Relevant bibliographies by topics / Visual narration

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Visual narration'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Visual narration"

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Ruthrof, Horst. "Narration/narrative/narration." Continuum 1, no. 1 (January 1988): 175–91. http://dx.doi.org/10.1080/10304318809359329.

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Korkmaz, Selma. "A Comparison on illustration of story and narration of illustration." SHS Web of Conferences 48 (2018): 01030. http://dx.doi.org/10.1051/shsconf/20184801030.

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The purpose of Turkish classes is to equip students with the ability of comprehension and narration. Everyone knows that stories covered in Turkish courses are offered with visuals, meaning pictures, so that they could be more easily understood. Illustration of a read story and narration of a picture shown can help explore the extent to which the topic is comprehended and how it is narrated, meaning visual presentation and visual reading skills. The purpose of this study is to compare whether attention is paid to several elements such as event, time, place, persons, language and narration/visual language during the illustration of a story and narration of a picture shown, meaning whether a connection is established between the narrated story and drawn picture as well as between the shown picture and the narrated story. Study group consists of 35 pre-service teachers who are junior students at Turkish language teaching department of Atatürk Education Faculty at Near East University. Document analysis, which is a qualitative research method, was employed and several stories and pictures were used as data collection tools. Descriptive analysis, percentage and frequency were used in the analysis of data. Based on the obtained findings, we can claim that pre-service teachers are more skilled in narration of picture compared to illustration of stories, meaning that their visual reading skills are superior to their visual presentation skills.
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Zolna, Jesse S. "The Effects of Study Time and Presentation Modality on Learning." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 51, no. 7 (October 2007): 512–15. http://dx.doi.org/10.1177/154193120705100701.

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The modality principle suggests that presenting words via audio-narration rather than visual-text can improve learning (Mayer, 2001). However, the use of narrations when verbal materials are lengthy can have cognitive costs, and learning from text can be improved when materials are self-paced or provide ample study time. Therefore, there might be circumstances under which using text would actually be better than using narration. In this experiment we compare learning from diagrams that accompany text or narration; we manipulated available study time while also providing learners control over the pace of presentation. The results show that under these conditions, using narration instead of text does not improve learning. Some additional study time improves learning from both narration and text. However, even greater amounts of study time improve learning from narrations but not text. Implications about when to apply the modality principle to multimedia instructional design are discussed.
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Cheremisinova, Larisa I. "Narrative Strategy in Afanasy Fet’s Story The Golts Family." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 5–20. http://dx.doi.org/10.17223/23062061/24/1.

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In the modern research on Afanasy Fet, questions of “prosaic” Fet studies remain poorly investigated: the poetics of Fet’s prose, the specifics of its narrative, the genre features of the works, the comparative analysis of Fet’s narrative practice and contemporary writers’ works. Examination of ways of implementing the narrative strategy in the story The Golts Family requires clarification of the genre features of this work since the principles of narration largely depend on the genre. The volume of this text, the coverage of the events depicted in it, the presence of several plot lines, the abundance of static narrative elements, the constructive role of the narrator, the organization of the narration mainly by descriptions and arguments rather than by event series make The Golts Family a story. The differences of subjects and types of narrative divide the story into two parts. The first part (Chapters 1–3) presents an objective narrative on behalf of an “omniscient” narrator. Starting from Chapter 4, the narrative type changes to “Inarration”, which continues until the very end of the story. A special lyrical atmosphere, an intimate tone, the warmth of memories cocoon the “cuirassier” pages of the story. Fet was faced with a difficult creative task: to depict the fate of the vet Golts and his family against the background of documentary episodes of the life of the cuirassier regiment. The search for the solution entailed a special way of implementing a narrative strategy, in particular, a change in the types of narration. The “interchangeability” of the storyteller and the narrator, changes in the perspectives of the image, in the points of view, and, at the same time, in the types of narration are artistically justified in Fet’s story for they fulfill a certain super-task. The “mediation” of the narrator allows the reader to enter the depicted world and look at the events through the eyes of the characters. In The Golts Family, views “from the outside” and “from the inside”, subjective and objective narratives intertwined. This allowed the author to capture a broad picture of life, to create a multidimensional live image that combines various character traits and possesses individuality and integrity. The author shows Golts’ tragic fate as if “from the outside”, on behalf of the narrator. The appearance of the narrator—the regimental adjutant—changes the point of view in the story and gives a different perspective of the image. The reader now perceives the world of artwork through the character’s consciousness. The position of narrating endows the story with lyricism and cordiality, “revives” it “from the inside”. Thus, the author unwittingly balances the internal and external positions, binds together the whole story.
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Branigan, Edward, and Seymour Chatman. "Narration Issues." Film Quarterly 41, no. 1 (1987): 63–65. http://dx.doi.org/10.2307/1212332.

