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Fajriah, Yustika Nur, Fuad Abdul Hamied, and Wawan Gunawan. "IMAGE-TEXT RELATION INTERPRETATION: TEACHERS’ VISUAL-VERBAL COMPETENCE IN TEACHING TEXTS." Jurnal Cakrawala Pendidikan 40, no. 1 (February 25, 2021): 208–17. http://dx.doi.org/10.21831/cp.v40i1.33755.
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Multimodal literacy instruction is such a new shift of the literacy in which the construction of knowledge is led to be more socially and contextually bounded. Due to the urgency that teachers have to own multimodal competencies, this study aimed to investigate EFL teachers’ competence in interpreting visual-verbal relations to teach multimodal texts. To collect the data, an online test through the Google form platform was distributed. As many as 43 responses were collected from junior and senior high school teachers in one of the cities in Indonesia. A semi-structured interview was also conducted with six purposive participants. The data in this research were then analysed based on Royce’s criteria of image-text relation. The analysis found that the teachers only partially possessed multimodal competencies. It means that that they had used images to help them teach the texts but had insufficient knowledge on how to utilize the images as meaning-making sources. Then, based on the finding, it is suggested that the teachers should improve their competences in interpreting multimodal meanings in texts, so images are used not only for making learning materials interesting but also for making more meanings from the texts.
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Denny, Kathryn Anne. "Recognising changes in visual representation of clothing in CCTV imaging." Journal of Criminological Research, Policy and Practice 1, no. 4 (December 7, 2015): 233–38. http://dx.doi.org/10.1108/jcrpp-08-2015-0033.
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Purpose – Closed circuit television (CCTV) imaging is an increasingly used technology and it is now common place for law enforcement to access CCTV footage as an investigative tool to assist in the nomination of a person of interest, or to aid in the prosecution of an offender. The purpose of this paper is to discuss the role of imaging practitioners in the analysis and interpretation of CCTV images within a law enforcement context. It explores and addresses the limitations of CCTV imaging in evidence with a focus on the interpretation of changes in the visual representation of clothing items. Design/methodology/approach – This paper demonstrates the variations observed in four dark toned garments imaged using one CCTV camera with two different recording settings – visible light and near infrared. The device used was installed and operated in a manner comparable to that used in the public domain, the resulting images indicative of those experienced in casework. Findings – The results display a noticeable change to the tonality of each clothing item between the varied recording conditions. These inconsistencies highlight the limitations of layperson analysis and identify the importance of the inclusion of imaging practitioners when interpreting and analysing such images as evidence. Originality/value – With an abundance of images in the society, layperson interpretation has become common place. Recognising the value of trained imaging practitioners who can assist law enforcement in analysis and interpretation is paramount to ensuring CCTV images as evidence are used appropriately.
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Svatonova, H. "ANALYSIS OF VISUAL INTERPRETATION OF SATELLITE DATA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B2 (June 8, 2016): 675–81. http://dx.doi.org/10.5194/isprsarchives-xli-b2-675-2016.
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Millions of people of all ages and expertise are using satellite and aerial data as an important input for their work in many different fields. Satellite data are also gradually finding a new place in education, especially in the fields of geography and in environmental issues. The article presents the results of an extensive research in the area of visual interpretation of image data carried out in the years 2013 - 2015 in the Czech Republic. The research was aimed at comparing the success rate of the interpretation of satellite data in relation to a) the substrates (to the selected colourfulness, the type of depicted landscape or special elements in the landscape) and b) to selected characteristics of users (expertise, gender, age). The results of the research showed that (1) false colour images have a slightly higher percentage of successful interpretation than natural colour images, (2) colourfulness of an element expected or rehearsed by the user (regardless of the real natural colour) increases the success rate of identifying the element (3) experts are faster in interpreting visual data than non-experts, with the same degree of accuracy of solving the task, and (4) men and women are equally successful in the interpretation of visual image data.
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Svatonova, H. "ANALYSIS OF VISUAL INTERPRETATION OF SATELLITE DATA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B2 (June 8, 2016): 675–81. http://dx.doi.org/10.5194/isprs-archives-xli-b2-675-2016.
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Millions of people of all ages and expertise are using satellite and aerial data as an important input for their work in many different fields. Satellite data are also gradually finding a new place in education, especially in the fields of geography and in environmental issues. The article presents the results of an extensive research in the area of visual interpretation of image data carried out in the years 2013 - 2015 in the Czech Republic. The research was aimed at comparing the success rate of the interpretation of satellite data in relation to a) the substrates (to the selected colourfulness, the type of depicted landscape or special elements in the landscape) and b) to selected characteristics of users (expertise, gender, age). The results of the research showed that (1) false colour images have a slightly higher percentage of successful interpretation than natural colour images, (2) colourfulness of an element expected or rehearsed by the user (regardless of the real natural colour) increases the success rate of identifying the element (3) experts are faster in interpreting visual data than non-experts, with the same degree of accuracy of solving the task, and (4) men and women are equally successful in the interpretation of visual image data.
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Behshad, Azam, and Saeed Ghaniabadi. "Visual Analysis of Magazine Covers." International Journal of Linguistics 7, no. 5 (October 19, 2015): 20. http://dx.doi.org/10.5296/ijl.v7i5.8445.
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<p>The aim of this paper is to look into ways in which modes are chosen if signs are produced for interpretation and presentation of theories and meanings. Magazine is a complex collection of signs that can be extensively decoded and analyzed by different factors. The most spectacular components are documentary photos, manipulated images and portrait photos. According to the results, many processes (action, symbolic, reaction, and analytical processes), and strategies (e.g. top vs. bottom strategies and margin vs. center), modality modification and color differentiation, are required in representing and interpreting concepts and meanings in this type of discourse. The discourse analysis used here is accomplished based on Halliday’s model of functional-systematic grammar (1976, 2004), which uses three meta functions to describe different communicational modes.</p>
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Lomax, Helen, and Janet Fink. "Interpreting Images of Motherhood: The Contexts and Dynamics of Collective Viewing." Sociological Research Online 15, no. 3 (August 2010): 26–44. http://dx.doi.org/10.5153/sro.2157.
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Our research is concerned with cultural representations of birth and mothering and, as part of this, we are engaged with debates concerning competing theoretical and methodological approaches to the analysis of visual images. In particular we are interested in how meanings of an image are reflexively produced, managed and negotiated. That is, whether and to what extent interpretation is influenced by personal experience, emotion and memory; the ways in which the context of viewing may mediate meaning; and how the relationship between researcher and research subject may shape the interpretative process. In order to explore such questions, this paper draws on the tape-recorded discussion of a group of women collectively viewing images of new mothers. These included photographs of mothers and their newborns taken by the Dutch photographer Rineke Dijkstra, and photographs of us, the authors, as new mothers, taken by our respective families. The paper blends the analytic framework of conversation analysis and discursive psychology in order to consider both our own and the discussants’ responses to these photographs as they emerge through the dynamic and discursive process of collective viewing. In addition we consider the significance of our own and the discussants’ biographies and reproductive experiences, as they are made visible in the talk-in-interaction, for the meanings generated by the group's engagement with the photographs. Through this reflexive approach we highlight the significance of the interplay between broader cultural narratives, genres, memories and experiences for the interpretive process and the analytical challenges posed by collective viewings of images in which meanings are discursively situated, negotiated and silenced.
