The Meaning of Visual Representation Of The COVID-19 Pandemic In The Visual Journals of Children Aged 6-8 Years

This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic representation, power, and violence. Rather than systematic empirical analysis, the paper is based on a theoretical attempt which is reflected on some socio-political observations in the Middle East where there has been ongoing wars or new wars. The core discussion of the paper is supported by a brief analysis of some illustrative photographic images that are served through the social media under the circumstances of war for instance in Turkey between Turkish military troops and the Kurdish militants. The paper concludes that in line with the process of dissolution/transformation of the old nation-state formations and globalization, the mechanism and mode of power have also transformed to the extent that it resulted in the emergence of new wars. This is one dynamic that we need to recognize in relation to the above-mentioned question, the other is the impact of social media in not only delivering but also receiving war photographies. Today these changes have led the emergence of new machinery of power in which the old modern visual/photographic techniques of representing wars without human beings, torture, and violence through censorship began to be employed alongside medieval power techniques of a visual exhibition of tortures and violence.

Download Full-text

The Dynamics of Visual Representation, Attention, Encoding, and Retrieval Processes

10.21236/ada243031 ◽

1991 ◽

Author(s):

Saul Sternberg

Keyword(s):

Visual Representation ◽

Retrieval Processes ◽

Encoding And Retrieval

Download Full-text

“Why should you be so furious?”

10.1093/oso/9780190665135.003.0005 ◽

2017 ◽

Author(s):

Kristina Bross

Keyword(s):

Seventeenth Century ◽

New England ◽

Visual Representation ◽

First Aid ◽

Global English ◽

East Indies ◽

English Identity

Chapter 4 focuses on the representation of Anglo-Dutch relations from Asia to America in the seventeenth century. The chapter analyzes the representation of an incident in 1623 on the spice island Amboyna when Dutch traders tortured (with waterboarding) and killed their English rivals in the East Indies. Decades later, New England writers returning to this incident, treating it as news, invoked anti-English violence half a world away to lay claim to a global English identity. The chapter compares visual representation of the Amboyna incident with John Underhill’s “figure” of the Mystic Fort massacre in New England, arguing that these representations of violence are key elements of colonial fantasies that made (and make) real atrocities possible. The coda discusses Stephen Bradwell’s 1633 first-aid manual, partly inspired by the Amboyna incident, which maintains that properly trained, authorized metropolitan authorities can control the potential dangers of the remedies torture and tobacco.

Download Full-text

Color Constancy

10.1093/oso/9780198785910.003.0006 ◽

2017 ◽

Author(s):

Joshua Gert

Keyword(s):

Visual Representation ◽

Color Constancy ◽

Color Appearance ◽

Fine Grained ◽

Hybrid View

This chapter presents an account of color constancy that explains a well-known division in the data from color-constancy experiments: So-called “paper matches” exhibit a much higher level of constancy than so-called “hue-saturation matches.” It argues that the visual representation of objective color is the representation of something associated with a function from viewing circumstances to color appearances. Thus, a relatively robust constancy in the representation of objective color is perfectly consistent with a relatively less robust level of constancy in color appearance. The account also endorses Hilbert’s idea that we can represent the color of the illumination on a surface as well as the color of the surface itself. Finally, the chapter addresses an objection to the hybrid view that notes our capacity to make very fine-grained distinctions between the objective colors of surfaces.

Download Full-text

Roman Imperial Culture

The Oxford Handbook of New Testament, Gender, and Sexuality ◽

10.1093/oxfordhb/9780190213398.013.11 ◽

2019 ◽

pp. 256-276

Author(s):

Davina C. Lopez

Keyword(s):

Roman Empire ◽

Sexual Violence ◽

New Testament ◽

Visual Representation ◽

Power Relationships ◽

Roman Emperor ◽

Imperial Culture ◽

The New Testament ◽

Imperial Ideology

This chapter discusses several aspects of Roman imperial culture that offer resonances with the study of the New Testament. Herein several gendered and sexualized tropes of Roman imperial ideology, which serve to discursively naturalize power relationships and differences in hierarchy, are considered. These include the impenetrable manliness of the Roman emperor, the link between military conquest and sexual violence and feminization of conquered barbarian “others,” and the characterization of the Roman Empire as an endlessly fertile family. Special attention is given to the rhetorical and representational dimensions of Roman imperial culture, and particular emphasis is afforded to visual representation. Finally, the article considers several areas wherein the intersection of gender, sexuality, Roman imperial culture, and the study of the New Testament might further be explored.

Download Full-text

Modifying Perceived Size of a Handled Object through Hand Image Deformation

Presence Teleoperators & Virtual Environments ◽

10.1162/pres_a_00154 ◽

2013 ◽

Vol 22 (3) ◽

pp. 255-270 ◽

Cited By ~ 12

Author(s):

Yuki Ban ◽

Takuji Narumi ◽

Tomohiro Tanikawa ◽

Michitaka Hirose

Keyword(s):

Visual Representation ◽

Shape Perception ◽

Size Perception ◽

Visual Object ◽

Display System ◽

Haptic Interaction ◽

Image Deformation ◽

Virtual Objects ◽

The Difference ◽

Hand Image

In this study, we aim to construct a perception-based shape display system to provide users with the sensation of touching virtual objects of varying shapes using only a simple mechanism. Thus far, we have proved that identified curved surface shapes or edge angles can be modified by displacing the visual representation of the user's hand. However, using this method, we cannot emulate multifinger touch, because of spatial unconformity. To solve this problem, we focus on modifying the identification of shapes using two fingers by deforming the visual representation of the user's hand. We devised a video see-through system that enables us to change the perceived shape of an object that a user is touching visually. The visual representation of the user's hand is deformed as if the user were handling a visual object; however, the user is actually handling an object of a different shape. Using this system, we conducted two experiments to investigate the effects of visuo-haptic interaction and evaluate its effectiveness. One is an investigation on the modification of size perception to confirm that the fingers did not stroke the shape but only touched it statically. The other is an investigation on the modification of shape perception for confirming that the fingers dynamically stroked the surface of the shape. The results of these experiments show that the perceived sizes of objects handled using a thumb and other finger(s) could be modified if the difference between the size of physical and visual stimuli was in the −40% to 35% range. In addition, we found that the algorithm can create an effect of shape perception modification when users stroke the shape with multiple fingers.

Download Full-text