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Branigan, Edward, and Seymour Chatman. "Narration Issues." Film Quarterly 41, no. 1 (October 1987): 63–65. http://dx.doi.org/10.1525/fq.1987.41.1.04a00110.

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Ghinelli, Paola. "Images et narration dans l’œuvre de Dany Laferrière." Quêtes littéraires, no. 5 (December 30, 2015): 181–89. http://dx.doi.org/10.31743/ql.251.

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Narrative developments often stem from images in Dany Laferrière’s work. On the other hand, some of the narration in Laferrière’s fiction and nonfiction is synthesized in narrative snapshots that resemble descriptions. Temporal dimension plays a key role in this constant shift between image and imagination, because, as Didi-Huberman has shown, images carry an anachronistic element. This element also allows Laferrière and his narrators to use mainly simple present tense, even when the content of the narration is set in the past. Nevertheless, images are never explained or rationalized in Laferrière’s work, which keeps the mystery and ambiguity that characterize visual representations.
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Batori, Anna. "The symbiosis of images and non-diegetic sound in Lynne Ramsay’s Brigitte." Short Film Studies 11, no. 2 (September 1, 2021): 161–66. http://dx.doi.org/10.1386/sfs_00050_1.

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The article investigates the poetic and intertextual narrative structure of Lynne Ramsay’s short documentary film Brigitte. Based in a factory in London, Ramsay’s work carefully captures the well-known photographer Brigitte Lacombe in a narrative set-up, which avoids face-to-face interviews. In this postclassical storytelling structure, black-and-white still photographs and voice-over narration melt into a poetic form that narrates personal and interpersonal histories. The article analyses this very avant-garde symbiosis of images and non-diegetic narration through a close textual analysis, while it also investigates the very form of postclassical short documentary set-ups.
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Zenkin, Sergey N. "The Mask of the Muse. Visuality and Narrative in Richard Le Gallienne’s The Worshiper of the Image." Studia Litterarum 6, no. 3 (2021): 10–39. http://dx.doi.org/10.22455/2500-4247-2021-6-3-10-39.

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This article is a close reading of The Worshiper of the Image (1898), a tragic fairytale by Richard Le Gallienne — a symbolist allegory, whose female character is a coming-to-life visual image. This character is distinguished by polymorphism which manifests itself both in the story’s plot and in the character’s mythical autobiography, namely, in her reincarnations over centuries. The visual hypostasis of this character is L’Inconnue de la Seine — a popular and mysterious kitsch object, the mask of a girl who allegedly drowned in Seine in the second half of the 19th century. The interaction of the Image with other characters is determined by the concept of contagion, i.e., immediate power contact which alternates with abstract allegorical interpretations of the Image (considered, for example, as the embodiment of Art or Beauty); in the course of the narrative, the contagious image gradually displaces the story’s living characters, including the wife of the main character who uncannily resembles and doubles the image. These narrative and visual collisions reflect a precarious position of the visual image in the decadent culture — a conflict between the visual image and narration: the narration fails to provide an exhaustive ekphrastic description of the image and evasively multiplies contradictory impressions of other characters about it instead.
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Thanouli, Eleftheria. "POST‐CLASSICAL NARRATION." New Review of Film and Television Studies 4, no. 3 (December 2006): 183–96. http://dx.doi.org/10.1080/17400300600981900.

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Dissertations / Theses on the topic "Visual narration"

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Rabie, Omar. "Revealing the potential of Compressed Earth Blocks : a visual narration." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/43006.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.
Includes bibliographical references (leaves 63-64).
Compressed Earth Blocks (CEB) is a developed earth technology, in which unbaked brick is produced by compressing raw soil using manual, hydraulic, or mechanical compressing machines. Revealing the potential of an affordable sustainable material like CEB may help tackle today's fundamental challenges, social equity and environmental sustainability. For one year in India, I learned and practiced the basics of this technology in Auroville Earth Institute, and then conducted a group of design and construction experimentations for a natural resort project. Through these experimentations, I tried to reveal CEBs' capabilities through design innovation. The thesis captures my new understandings of the design competence of the material in relation to the design process, through narrating the story of this experience using images and a dialogue between the designer, mason, sponsor and the blocks themselves.
by Omar Rabie.
S.M.
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Horvath, Gyongyver. "From sequence to scenario : the historiography and theory of visual narration." Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/25603/.