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Grishchenko, Mikhail Yurievich, Nikolay Dmitrievich Goryunov, and Alla Sergeevna Turchaninova. "AVALANCHE DEPOSITS REVEALING ON THE BEZENGI GLACIER USING SENTINEL-2 SATELLITE IMAGES." GEOGRAPHY AND TOURISM, no. 47 (2019): 140–48. http://dx.doi.org/10.17721/2308-135x.2019.47.140-148.
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Purpose. The aim of the paper is to evaluate the interpretation properties of Sentinel-2 satellite images from the point of view of revealing avalanche deposits on glaciers. Scientific novelty. Despite the sometimes quite high significance of avalanche deposits in the glaciers nourishment, the assessment of the Sentinel-2 satellites images applicability for solving the problem of detecting avalanche deposits on glaciers has not yet been carried out. Methods. The paper describes the main methodological approaches of revealing by such images the boundaries of the glacier, avalanche paths and avalanche deposits. The methods of visual interpretation of images synthesized in various color renditions were used. Results. During the work, an assessment was made of the suitability of using the Sentinel-2 images in studies of the Caucasus valley glaciers avalanche nourishment, as well as the possibilities and limitations of using these images for interpreting avalanche deposits within the glaciers were described. The practical significance. The results will allow to more effectively evaluate the avalanche nourishment of glaciers.
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Kim, Incheol, Sivaramakrishnan Rajaraman, and Sameer Antani. "Visual Interpretation of Convolutional Neural Network Predictions in Classifying Medical Image Modalities." Diagnostics 9, no. 2 (April 3, 2019): 38. http://dx.doi.org/10.3390/diagnostics9020038.
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Deep learning (DL) methods are increasingly being applied for developing reliable computer-aided detection (CADe), diagnosis (CADx), and information retrieval algorithms. However, challenges in interpreting and explaining the learned behavior of the DL models hinders their adoption and use in real-world systems. In this study, we propose a novel method called “Class-selective Relevance Mapping” (CRM) for localizing and visualizing discriminative regions of interest (ROI) within a medical image. Such visualizations offer improved explanation of the convolutional neural network (CNN)-based DL model predictions. We demonstrate CRM effectiveness in classifying medical imaging modalities toward automatically labeling them for visual information retrieval applications. The CRM is based on linear sum of incremental mean squared errors (MSE) calculated at the output layer of the CNN model. It measures both positive and negative contributions of each spatial element in the feature maps produced from the last convolution layer leading to correct classification of an input image. A series of experiments on a “multi-modality” CNN model designed for classifying seven different types of image modalities shows that the proposed method is significantly better in detecting and localizing the discriminative ROIs than other state of the art class-activation methods. Further, to visualize its effectiveness we generate “class-specific” ROI maps by averaging the CRM scores of images in each modality class, and characterize the visual explanation through their different size, shape, and location for our multi-modality CNN model that achieved over 98% performance on a dataset constructed from publicly available images.
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Chapman, Mimi V., Shiyou Wu, and Meihua Zhu. "What is a picture worth? A primer for coding and interpreting photographic data." Qualitative Social Work 16, no. 6 (June 1, 2016): 810–24. http://dx.doi.org/10.1177/1473325016650513.
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Society is becoming increasingly image based. As individuals regularly record moments both mundane and momentous, images potentially lose or gain power to communicate important information. Social work scholars have argued that social work should incorporate images into both interventions ( Chapman and Hall, 2016 ; Chapman et al., 2014 ) and research ( Marshal et al., 2009 ). A recent review provides an overview of visual methodologies in social work ( Clark and Morriss, 2015 ). The most popular means of doing this has been through the incorporation of Photovoice ( Wang and Burris, 1997 ) into the social work research repertoire. Yet, in Photovoice, although images are central, text remains the unit of analysis. This paper aims to augment the existing literature in social work by focusing on ways in which images can be data in and of themselves and how image-based data interact with text-based data. We will begin with ethical considerations, proceed to step-by-step instructions for coding and analyzing image-based data in ATLAS.ti, and finally discuss interpretation. A case example drawing on a visually based project originally conducted with in-country Chinese migrant mothers will illustrate the outlined methods.
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Katz, Meighen. "A Paradigm of Resilience." Public Historian 36, no. 4 (November 1, 2014): 8–25. http://dx.doi.org/10.1525/tph.2014.36.4.8.
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Taken by a host of talented photographers, the Farm Security Administration photographs have become the defining visual imagery of the Great Depression. Familiar, beautifully composed, and free from reproduction copyright, these photographs have become an essential tool for interpreting a number of facets of the 1930s, especially that of poverty. As useful as the images are, the nature of their creation and the embedded messages regarding hardship mean that they are not as universal as is sometimes presumed. This article examines how the images facilitate interpretation of Great Depression history, particularly that which pertains to the experience of poverty, and the repercussions and limitations of their use.
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Sivarajah, Yathunanthan, Eun-Jung Holden, Roberto Togneri, Michael Dentith, and Mark Lindsay. "Visual saliency and potential field data enhancements: Where is your attention drawn?" Interpretation 2, no. 4 (November 1, 2014): SJ9—SJ21. http://dx.doi.org/10.1190/int-2013-0199.1.
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Interpretation of gravity and magnetic data for exploration applications may be based on pattern recognition in which geophysical signatures of geologic features associated with localized characteristics are sought within data. A crucial control on what comprises noticeable and comparable characteristics in a data set is how images displaying those data are enhanced. Interpreters are provided with various image enhancement and display tools to assist their interpretation, although the effectiveness of these tools to improve geologic feature detection is difficult to measure. We addressed this challenge by analyzing how image enhancement methods impact the interpreter’s visual attention when interpreting the data because features that are more salient to the human visual system are more likely to be noticed. We used geologic target-spotting exercises within images generated from magnetic data to assess commonly used magnetic data visualization methods for their visual saliency. Our aim was achieved in two stages. In the first stage, we identified a suitable saliency detection algorithm that can computationally predict visual attention of magnetic data interpreters. The computer vision community has developed various image saliency detection algorithms, and we assessed which algorithm best matches the interpreter’s data observation patterns for magnetic target-spotting exercises. In the second stage, we applied this saliency detection algorithm to understand potential visual biases for commonly used magnetic data enhancement methods. We developed a guide to choosing image enhancement methods, based on saliency maps that minimize unintended visual biases in magnetic data interpretation, and some recommendations for identifying exploration targets in different types of magnetic data.
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Su, Pei Hsuan. "The Digital Innovation of Appropriating Traditional Chinese Lyric Poems in Creative Design." Applied Mechanics and Materials 311 (February 2013): 348–53. http://dx.doi.org/10.4028/www.scientific.net/amm.311.348.
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The research integrates digital editing system while making digital images for interpreting two traditional Chinese lyric poems written by Su Shi (1036-1101 A.D.) in Sung Dynasty. It serves as a digitalized visual language to recognize the Chinese literati aesthetics. The research approach is based on the use of semiotic analysis, in which the researcher emphasizes connections among viewers, content, and its cultural context. Instead of treating each component as a separate entity, the research seeks correspondences. The results suggest the use of visual and sound effects, lighting, color and motion of the digital-image design as possible underlying factors for the significant correlations found between personality traits and design preferences in practice, and should open an opportunity among the viewers to interpret the artworks in person. In addition, the study has to be recognized by its eastern and western viewers underlying a cross-cultural basis of interpretation. In conclusion, the research would make a contribution to explore new types of cognitive interpretation of Chinese lyric poems, and result in a complex interaction between vision and sound in creative design.
