between 1964 and 1980. These suppose one of the most singular and original photographic contributions about the landscape photography in Spain. Over sixteen years were published 83 fascicles that compose the Rutas… García Pastor took and edited more than 7.500 photographs. The most of them are panoramic compositions formed by juxtaposed photographs. They are published in the 3000 pages of his work.

Culture Change in a Local Cultures of Papua New Guinea Author: Julie Grúzová Abstract The subject of this dissertation is the study of the local Nungon community living in Papua New Guinea. It focuses mainly on those sociocultural changes, which occurred as a result of the environmental protection in this area, and on their impacts on the cultural identity of the local inhabitants. Special attention is devoted to the study of visualization and representation of culture, nature, biodiversity protection, social and cultural changes and the future of the community. A partial objective is also to present ethnographic data and facts about the local Nungon community. A range of methods has been employed in the effort to fulfil the set objectives; the work is based on field research in the observed local community and on the techniques associated with it. The specific technique used to study cultural identity is a native drawing which was used to analyze cultural representations and visualizations of culture. Analyses of native drawings enable uncover a native understanding of the phenomenon of biodiversity conservation and related cultural changes. The thesis represents a unique visual material, which served as the basis for the analysis and interpretation of the sociocultural changes that are taking place in the...

Syfte och frågeställningar : Syftet med denna kandidatexamensuppsats är att belysa skillnaden mellan hur kvinnliga och manliga idrottare framställs i media genom fotografier och hur det påverkar konstruktionen och/eller förstärkningen av könstereotyper och könsroller, vilket i sin tur försvårar arbetet för en jämställd idrott; utifrån RF:s jämställdhetsmål för 2025. Studien ämnar svara på följande frågeställningar: 1) Förekommer manliga idrottare i större omfattning än kvinnliga idrottare i media? 2) Blir kvinnliga idrottare marginaliserade i media genom att placeras senare i tidningen och på färre första sidor än manliga idrottare? 3) Porträtteras kvinnliga idrottare oftare på bilder i mindre storlek än manliga idrottare? 4) Framställs kvinnor på ett könsstereotypiskt sätt i media som begränsar möjligheter för en jämställd idrott? 5) Förekommer manligt kodade idrotter i större omfattning än kvinnligt kodade idrotter i media?6) I vilken utsträckning får kvinnligt kodade idrotter utrymme i media och vilket kön representeras mest i respektive kodad idrott?   Metod: Undersökningen genomfördes genom en kvantitativ innehållsanalys på 3153 bilder på idrottare i Sportbladet. Ett kodningsschema konstruerades där faktorer som kön, placering i tidningen, storlek på bilden, om idrottaren framställdes i eller utanför en idrottskontext och i idrottskläder eller civila kläder. Något som också noterades var om idrotten var manligt, neutralt eller kvinnligt kodad. En pilottestning genomfördes för att testa interbedömarreliabiliteten och därefter kodades de 3153 bilder som studien avser.   Resultat: Manliga idrottare porträtteras på 75% av alla bilder jämfört med 25% på kvinnliga idrottare (p = <.001). Manliga idrottare förekom även tidigare i tidningen än kvinnliga idrottare (p= <.001). Det fanns ingen skillnad mellan könen gällande storlek på bild (p <.184). Resultatet visar även att kvinnliga idrottare oftare framställs utanför en idrottskontext än manliga idrottare (p= <.002). Däremot framställs både manliga och kvinnliga idrottare i idrottskläder 90% (p= <.34). Resultatet visar att 97% av bilder på kvinnliga idrottare var i en manligt kodad idrott. Endast elva bilder föreställde en idrott som var kvinnligt kodad.   Slutsats: Resultaten indikerar att kvinnliga idrottare är tydligt marginaliserade i media och kvinnligt kodade idrotter är obefintligt rapporterade. Studien drar slutsatsen att media i nuläget inte utnyttjar möjligheten att främja jämställdhet vilket i sin tur har konsekvenser för att riksidrottsförbundet ska nå jämställdhetsmålen för 2025. / Aim: The purpose of this study is to examine and illustrate the way female and male athletes are portrayed in media through photographs and how that in turn affects the construction and/or the reinforcement of gender stereotypes and gender roles, which in turn obstruct the strive for equality in sports; regarding the Swedish Sports Confederations goals for equality to be met 2025. The study presents six questions of issue: 1) Are male athletes portrayed to a larger extent than female athletes in media? 2) Are female athletes marginalized in media by being systematically placed later in the paper and in less first pages than male athletes? 3) Are female athletes portrayed in smaller pictures more often than male athletes? 4) Are female athletes portrayed in a gender stereotypical way in media that limits the possibilities for equality in sports? 5) Are masculine sports portrayed to a larger extent than feminine sports in media? 6) To what extent are feminine sports portrayed in media and what gender is most prominent in feminine sports? Method: The study performed a quantitative content analysis on 3153 pictures in Sportbladet. A coding scheme was designed where factors such as, gender, placement in the paper, size of picture, if the athlete was portrayed in or outside of an athletic context, if the athlete was portrayed in athletic or civilian clothes. It was also noted if the sport was masculine, neutral or feminine. A pilot test was conducted to test for interrater reliability. Thereafter the main analysis of the study was conducted on 3153 pictures.  Results: Male athletes are portrayed in 75% of all pictures compared to female athletes who is portrayed in 25% (p = <.001). Male athletes also occurred earlier in the paper than female athletes (p= <.001). There were no differences between male and female athletes regarding the size of the picture (p <.184). The results indicate that female athletes more often were portrayed outside an athletic context than male athletes (p= <.002). On the contrary, both male and female athletes are portrayed in athletic clothes in 90% of all pictures (p= <.34). Results also indicate that 97% of pictures portraying female athletes were athletes competing in a masculine sport. Eleven pictures in total portrayed feminine sports.   Conclusions: Results indicate that due to the evident marginalization of female athletes and feminine sports the study leads to the conclusion that media in the present situation does not take advantage of the possibility to promote an equal representation of female athletes which in turn implicate the Swedish Sport Confederations goals for equality to be met 2025.