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Croset, Grégoire. "La narration en poésie : pièges et enjeux d'une terminologie difficile." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43896.

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In this analytical research paper, the notions of narrator and narration in poetry are discussed in order to identify why the terminology in this particular genre is considered as problematic by most theorists. In its theoretical section, this paper focuses on Philippe Lejeune’s autobiographical and biographical pacts, and shows the limits of the two reading contracts in the poetical genre. Then, on the background of Brian McHale and Stefan Kjerkegaard’s works on segmentivity, this paper explains the narrative process that can be found in the visual form of poetry. Finally, discussing Brian McAllister and Marie-Laure Ryan’s works on narrativity, this study explains that a story is a mental image that the transposition to a media will transform in order to best represent according to its own limits. In its analytical part, and mirroring the theoretical part, this study focuses on identifying the narrator, the narrative process, as well as the degree of narrativity of four poems by David Diop, Charles Pennequin, Ilse Garnier and Pierre Garnier. Thoses poems, chosen on the ground that they are good representative examples of narrative poetry, lyric poetry and visual poetry, help test the theories in practice. The results show that in the narrative poem, although the identity of the narrator is hard to establish, the narrative process is clear and the degree of narrativity is high. In the lyric and visual poems on the other hand, even if the segmentivity theory helps ‘reconstruct’ the narration when linking words are missing, the difficulty to identify narrative events in the lyric poem and a story world in the case of the visual poetry makes the emergence of a story world, and in turn of a narrator, problematic.
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Banks, Carol. "An investigation into achieving visual narration using photochromic dyes on a textile substrate." Thesis, Heriot-Watt University, 2014. http://hdl.handle.net/10399/2895.

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Photochromic dyes have the unique property of being colourless until exposed to ultraviolet (UV) light. Their application within design has thus far been basic, predominantly developing the medium as it is exposed to natural UV light. Therefore, by exploring the dyes’ colours and movement when printed on a textile substrate and developed by artificial UV light, this thesis investigates their ability to create a form of visual narrative. Using the dyes’ colours to evoke a change in emotion set the parameters for answering this aim. Testing the interactions of the dyes’ colours in sunlight, on a range of substrates and in varied combinations, provided initial knowledge of how they perform in this medium. Whilst the stylistic techniques of French Impressionist films provided configurations with which to explore the movement of the dyes, research on colour showed the diversity of ways in which it is able to be used to express emotion. Two custom built UV LED arrays, manually operated then software driven, enabled the dyes’ development times and intervals to be controlled. Design questions were then answered by combining these factors with the dyes’ fading speeds. Storyboarding photographs became an important part of the analysis and reflection process whilst filming also assisted in observing their transient nature. This work revealed that a new methodology, that was based on placement and sequencing, would be necessary when designing with dyes that move. Design exploration illustrated how using two dyes, from opposite ends of both the fading and emotional spectrum, mixed by printing, could create a colour change, as they faded, when they were developed in a linear sequence. Subsequently, by combining abstract representational imagery with variations on the stylistic film techniques, to alternately develop two dyes, it was illustrated how, by varying their development intervals, these dyes have the potential to create a visual narrative that evokes a change of emotion in the viewer.
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Silveira, Paulo Antonio de Menezes Pereira da. "As existências da narrativa no livro de artista." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12111.

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Este estudo visa verificar o intervalo formativo entre o comparecimento e a ausência das estratégias de narração nos livros de artista de edição e se e como a narrativa visual é capaz de determinar sua bibliogênese.
This research, As existências da narrativa no livro de artista (“The existences of narrative in the artist’s book”), aims to verify the formative spectrum from attendance to nonappearance of narration strategies into the published artist’s books and if and how the visual narrative is able to determine its bibliogony.
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Tatham, Gail Constance, and n/a. "Stories of Moses and visual narration in Jewish and early Christian art (3rd century AD)." University of Otago. Department of Classics, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080318.163116.