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Boutis, K., M. Pecarcic, and M. Pusic. "MP20: ImageSim - performance-based medical image interpretation learning system." CJEM 20, S1 (May 2018): S47. http://dx.doi.org/10.1017/cem.2018.174.
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Introduction: Medical images (e.g. radiographs) are the most commonly ordered tests in emergency medicine. As such, emergency medicine physicians are faced with the task of learning the skill of interpreting these images to an expert performance level by the time they provide opinions that guide patient management decisions. However, discordant interpretations of these images between emergency physicians and expert counterparts (e.g. radiologists) is a common cause of medical error. In pediatrics, this problem is even greater due to the changing physiology with age. Methods: ImageSim (https://imagesim.com/) is an evidence-based on-line learning platform derived and validated over an 11 year period (https://imagesim.com/research-and-efficacy/). This learning system incorporates the concepts of cognitive simulation, gamification, deliberate practice, and performance-based competency in the presentation and interpretation of medical images. Specifically, ImageSim presents images as they are experienced in clinical practice and incorporates a normal to abnormal ratio is representative of that seen in emergency medicine. Further, it forces the participant to commit to the case being normal or abnormal and if abnormal, the participant has to visually locate the specific area of pathology on the image. The participant submits a response and gets text and visual feedback with every case. After each case, the participant gets to play again until they reach a desired competency threshold (80% is bronze resident; 90% silver staff emergency medicine physician; 97% gold radiologist). Importantly, the learning experience also emphasizes deliberate practice such that the learning system provides hundreds of case examples and therefore each participants performance has the opportunity to improve along their individual learning curve. Results: Course selection was made based on known medical image interpretation knowledge gaps for practicing emergency physicians. Currently, ImageSim live courses include pediatric musculoskeletal radiographs (2,100 cases, 7 modules) and pediatric chest radiographs (434 cases). In 2018, we will also release a pediatric point-of-care ultrasound course (400 cases, 4 modules) and the pre-pubertal female genital examination (150 cases). For a demo, go to https://imagesim.com/demo/. Using ImageSim, the deliberate practice of about 120 cases (1 hour time commitment) increases accuracy on average by 15%. Currently integrated into 10 emergency medicine training programs and there are about 300 continuing medical education world-wide participants. Conclusion: While acquiring mastery for these images may take years to acquire via clinical practice alone, this learning system can potentially help achieve this in just a few hours.
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Witkowski, Terrence H. "Visualizing Winchester: a brand history through iconic Western images." Journal of Historical Research in Marketing 10, no. 4 (November 19, 2018): 383–419. http://dx.doi.org/10.1108/jhrm-09-2017-0053.
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Purpose This paper aims to present a visually documented brand history of Winchester Repeating Arms through a cultural analysis of iconic Western images featuring its lever action rifles. Design/methodology/approach The study applies visual culture perspectives and methods to the research and writing of brand history. Iconic Western images featuring Winchester rifles have been selected, examined, and used as points of departure for gathering and interpreting additional data about the brand. The primary sources consist chiefly of photographs from the nineteenth century and films and television shows from the twentieth century. Most visual source materials were obtained from the US Library of Congress, the Smithsonian Institution, the Buffalo Bill Center of the West and the Internet Movie Firearms Database. These have been augmented by written sources. Findings Within a few years of the launch of the Winchester brand in 1866, visual images outside company control associated its repeating rifles with the settlement of the American West and with the colorful people involved. Some of these images were reproduced in books and others sold to consumers in the form of cartes de visite, cabinet cards and stereographs made from albumen prints. Starting in the 1880s, the live Wild West shows of William F. Cody and his stars entertained audiences with a heroic narrative of the period that included numerous Winchesters. During the twentieth century and into the present, Winchesters have been featured in motion pictures and television series with Western themes. Research limitations/implications Historical research is an ongoing process. The discovery of new primary data, both written and visual, may lead to a revised interpretation of the selected images. Originality/value Based largely on images as primary data sources, this study approaches brand history from the perspective of visual culture theory and data. The research shows how brands acquire meaning not just from the companies that own them but also from consumers, the media and other producers of popular culture.
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Murynin, A. B., A. A. Richter, and M. A. Shakhramanyan. "Selection of informative features to highlight areas of waste disposal on high spatial resolution satellite imagery." Исследования Земли из Космоса, no. 2 (May 21, 2019): 29–44. http://dx.doi.org/10.31857/s0205-96142019229-44.
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The paper deals with the problem of integrated interpretation of waste disposal facilities according to satellite imagery and ground truth monitoring, features of space images of landfills from various points of view: texture analysis, statistical properties, fractal analysis, color features, and the possibility of using machine learning methods. The main visual interpretive signs of landfills on optical and radar images of high spatial resolution are given. The fractal dimension of landfills was calculated for high resolution images using two models.
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Ravelli, Louise. "Pedagogical strategies for developing interpretive language about images." English Teaching: Practice & Critique 18, no. 1 (April 8, 2019): 100–118. http://dx.doi.org/10.1108/etpc-12-2017-0173.
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Purpose The purpose of this paper is to reflect on pedagogical strategies which support the teaching of critical analysis of visual and multimodal texts in a tertiary-level course for Arts students. Design/methodology/approach The paper describes strategies which focus on developing students’ abilities to express interpretive critique, as opposed to mere description. These strategies give students strong scaffolding towards success in their interpretive writing. The course in question is a tertiary-level Arts course which teaches Kress and van Leeuwen’s (2006) approach to “reading images” in relation to contemporary media texts. The basic structure of the course is described, along with the macro steps which underpin the pedagogy. Examples of highly successful and less successful student writing are compared to reveal the key components of effective interpretive answers. Findings In addition to the normal expectations regarding essay structure and style, and in addition to mastery of the technicality of the course, successful and less successful student writing depends on their mastery of a specific set of moves within the essay. These moves integrate textual observations with clear explanations and a strong relation to interpretation. Practical implications While the course and strategies discussed are for tertiary-level students, the strategies described are adaptable to primary and secondary levels also. Multimodal texts are an integral part of the English curriculum, and all teachers need to explore strategies for enabling their students’ critical engagement with such texts. Originality/value Visual and multimodal texts are an exciting and also challenging part of English curricula, and new analytical frameworks and pedagogical strategies are needed to tackle these texts. In particular, the gap between simply describing visual resources (applying the tools) and critical analysis (using the tools) is vast, and specific pedagogical strategies are needed to help students develop the necessary interpretive language.
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Sholihah, Ummu, and Maryono Maryono. "Students’ visual thinking ability in solving the integral problem." JRAMathEdu (Journal of Research and Advances in Mathematics Education) 5, no. 2 (June 27, 2020): 175–86. http://dx.doi.org/10.23917/jramathedu.v5i2.10286.
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Visual thinking plays an essential role in solving problems and in learning mathematics. Many students do not understand how to graphically or geometrically represent problems and solve algebra problems. Visual thinking is the ability, process, and results of creating, interpreting, using, and imagining images and diagrams on paper or with technological tools, describing and communicating information and ideas, developing ideas, and understanding improvement. This research describes students’ visual thinking ability to solve integral problems. The approach used in this study was descriptive qualitative. The subjects in this study were three students from the Department of Mathematics Education at the State Islamic Institute of Tulungagung. The data were collected by using tests and interviews. The steps to analyze the data were categorization, reduction, exposure, interpretation, and conclusion. Based on the analysis of students’ visual thinking skills in solving integral problems, there were three levels of visual thinking: semi-local visual, local visual, and global visual. At the semi-local visual level, students could only understand algebraically, and they have not shown it graphically at all. Meanwhile, at the local visual level, they have already understood geometry as an alternative language and been able graphically represented problems or concepts, even though it was not perfectly done yet. While on a global visual level, they could perfectly visualize visual thinking indicators, understand algebra and geometry as alternative languages for problem-solving, extract specific information from diagrams, graph problems, and use them to solve problems perfectly.
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Arimoto, Maya Kato, Yuji Nakamoto, Tatsuya Higashi, Takayoshi Ishimori, Mana Ishibashi, and Kaori Togashi. "Intra- and inter-observer agreement in the visual interpretation of interim 18F-FDG PET/CT in malignant lymphoma: influence of clinical information." Acta Radiologica 59, no. 10 (January 15, 2018): 1218–24. http://dx.doi.org/10.1177/0284185117751279.
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Background Interim PET/CT is widely performed in lymphoma patients in clinical practice and clinical trials. Visual assessment using a 5-point scale is proposed for PET/CT interpretation, but intra- and inter-observer variation is not fully investigated. Purpose To investigate intra- and inter-observer variations in the reporting of interim positron emission tomography/computed tomography (PET/CT) in lymphoma patients, and the influence of clinical information on the interpretation. Material and Methods Three expert readers from different institutions interpreted interim PET/CT images of 42 consecutive patients with malignant lymphoma twice, with and without clinical information. The intra- and inter-observer agreements were calculated using the kappa statistic on a patient and a region basis. Results On a patient basis, intra-observer agreement, inter-observer agreement without information, and inter-observer agreement with information were within the ranges 0.48–0.62, 0.51–0.62, and 0.42–0.76, respectively. In the evaluation of lymph nodes, intra-observer agreement, inter-observer agreement without information, and inter-observer agreement with information were within the ranges 0.78–0.92, 0.80–0.82, and 0.77–0.83, respectively. Observer agreements were in almost perfect to substantial agreement categories for most lymphatic organs, but were generally low for the other organs. Conclusion The intra- and inter-observer agreements in evaluating interim PET/CT were relatively low for extranodal lesions, but they were substantial to almost perfect when interpreting nodal regions in malignant lymphoma, irrespective of the provision of clinical information, although memory at the first interpretation might have affected the intra-observer results.
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Zivkovic, Valentina. "Saint Tryphon’s reliquary casket in Kotor. A contribution to the study of the iconography." Zograf, no. 43 (2019): 185–96. http://dx.doi.org/10.2298/zog1943185z.
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The paper analyses late Gothic and early Renaissance imagery on the reliquary casket of Saint Tryphon kept in the Kotor Cathedral. The iconography of the torture and death scenes of the young martyr Tryphon, as well the representation of the architecture on the model of the town of Kotor in the hand of Saint Tryphon opens up the possibility of interpreting this reliquary in a historical context. The paper proposes an interpretation of the iconography of the scenes on the reliquary casket as part of the constructed memory of the Ottoman siege of Kotor under the command of kapudan pacha Hayreddin Barbarossa (1539) and the Venetian defense of the town. A similar way of creating memories through juxtaposing images of Turks, members of the Holy League and Kotor?s devotees under the protection of Saint Tryphon has been recorded in poetry, chronicles, and epistles.
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Perkins, Miriam Y. "Islamic Images of Isa/Jesus in the Chester Beatty Manuscript Collection: Visual Art as Framework for Comparative Christology." Religion and the Arts 16, no. 5 (2012): 488–506. http://dx.doi.org/10.1163/15685292-12341236.
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Abstract Textual analysis has served as a paradigmatic approach to comparative theology for some time while analysis through artistic and visual media has received less attention. Most approaches to comparative theology rely on textual comparison of sacred texts. However, visual art is also a compelling way to engage in comparative theology and specifically comparative Christology. To demonstrate the power of visual art as a tool for comparative theology, I draw upon two recently published sixteenth-century Islamic images of Isa/Jesus from the Chester Beatty manuscript collection to illustrate how artwork can structure the work of comparative Christology by providing an entry point into Islam’s aesthetic tradition and relevant sacred texts. Paul Ricoeur’s theory of textual interpretation provides a theoretical framework, and I draw upon and extend his theory to describe the way visual art can initiate the interpretive process and move us through explanation toward understanding of another religious tradition, which in turn has the potential to transform theological reflection and generate theological insight.
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Oldenburg, Douglas W., and Yaoguo Li. "Estimating depth of investigation in dc resistivity and IP surveys." GEOPHYSICS 64, no. 2 (March 1999): 403–16. http://dx.doi.org/10.1190/1.1444545.
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In this paper, the term “depth of investigation” refers generically to the depth below which surface data are insensitive to the value of the physical property of the earth. Estimates of this depth for dc resistivity and induced polarization (IP) surveys are essential when interpreting models obtained from any inversion because structure beneath that depth should not be interpreted geologically. We advocate carrying out a limited exploration of model space to generate a few models that have minimum structure and that differ substantially from the final model used for interpretation. Visual assessment of these models often provides answers about existence of deeper structures. Differences between the models can be quantified into a depth of investigation (DOI) index that can be displayed with the model used for interpretation. An explicit algorithm for evaluating the DOI is presented. The DOI curves are somewhat dependent upon the parameters used to generate the different models, but the results are robust enough to provide the user with a first‐order estimate of a depth region below which the earth structure is no longer constrained by the data. This prevents overinterpretation of the inversion results. The DOI analysis reaffirms the generally accepted conclusions that different electrode array geometries have different depths of penetration. However, the differences between the inverted models for different electrode arrays are far less than differences in the pseudosection images. Field data from the Century deposit are inverted and presented with their DOI index.
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Virketienė, Austėja, and Agota Giedrė Raišienė. "Beyond the Subjective Experience of Visual Information in the Modern Media." Journal of Intercultural Management 12, no. 3 (September 1, 2020): 99–116. http://dx.doi.org/10.2478/joim-2020-0046.
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AbstractObjective: According to researchers, visuality appeals to the cognitive aspects of image consumption, hence, the nature of information technologies becomes more important than the content itself. Based on this relevance, the article’s aim is twofold: when seeking to better understand the phenomenon of visual information to analyse the visual communication experience of public relation professionals who apply visual solutions to achieve a specific effect in their work.Methodology: A quasi-structured in-depth interview of the experts and the method of interpretive phenomenological analysis were used to gather and process the data of the research.Findings: The paper presents insights into the interaction between receiver’s visual information experience and one’s world view. The research revealed that the visual information influences a person’s perception and interpretation of a message when it serves as supplement for information alongside text in press, advertisement, etc.Value Added: Based on the research, the visual information experience was defined as an instantaneous action of giving meaning to personal experience and imagination by finding the intersection of narratives between the image and oneself.Recommendations: A narrow boundary exists between the stimulation and constriction of the observer’s imagination when analysing the visual message. With the help of image communication, a new reality can be created. To reach effective communication, it is recommended to avoid abstract images that allow the observer’s imagination to give it whole other meanings than intended by the sender of the message.
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de San Eugenio Vela, Jordi, Joan Nogué, and Robert Govers. "Visual landscape as a key element of place branding." Journal of Place Management and Development 10, no. 1 (March 6, 2017): 23–44. http://dx.doi.org/10.1108/jpmd-09-2016-0060.