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This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model. Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled. During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.
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黃嘉輝 and Ka-fai Wong. "The problems of visual discourse: a study of the politics of representation with special reference to thephotographic image." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208988.

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Wong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /." [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.

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Speidel, Klaus. "Narration visuelle et récit iconique : raconter une histoire en une image." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040195.

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A l’occasion de l'analyse de la question des capacités de l’image immobile isolée de « raconter une histoire », l’auteur développe les bases d’une narratologie fondamentale renouvelée, revisite la sémiotique du texte et les théories de l’image et réalise un déplacement méthodologique qui remplace l’approche sémiotique de la question du récit et de la narrativité par une approche en termes d’effets et de réception. La réflexion croise plusieurs disciplines : l’histoire de l’art, la narratologie, la sémiotique, mais aussi la philosophie et l’esthétique. Si l'auteur se propose bien de reconstruire les fondements même de la théorie de la narration visuelle, il ne cherche pas cependant à remplacer les théories existantes par un nouveau paradigme construit ex nihilo. Les bases nouvelles émergent au fil d’un travail sur les théories développées à ce jour ainsi qu'un corpus divers d'images narratives. Les théories critiquées se voient intégrées plutôt que niées dans le déplacement opéré. Pour résoudre le principal problème pour le récit iconique, celui du temps, l'auteur propose une nouvelle conceptualisation de la structure temporelle de l'image fixe unique. Celle-ci prend en compte le temps représenté et la durée perceptive. La dernière partie de l'ouvrage est consacrée à une relecture du Laocoon (1766) de G. E. Lessing, ouvrage largement responsable de la conception actuelle selon laquelle le récit iconique serait impossible. L'auteur montre que le débat autour des thèses de Lessing a été faussé par une confusion entre la question des possibilités/impossibilités de l’image comme telle et celle des « fins propres » de l’image dès lors qu’elle est artistique
Based on his analysis of the possibility of iconic narrative – « telling a story » with a single still picture – Klaus-Peter Speidel develops a new foundation for visual narratology based on cognitive theory and reception aesthetics. Speidel's work is at the intersection of various disciplines : art history, literary theory, semiotics, philosophy of art and picture theory. While the thesis aims at reconstructing the foundations of a theory of visual narrative, the author does not try to replace the existing approaches with a new theory created ex nihilo. The new foundations emerge from his analysis of existing theories as well as a diverse array of pictures which play an important role in the argument. Classical theories of narrative are absorbed rather than rejected. In order to solve the main problem for visual narrative, the problem of time, the author offers a new conceptualisation of the temporal structure of still images. His taxonomy takes into account both the chronology of the story being told and perception time. The final part of the work offers a reinterpretation of G. E. Lessing's Laocoon (1766) a work that has played a major role for modern scepticism concerning the possibility of telling a story with a picture. The author shows that the discussion around Lessing has been biased by a confusion between the possibilities of the picture as such and the aims of artistic pictures. According to Speidel, Lessing's theory has lost much of its value as a theory of art but is still valuable as a theory for certain kinds of pictures, namely pictures that aim at “transparency”
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Host, Mark Ivan. "Final Fantasy X and Video Game Narrative: Re-Imagining the Quest Story." Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1242246706.

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Thesis--(M.A.)Cleveland State University, 2009
Abstract. Title from PDF t.p. (viewed on June 11, 2009). Includes bibliographical references (p. 42-44). Available online via the OhioLINK ETD Center. Also available in print.
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Books on the topic "Visual narration"

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Narrating the visual in Shakespeare. Aldershot, Hants, England: Ashgate, 2009.

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1950-, Martin J. R., and Unsworth Len, eds. Reading visual narratives: Image analysis of children's picture books. Sheffield, South Yorkshire: Equinox Pub., 2012.

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Sohet, Philippe. Images du récit. Québec: Presses de l'Université du Québec, 2007.

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Timón, Vicente Peña. La imagen narrativa y nuevas tecnologías. Málaga: Universidad de Málaga, 1998.

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Timón, Vicente Peña. El programa narrativo en el relato audiovisual. [Málaga]: Universidad de Málaga, 1998.

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Make believe in film and fiction: Visual vs. verbal storytelling. New York: Palgrave Macmillan, 2006.

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Varga, A. Kibédi. Discours, récit, image. Liège: P. Mardaga, 1989.

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Sipure badim: Naraṭiv u-mabaṭ be-tsiyur. Ramat Gan: Universiṭat Bar-Ilan, 2009.