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Purpose The purpose of this paper is to propose an initial, exploratory and tentative theoretical construct related to the current consumption of landscape as a key symbolic and physical element in territorial representation and evocation, and for the deployment of place branding strategy. It constructs a line of argument to support what shall be referred to as “landscape branding”, that is, the paradigmatic role of landscape in place branding. It is, therefore, of interest to define the value of landscape as a social and cultural construction, which is why the paper awards importance to the specific analysis of their capacity for visual and/or aesthetic evocation within the context of a general branding strategy for geographical spaces. Design/methodology/approach To develop a sufficient proposal for sustaining “a theory of landscape branding”, the paper deploys a meta-analysis, that is, an extensive review and interpretation of the literature related to visual landscape and place branding, to propose a tentative initial approach to landscape-infused place branding theory. Findings The relationship existing between landscape images and texts and their possible situating and subsequent interpreting within the context of the political, cultural and economic logics of contemporary society give rise to a renewed analytical framework for cultural geographies (Wylie, 2007). At this point, place branding becomes a recurring argument for the consumption of carefully staged places, representing, to use Scott’s terms (2014), the arrival of a cognitive-cultural capitalism characteristic of post-Fordism. Practical implications From a practical perspective, the landscape branding approach provides several benefits. First of all, regardless of the fact that many commentators have argued that logos, slogans and advertising campaigns are relatively ineffective in place branding, practitioners still seem to be focussed on these visual design and advertising tools. The landscape branding approach facilitates an identity-focussed perspective that reconfirms the importance of linking reality with perception and hence reinforces the need to link place branding to policy-making, infrastructure and events. Social implications Landscapes’ imageability facilitates visual storytelling and the creation of attractive symbolic actions (e.g. outdoor events/arts in attractive landscape and augmented reality or landscaping itself). This is the type of imaginative content that people easily share in social media. And, of course, landscape branding reiterated the importance of experience. If policymakers and publics alike understand this considerable symbolic value of landscape, it might convince them to preserve it and, hence, contribute to sustainability and quality of life. Originality/value The novelty lies not in the familiar use of visual landscape resources to promote places, but in the carefully orchestrated construction of gazes, angles, representations, narratives and interpretations characteristic of geographic space, which somehow hijack the spontaneous gaze to take it to a certain place. Everything is perfectly premeditated. According to this, the visual landscape represents a critical point as a way of seeing the essence of places through a place branding strategy. In this sense, that place branding which finds in visual landscape a definitive argument for the projection of aspirational places imposes a new “way of seeing” places and landscape based on a highly visual story with which to make a particular place desirable, not only for tourism promotion purposes but also with the intention of capturing talent, infrastructures and investment, among other objectives.
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Brandão, Cláudia Mariza Mattos. "Anotações sobre Walter Benjamin e as teias constituídas entre fotografia e imaginário/ Writings about Walter Benjamin and webs between photography and imaginary." Cadernos Benjaminianos 14, no. 2 (February 25, 2019): 35. http://dx.doi.org/10.17851/2179-8478.14.2.35-47.
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Resumo: O estabelecimento de relações entre Fotografia e Imaginário impulsionam ponderações acerca dos abundantes modos de olhar, interpretar e narrar o mundo. O artigo parte dessa ideia para discutir sobre a dinâmica das imagens e dos símbolos como propulsores de outras narrativas ou discursos, com base nas ideias de Walter Benjamin sobre narrações/narradores. Considerando que as imagens são matérias dinâmicas, derivadas da nossa participação ativa no mundo, é possível afirmar que elas expõem nosso pensar no âmbito das emoções, confrontado com nossas ações. Assim sendo, pondero sobre o fotógrafo como um narrador estranhado e entranhado, para quem o conhecimento assume a forma de expressão poética/simbólica, na compreensão da importância de ir contra qualquer interpretação dada como última ou definitiva, como quer Benjamin. A fotografia entendida como narração e vida, campo de luta entre o presente, o passado e o futuro, demarca também mais um diálogo filosófico com Walter Benjamin, que no seu clássico texto “A obra de Arte na Era da sua Reprodutibilidade Técnica” postula a relação da fotografia e do cinema como modos “modernos” de expressão, desenvolvidos e utilizados de acordo com as demandas e as possibilidades de uma modernidade desconexa, fragmentária e efêmera. Tais referências, aproximadas das teorias do imaginário, estruturam o conceito de “crônica visual narrativa”, na consideração de que fotografias derivam de atos comunicativos, através dos quais os sujeitos partilham visões de mundo. Essas ideias resultaram em tese doutoral.Palavras-chave: Walter Benjamin; Fotografia; Imaginário.Abstract: Establishing relations between photography and imaginary triggers thoughts about several ways of seeing, interpreting and narrative the world. This paper uses this idea to discuss the dynamics of images and symbols as propellers of other narratives or discourses based on Walter Benjamin’s ideas about narratives/narrators. Considering that images are dynamic matter, which derives from our active participation in the world, we may state that they expose our emotional thinking, by comparison with our actions. Therefore, I ponder on a photographer as a narrator who is estranged and entangled, whose knowledge takes the form of poetic/symbolic expression, in the source for understanding the importance of disagreeing with any interpretation that is posed as the last or definitive, as proposed by Benjamin. Photography, as narrative and life, battlefield between of present, past and future, also limits a philosophical dialogue with Walter Benjamin, who, in his classic text “The work of art in the age of mechanical reproduction”, defends the relation between photography and movies. Both are modern ways of expression which are developed and used in agreement with demands and possibilities of a disconnected, fragmented and ephemerous modernity. Such references, related to the theories of imaginary, form the concept of “narrative visual chronicle”, considering that photographies derive from communicative acts which enable subjects to share world perspectives. These ideas resulted in a doctoral dissertation.Keywords: Walter Benjamin; Photography; Imaginary.
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Рябцева, І. М. "To the problem of interpreting the genre of choral miniatures in the creation of Lesya Dichko (on the example of choral miniatures on poetic texts „Winter”, „Na chovni”, „Spring”)." Музикознавча думка Дніпропетровщини, no. 16 (December 18, 2019): 5–17. http://dx.doi.org/10.33287/221918.
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The purpose of the article is to identify the features of the genre ofUkrainian choral miniature and to identify the basic principles of theirimplementation in the choral works by Lesya Dychko. The purpose of thework determines the relevant tasks, which are in identifying the genrestyle landmarks of the musical language of L. Dichko, available in selectedchoral miniatures for poetic texts and, based on their analysis, outline anumber of immanent features inherent in the creativity of the composer.The methods of the research is formed by the using of empiricalapproaches of scientific investigation, namely observations, analyzes and generalizations, which allow the practical implementation of this studyingthemetic destination. The textological and semantic analytical approachesof the poetic text are also used in the work. The scientific novelty of thearticle is determined by the factor of primacy of the complex analysis ofselected choral miniatures from the standpoint of revealing immanentgenre-stylistic traits of L. Dychko’s creativity. Conclusions. The analysisof choral miniatures „Winter”, „Na chovni”, „Spring” on poetic textsallows to classify them as extremely bright, artistically expressiveexamples of modern interpretation of the genre with a relief display ofnationally characteristic stylistic features, which can be considered as anexample of the synthesis of neo-folklore neo-romantic orientation ofcreativity of L. Dychko. The choir miniature of Lesya Dychko is nowfirmly in the repertoire of numerous choirs of Ukraine. The composerforms a comprehensive outlook model of being in interaction with creativethinking. Her vision of the artistic text takes place at the same time in thedimension of literature, music and painting due to the constantinvolvement of elements of the visual arts vocabulary in her works,orientation to „painting”, and work with poetic images.