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Moro, Walter. Lettura e didattica del racconto visivo: Dal fumetto allo spot pubblicitario. Scandicci (Firenze): Nuova Italia, 1991.

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Andres, Sophia. The pre-Raphaelite art of the Victorian novel: Narrative challenges to visual gendered boundaries. Columbus: Ohio State University Press, 2005.

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Book chapters on the topic "Visual narration"

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Huang, Chiwu, and Miao-Hsien Chuang. "An Exploration of Figures and Text in Visual Narration: Visual Flow and Preference Factors." In Communications in Computer and Information Science, 541–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39476-8_109.

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Vedder, Ulrike. "Poetological Lists: Writing-Scenes in Contemporary Literature." In Forms of List-Making: Epistemic, Literary, and Visual Enumeration, 209–24. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-76970-3_10.

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AbstractThe article focuses on literary lists the items of which demonstrate the practice of writing, that is, those which evoke a “writing-scene” (R. Campe). These poetological lists consolidate the self-reflexive potential of literary texts, gather elements of narration in list form, stage the conditions for a non-linear narrative in the list or even thematize the “genea-logic” of narrative and writing. Under consideration are four lists (all in the second half of the twentieth century) from the most disparate of genres: lyric poetry (Inger Christensen), the manifesto (Jack Kerouac), the novel (Italo Calvino), and the autobiography (Roland Barthes). Each of these lists reflects not only the process of writing and poetics but also genre specificity.
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Molinié, Muriel. "5. From the Migration Experience to its Visual Narration in International Mobility." In Visualising Multilingual Lives, edited by Paula Kalaja and Sílvia Melo-Pfeifer, 73–95. Bristol, Blue Ridge Summit: Multilingual Matters, 2019. http://dx.doi.org/10.21832/9781788922616-009.

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Blümer, Agnes. "Between Order and Chaos: Lists in Children’s Literature." In Forms of List-Making: Epistemic, Literary, and Visual Enumeration, 227–48. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-76970-3_11.

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AbstractThis chapter aims to contribute toward a poetics of the list in children’s literature. Lists are a recurrent technique in texts addressed to children and young adults. This chapter intends to show that the didactic function of lists is very important, especially in picturebooks, but that many lists in children’s literature are also intended to serve as a source of enjoyment through their reliance on rhymes, sounds, and their typical creative play with language. Many lists do not transfer knowledge or moral standards but play with concepts of narration.
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Coderre, Emily. "Visual Narrative Comprehension." In Encyclopedia of Autism Spectrum Disorders, 1–4. New York, NY: Springer New York, 2019. http://dx.doi.org/10.1007/978-1-4614-6435-8_102328-1.

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Coderre, Emily. "Visual Narrative Comprehension." In Encyclopedia of Autism Spectrum Disorders, 5105–8. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-91280-6_102328.

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Goodnow, Trischa. "Narrative Theory." In Handbook of Visual Communication, 265–74. Second edition. | New York, NY: routledge, 2020. | Series: Routledge communication series: Routledge, 2020. http://dx.doi.org/10.4324/9780429491115-24.

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Tamboukou, Maria. "Broken narratives, visual forces." In Beyond Narrative Coherence, 67–86. Amsterdam: John Benjamins Publishing Company, 2010. http://dx.doi.org/10.1075/sin.11.05tam.

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Friedmann, Anthony. "Documentary and Nonfiction Narrative." In Writing for Visual Media, 147–66. 5th ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429280856-10.

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Mulvey, Laura. "Visual Pleasure and Narrative Cinema." In Visual and Other Pleasures, 14–26. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-19798-9_3.

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Conference papers on the topic "Visual narration"

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Peng, Xu, and Guo Yadi. "The Application of Visual Narration in Academic Research." In VINCI'2019: The 12th International Symposium on Visual Information Communication and Interaction. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3356422.3356451.

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Woelandhary, Ayoeningsih Dyah, Ariesa Pandanwangi, and Nuning Y. Damayanti. "Expression and Visual Narration of The Jakarta Marunda Batik." In 1st International Conference on Folklore, Language, Education and Exhibition (ICOFLEX 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201230.031.

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Janier, Josefina Bamachea, Wan Fatimah Wan Ahmad, and S. B. Firdus. "Representing visual content of movie cartoons through narration for the visually impaired." In 2013 International Conference on Computer Applications Technology (ICCAT 2013). IEEE, 2013. http://dx.doi.org/10.1109/iccat.2013.6522042.