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Huang, Shin-ying. "Critical multimodal literacy with moving-image texts." English Teaching: Practice & Critique 16, no. 2 (September 4, 2017): 194–206. http://dx.doi.org/10.1108/etpc-02-2017-0018.
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Purpose This paper aims to examine language learners’ critical multimodal literacy practices with a moving-image text, focusing on text comprehension and interpretation rather than text production. It takes a critical perspective towards multimodality and proposes the simultaneous emphasis on critical and multimodal literacies. Design/methodology/approach This qualitative teacher-inquiry adopts critical multimodal literacy as the framework for understanding learners’ literacy practices. The course implementation highlights images, sounds and words as encompassing the five modes of visual, aural, linguistic, gestural and spatial (Arola et al., 2014) in emphasizing the multimodal in critical multimodal literacy, and the purposeful organization of the images, sounds and words as reflecting the critical in critical multimodal literacy. The analysis also adopts Serafini’s (2010) concentric perceptual, structural and ideological perspectives as the tenets of critical multimodal literacy. Findings The findings show that focusing on images, sounds, words and their purposeful organization enabled the students to critically examine a moving-image text through considerations for the multiple modes and arriving at the structural and ideological interpretive perspectives. Originality/value This study fills a gap in the literature, as very little research has been done to investigate the ways in which language learners engage with, that is, comprehend and interpret, moving-image multimodal texts. In addition, it presents a critical multimodal literacy framework based on Serafini’s (2010) tripartite perspectives and offers pedagogical suggestions for incorporating critical multimodal literacy in language classrooms.
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Wałaszewski, Zbigniew. "Mechagodzilla i kobieta cyborg. Technogroza triumfu nad naturą." Literatura i Kultura Popularna 25 (July 28, 2020): 473–93. http://dx.doi.org/10.19195/0867-7441.25.27.
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Interpretations suggested in this article are based on the fourteenth and the fifteenth God-zilla films, Godzilla vs. Mechagodzilla (1974) and Terror of Mechagodzilla (1975), featuring the eponymous icon of the kaijū-eiga (monster films) genre and global pop culture.An analysis of diverse contexts (visual, narrative, structural, and genre) of the cinematic fight of Godzilla (the epitome of Nature) with Mechagodzilla (the epitome of Technology) makes it pos-sible to reveal details of the expression of the desire to acquire and maintain control over technology and, through that, over nature. In the context of the genre of both the analysed films, frightening elements characteristic of a horror film are overcome by mechanisms derived from science fiction, i.e. science and technology, with the concern of civilisation about threats or fatal consequences of the use of devices which get out of control.In the cinematic discourse of images of the conflict of fear of nature with anxieties of civilisa-tion, a technological demon emerges, Mechagodzilla, in an ultra-modern body made from titanium, accumulating the horror of atavistic monsters attacking humans with the new terror of powerful alien machines. The techno-terror of Mechagodzilla is contrasted with original nature, unspoilt by technological interference, which transforms Godzilla, the frightening monster and an archetype of the chaotic and destructive force of natural disasters, into a sympathetic defender of humanity.The sensitivity and cultural tradition of a Western viewer of the films, which serves as the point of departure for the analyses, initially made it difficult to derive a complete interpretation of the message; when the interpretive apparatus was broadened, however, by rooting kaiju eiga in Japanese culture, this helped overcome the problems of interpretation and enriched the reading of Godzilla symbolics with a spiritual element referring to nature.
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Lyddy, Fiona. "Interpreting visual images, individually." Trends in Cognitive Sciences 6, no. 12 (December 2002): 500. http://dx.doi.org/10.1016/s1364-6613(02)02044-2.
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McKee, Alan. "Introduction: Interpreting interpretation." Continuum 15, no. 1 (April 2001): 9–14. http://dx.doi.org/10.1080/713657767.
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McKee, Alan. "Introduction: interpreting interpretation." Continuum: Journal of Media & Cultural Studies 15, no. 1 (April 1, 2001): 9–14. http://dx.doi.org/10.1080/10304310123340.
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McKee, Alan. "Introduction: interpreting interpretation." Continuum: Journal of Media & Cultural Studies 15, no. 1 (April 1, 2001): 9–14. http://dx.doi.org/10.1080/10304310120034242.
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Allamel-Raffin, Catherine. "Interpreting Artworks, Interpreting Scientific Images." Leonardo 48, no. 1 (February 2015): 76–77. http://dx.doi.org/10.1162/leon_a_00903.
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The author aims to compare the ways we interpret images in art and in science. The author suggests that, in art studies, analogy is often used, whereas in natural sciences, researchers appeal to abduction. To illustrate this assumption, she uses some critical texts about Yves Klein’s Anthropometries, as well as some ethnographic reports of scientists’ shop-talks around images, collected in a pharmacology laboratory.
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Hasbi, Hasbi. "Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (May 5, 2021): 37–46. http://dx.doi.org/10.33153/dewaruci.v16i1.3234.
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Lontara is a traditional script of the Bugis-Makassar community, derived from the word lontar, a type of plant in South Sulawesi, which is still used and maintained. Sappo (Bugis): fence used to limit (surround, insulate) land and houses. The Bugis-Makassar community as a whole always has a Sappo / fence to protect themselves, their families, and their nation. Sulapa eppa (four sides) is a mystical form of classical Bugis-Makassar belief that symbolizes the universe’s composition, wind-fire-water-earth. Walasuji is a kind of bamboo fence in a rhombic ritual. Walasuji comes from the word wala, which means separator/fence/guard, and suji means daughter (metaphor of something of value, which must be under protection). The research aims to create three-dimensional paintings with the idea of creation, Sappo: Sulapa eppa walasuji. The symbolic expression concept borrows the Lontara tradition’s idioms, making works of metaphorical Sappo (montage) titles; Posi’ Symbolic expressions are used as research methods to create works. Researchers borrow traditional idioms as a place of expression. Symbolic abstraction works are conceptually a form of modern art by utilizing the Lontara tradition's idiom as a basic element of preparing the work. The contextual use of idioms is no longer intact because there is a degradation in the artists’ processing when interpreting symbolic forms. The expression of tradition is no longer a thematic pouring of ideas, still, as a textual symbol offered by artists to provide freedom of interpretation, Sappo: Sulapa eppa walasuji as the idea of creating paintings. The results of the study explore the elements of form and express the message conveyed through the work of three-dimensional images with the concept of creation, Sappo: Sulapa eppa walasuji, a work of metaphorical painting Sappo (montage) title: Posi, which is essentially God, as the protector of everything from the whole Sappo metaphor. Sappo, an idiom of tradition, is portrayed as a form of the symbolism of reflections on researchers’ lives visualized in the entire artwork. The visual elements used, stone, wood, bamboo, and paint, are at the same time a metaphor for the universe, which is God’s creation.
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Fakhr Eldin, Nouran. "Interpreting Visual Images : A Socio-Semiotic Approach to Facebook Images." مجلة البحث العلمی فی الآداب 2, no. 5 (August 1, 2017): 1–62. http://dx.doi.org/10.21608/jssa.2017.11190.
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Alhuthali, Mohammed. "Interpreting Stereotypes: Images and Text." International Journal of Linguistics 10, no. 4 (August 31, 2018): 113. http://dx.doi.org/10.5296/ijl.v10i4.13577.
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While the concept of resemiosis is critical in multimodal analyses, in practice the focus often falls on understanding the individual semiotic resources in use and their interaction (intersemiosis). This paper uses the framework developed by Martin and White (2005) of affect (how do we feel about the images), judgement (how is this influenced by the social norms in use) and appreciation (how do we read the image) in order to structure an analysis of resemiosis. This forces attention to how judgemental this process is, what type of assumptions are made by the observer and how the observer’s interpretation may vary from that of the original creator.This paper studies a two frame cartoon and considers how we might evaluate this using the concepts of affect, judgement and appreciation. In this case, the reader of the cartoon is clearly meant to identify positively with the second interaction (both what is being said and how). However, it is worthwhile to note that in both frames, the street sweeper is presented completely passively – either as an object of pity or to be helped – lacking any agency in their own respect.By taking full account of the concepts of appreciation and judgement, this allows us to also consider if there are other interpretive frameworks. These may lead the observer to read the image in a manner very different to that intended by the original author.
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Herron, Donald A. "Thoughts and observations on interpreting depth-imaged data." Interpretation 1, no. 1 (August 1, 2013): B1—B6. http://dx.doi.org/10.1190/int-2012-0020.1.
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Interpreting depth-imaged data requires attention to elements of uncertainty different from those associated with time-imaged data. In particular, an interpreter must visualize how the migration velocity model affects focusing and positioning of reflections in final images and, consequently, interpretation of the geology contained in those images. The availability of several versions of depth imaging based on a single velocity model but with different migration algorithms complicates interpretation in that the interpreter must decide which version provides the most accurate representation of the true geology.
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Hardage, Bob A. "Pitfall experiences when interpreting complex structure with low-quality seismic images." Interpretation 3, no. 1 (February 1, 2015): SB29—SB37. http://dx.doi.org/10.1190/int-2014-0118.1.
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Structural interpretation of seismic data presents numerous opportunities for encountering interpretational pitfalls, particularly when a seismic image does not have an appropriate signal-to-noise ratio (S/N), or when a subsurface structure is unexpectedly complex. When both conditions exist — low S/N data and severe structural deformation — interpretation pitfalls are almost guaranteed. We analyzed an interpretation done 20 years ago that had to deal with poor seismic data quality and extreme distortion of strata. The lessons learned still apply today. Two things helped the interpretation team develop a viable structural model of the prospect. First, existing industry-accepted formation tops assigned to regional wells were rejected and new log interpretations were done to detect evidence of repeated sections and overturned strata. Second, the frequency content of the 3D seismic data volume was restricted to only the first octave of its seismic spectrum to create better evidence of fault geometries. A logical and workable structural interpretation resulted when these two action steps were taken. To the knowledge of our interpretation team, neither of these approaches had been attempted in the area at the time of this work (early 1990s). We found two pitfalls that may be encountered by other interpreters. The first pitfall was the hazard of accepting long-standing, industry-accepted definitions of the positions of formation tops on well logs. This nonquestioning acceptance of certain log signatures as indications of targeted formation tops led to a serious misinterpretation in our study. The second pitfall was the prevailing passion by geophysicists to create seismic data volumes that have the widest possible frequency spectrum. This interpretation effort showed that the opposite strategy was better at this site and for our data conditions; i.e., it was better to filter seismic images so that they contained only the lowest octave of frequencies in the seismic spectrum.
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Grubb, H., A. Tura, and C. Hanitzsch. "Estimating and interpreting velocity uncertainty in migrated images and AVO attributes." GEOPHYSICS 66, no. 4 (July 2001): 1208–16. http://dx.doi.org/10.1190/1.1487067.
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Estimating a suitable velocity field for use in prestack depth migration is inherently uncertain because of limitations on the available data and estimation techniques. This uncertainty affects both the migrated depth of structures and their amplitudes in the inverted images. These effects can be estimated by performing multiple migrations with a set of velocity fields and colocating features in the migrated images. This lets us examine the imaging procedure’s sensitivity to changes in the velocity field so we can assess both structural and amplitude uncertainties in migrated images. These two types of uncertainties affect interpretation in different ways. For instance, with structural uncertainty interpretation we consider the change in migrated location of structures when deciding on drilling locations, optimizing well trajectories, or computing uncertainty in volumetric calculations. With amplitude uncertainty or amplitude versus offset (AVO) uncertainty interpretation, we consider (1) uncertainty in crossplots of pairs of AVO attributes at a point of interest or (2) uncertainty of the attribute values along identified structures. For any interpretation informing a decision, the uncertainty can help estimate risk. Our data processing approach is based on amplitude‐preserving prestack depth migration followed by AVO inversion, or AVO migration/inversion. It is valid for estimating AVO attributes in simple to moderately complex structural settings. Our methods of assessing the effect of velocity uncertainty can also be applied when obtaining structural uncertainties for a complex overburden geology or amplitude uncertainties in conventional NMO‐based AVO analysis. They may also be applied straightforwardly to any poststack attribute analysis. Key to the approach is the availability of multiple velocity fields to generate multiple migrated images. In our application, an automatic algorithm samples possible fields, but the set of fields to consider could be generated from another source, such as interpretation.
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Eden, Grace, Marina Jirotka, and Eric T. Meyer. "Interpreting Digital Images BeyondJustthe Visual: Crossmodal Practices in Medieval Musicology." Interdisciplinary Science Reviews 37, no. 1 (March 2012): 69–85. http://dx.doi.org/10.1179/0308018812z.0000000005.
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Rakhmawati, Susi Septaviana. "The role of moving images in the conference interpreting classroom." Indonesian Journal of Applied Linguistics 5, no. 2 (January 30, 2016): 262. http://dx.doi.org/10.17509/ijal.v5i2.1350.
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This paper reports on the study of the student interpreters’ performance in conference interpreting classes in an Indonesian university when multimodal texts were provided as part of the teaching methods. It aims to answer how multimodal texts can influence interpreting performance among students. A case study design was used to allow an in-depth analysis of the students’ interpreting performance as the phenomenon described (Yin, 2003) using triangulation of data analysis. Observation, interview, and seven transcription analysis from three students were carried out. Observation and interview result shows that the students used visual information such as lips movement, running text on video, moving images, and the speakers’ gestures in their interpreting processes. Moreover, the students said that the existing method of teaching interpreting using multimodal texts is really helpful for them in developing their interpreting skills. Furthermore, transcription analysis also confirms that the student with multimodal strategies (facing the speaker, the screen/the video) performed better during interpreting process. However, a student who faces both did not seem to perform well. The indication is that he was unable to focus, being distracted and nervous. Thus, overall the student interpreters used visual information as part of multimodal communication, in addition to speech, working on the regular mode of listening and speaking during interpreting process, which suggest significant contribution of multimodal texts to better rendition in the target language.
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Kundel, Harold L. "Visual Cues in the Interpretation of Medical Images." Journal of Clinical Neurophysiology 7, no. 4 (October 1990): 472–83. http://dx.doi.org/10.1097/00004691-199010000-00003.
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KRISHNAKUMAR, N., S. SITHARAMA IYENGAR, RON HOLYER, and MATTHEW LYBANON. "AN EXPERT SYSTEM FOR INTERPRETING MESOSCALE FEATURES IN OCEANOGRAPHIC SATELLITE IMAGES." International Journal of Pattern Recognition and Artificial Intelligence 04, no. 03 (September 1990): 341–55. http://dx.doi.org/10.1142/s0218001490000216.
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Thermal infrared images of the ocean obtained from satellite sensors are widely used for the study of ocean dynamics. The derivation of mesoscale ocean information from satellite data depends to a large extent on the correct interpretation of infrared oceanographic images. The difficulty of the image analysis and understanding problem for oceanographic images is due in large part to the lack of precise mathematical descriptions of the ocean features, coupled with the time varying nature of these features and the complication that the view of the ocean surface is typically obscured by clouds, sometimes almost completely. Towards this objective, the present paper describes a hybrid technique that utilizes a nonlinear probabilistic relaxation method and an expert system for the oceanographic image interpretation problem. This paper highlights the advantages of using the contextual information in the feature labeling algorithm. The need for an expert system and its feedback in automatic interpretation of oceanic features is discussed. The paper presents some important results of the series of experiments conducted at the Remote Sensing Branch, of the Naval Oceanographic and Atmospheric Research Laboratory, on the National Oceanic and Atmospheric Administration Advanced Very High Resolution Radiometer (AVHRR) imagery data. The results clearly indicate the drastic improvement in labeling due to the oceanographic expert system.
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Siela, Debra. "Advanced Chest Imaging Interpretation of Acute Pulmonary Disorders." AACN Advanced Critical Care 25, no. 4 (October 1, 2014): 365–74. http://dx.doi.org/10.4037/nci.0000000000000050.
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Bedside and advanced practice nurses in acute and critical care often view chest radiologic images of their patients. Correlation of findings on chest radiologic images with results of physical and other diagnostic assessments can provide information for making appropriate clinical judgments. Radiologic images of the chest available for acutely ill patients now include frontal/lateral chest radiographs and computed tomography (CT) scans. The purpose of this article is for the reader to review basic skills for interpreting chest radiographs, gain skill in reviewing CT scans of the chest, and be able to apply more advanced interpretation skills for both chest radiographs and chest CT scans. Several chest images are included for review.
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Walker, Nicholas, and John Fox. "Knowledge based interpretation of images: a biomedical perspective." Knowledge Engineering Review 2, no. 4 (December 1987): 249–64. http://dx.doi.org/10.1017/s0269888900004148.
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AbstractThe traditions of image processing and knowledge engineering have developed separately. Work on AI vision systems lies between the two traditions but only recently has attention been given to combining practical imaging systems with methods for exploiting knowledge in interpreting the contents of an image. Five general approaches to combining knowledge based expert systems with imaging technologies are discussed. Particular attention is paid to the requirement for techniques which transform a pixel array into a symbolic form suitable for interpretation, and current obstacles to a general solution. Interpretation of biomedical images is particularly problematic because of statistical, structural and temporal variation in morphology of objects and structures. Some ways in which knowledge of shape, structure, and object classifications may contribute to this interpretation are discussed. The survey focuses on biomedical images but many of the issues are of general relevance to work in image understanding.
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van Haaster, Kees J. M. "Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research." Social Work Education 31, no. 6 (September 2012): 799–800. http://dx.doi.org/10.1080/02615479.2012.695467.
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Kleeblatt, Norman. "Disobedient Images." IMAGES 1, no. 1 (2007): 15–21. http://dx.doi.org/10.1163/187180007782347566.
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AbstractNorman L. Kleeblatt discusses four works of art that present problems of interpretation and reception, each of which touches on visual and textual taboos. Avoidance of works of art with such problematic images is a natural response. However, confrontation of the meanings intended by the artists frequently open new avenues for investigation and interpretation, not to mention new iconographies that often contradict the assumptions of art at the intersection with Jewish culture.
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Kaufmann, Thomas DaCosta. "Images of Rule: Issues of Interpretation." Art Journal 48, no. 2 (1989): 119. http://dx.doi.org/10.2307/776960.
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Murthy, Dhiraj, Alexander Gross, and Marisa McGarry. "Visual Social Media and Big Data. Interpreting Instagram Images Posted on Twitter." Digital Culture & Society 2, no. 2 (December 1, 2016): 113–34. http://dx.doi.org/10.14361/dcs-2016-0208.
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Abstract Social media such as Twitter and Instagram are fast, free, and multicast. These attributes make them particularly useful for crisis communication. However, the speed and volume also make them challenging to study. Historically, journalists controlled what/how images represented crises. Large volumes of social media can change the politics of representing disasters. However, methodologically, it is challenging to study visual social media data. Specifically, the process is usually labour-intensive, using human coding of images to discern themes and subjects. For this reason, Studies investigating social media during crises tend to examine text. In addition, application programming interfaces (APIs) for visual social media services such as Instagram and Snapchat are restrictive or even non-existent. Our work uses images posted by Instagram users on Twitter during Hurricane Sandy as a case study. This particular case is unique as it is perhaps the first US disaster where Instagram played a key role in how victims experienced Sandy. It is also the last major US disaster to take place before Instagram images were removed from Twitter feeds. Our sample consists of 11,964 Instagram images embedded into tweets during a twoweek timeline surrounding Hurricane Sandy. We found that the production and consumption of selfies, food/drink, pets, and humorous macro images highlight possible changes in the politics of representing disasters - a potential turn from top-down understandings of disasters to bottom-up, citizen informed views. Ultimately, we argue that image data produced during crises has potential value in helping us understand the social experience of disasters, but studying these types of data presents theoretical and methodological challenges.
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Cheng, Xiufeng, Jinqing Yang, Ling Jiang, and Anlei Hu. "Interpreting and semantically describing Chinese traditional brocade: Xilankapu." Electronic Library 37, no. 3 (June 3, 2019): 474–89. http://dx.doi.org/10.1108/el-09-2018-0193.
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Purpose The purpose of this paper is to introduce an interpreting schema and semantic description framework for a collection of images of Xilankapu, a traditional Chinese form of embroidered fabric and brocade artwork. Design/methodology/approach First, the authors interpret the artwork of Xilankapu through Gillian Rose’s “four site” theory by presenting how the brocades were made, how the patterns of Xilankapu are classified and the geometrical abstraction of visual images. To further describe the images of this type of brocade, this paper presents semantic descriptions that include objective–non-objective relations and a multi-layered semantic framework. Furthermore, the authors developed corresponding methods for scanning, storage and indexing images for retrieval. Findings As exploratory research on describing, preserving and indexing images of Xilankapu in the context of the preservation of cultural heritage, the authors collected 1,000+ images of traditional Xilankapu, classifying and storing some of the images in a database. They developed an index schema that combines concept- and content-based approaches according to the proposed semantic description framework. They found that the framework can describe, store and preserve semantic and non-semantic information of the same image. They relate the findings of this paper to future research directions for the digital preservation of traditional cultural heritages. Research limitations/implications The framework has been designed especially for brocade, and it needs to be extended to other types of cultural image. Originality/value The semantic description framework can describe connotative semantic information on Xilankapu. It can also assist the later information retrieval work in organizing implicit information about culturally related visual materials.
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Pelli, Denis G. "Visual limitations to image interpretation." Proceedings, annual meeting, Electron Microscopy Society of America 45 (August 1987): 18–19. http://dx.doi.org/10.1017/s0424820100125154.
Full textAbstract:
Most images are interpreted solely by visual perception. What we can perceive in an image is limited by the quality of the image (e.g. the contrasts of the signal and noise) and by intrinsic limits of our visual systems. In this abstract I will describe the intrinsic noise in the visual system. In my presentation I will also demonstrate some limits to the complexity of patterns that may be perceived.THE EQUIVALENT INPUT NOISE OF HUMAN VISIONIn order to see, we must transduce the photons entering our eye into neural activity. The absorption of light by matter is a stochastic phenomenon. The intensity of the light determines only the probability of a photon absorption by a photoreceptor. Thus vision is intrinsically noisy, based as it is on the random absorption of photons.