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Susanto, Eko, Yasraf Piliang, and Setiawan Sabana. "A New Discourse about Moving Photography as a Static Visual Narration." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294887.

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Regis Brasil, Priscilla. "Film as part of the thesis and mounting as a method for the social sciences." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.112.

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My argument is that the history of space can be built by montage. I'm a documentary filmmaker and editor. I understand film as a support for writing in fragments. I think that the filmic form, capable of carrying movements and times, testimonies and texts, past and present, is a suitable support for the history of space. There is a visual form of knowledge and a wisdom of the gaze, as in Warburg's Atlas, largely disregarded by the academy as a way of producing knowledge. If montage is a polyphonic device that uses forgotten remains and heterogeneous narrations to dismantle the official story and reassemble another story from its critical constellations, no instrument seems to me more adequate than a film to execute it. Through the search for other ways of narrating the urban experience, following Benjamin from the rags and the residues, operating knowledge from the anarchic potentialities of the fragment and the problematization through doubt, through the incomplete and through the unfinished. For Didi-Huberman, the empirical and creative exercise proposed by Benjamin is capable of bringing out other possibilities from the dismantling of certainties. It allows us to think through the differences in the gaps left between the fragments. The montage allows for the simultaneity of times and the emergence of symptoms, the revelation of failures, conflicts, heterogeneity, in perforating tradition and colliding with the text. If montage serves all this, it also serves the decolonization of perspectives and methodologies, serves to narrate the history of subalterns and the hidden histories of empires. It also can be used to articulate memory, narration and history in the attempt to grasp reality. I propose the use of cinematographic montage as a method of knowledge production, as an important part of the research and whose result will be a constitutive and inseparable part of the thesis. Film as a method for the social sciences. In addition to assembling the fragments, the author's narrative interference is a critical point of the proposed experience. Delivering an account of the position from which one narrates is, therefore, fundamental. The narration does not impose itself as a voice of God over the material, as it neither affirms nor has certainties. It is organized on the incompleteness of the process. The narration sheds light on the background of the painting, on what History disregarded, on what was considered disposable or unimportant by the discourse of the dominator. It is thinking through differences and from the cracks of what was enunciated by the authority. It is thinking from accidents and ghosts.I propose the integration of the result of film montage experience in the general organization of the thesis, so that the chapters can vary between the two supports, text and film, being organized according to what the material itself indicates.
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Obie, Humphrey O., Caslon Chua, Iman Avazpour, Mohamed Abdelrazek, John Grundy, and Tomasz Bednarz. "The Effect of Narration on User Comprehension and Recall of Information Visualisations." In 2020 IEEE Symposium on Visual Languages and Human-Centric Computing (VL/HCC). IEEE, 2020. http://dx.doi.org/10.1109/vl/hcc50065.2020.9127200.

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Ravindra, Vikram, and Ananth Grama. "Characterizing Similarity of Visual Stimulus from Associated Neuronal Response." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/85.

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The problem of characterizing brain functions such as memory, perception, and processing of stimuli has received significant attention in neuroscience literature. These experiments rely on carefully calibrated, albeit complex inputs, to record brain response to signals. A major problem in analyzing brain response to common stimuli such as audio-visual input from videos (e.g., movies) or story narration through audio books, is that observed neuronal responses are due to combinations of ``pure'' factors, many of which may be latent. In this paper, we present a novel methodological framework for deconvolving the brain's response to mixed stimuli into its constituent responses to underlying pure factors. This framework, based on archetypal analysis, is applied to the analysis of imaging data from an adult cohort watching the BBC show, Sherlock. By focusing on visual stimulus, we show strong correlation between our observed deconvolved response and third-party textual video annotations -- demonstrating the significant power of our analyses techniques. Building on these results, we show that our techniques can be used to predict neuronal responses in new subjects (how other individuals react to Sherlock), as well as to new visual content (how individuals react to other videos with known annotations). This paper reports on the first study that relates video features with neuronal responses in a rigorous algorithmic and statistical framework based on deconvolution of observed mixed imaging signals using archetypal analysis.
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Boone, Veronique Joanna, and Denis Derycke. "Analyse architecturale, modélisation 3D et narration filmique : un regard original sur quelques objets corbuséens." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.764.

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Abstract: To analyze Le Corbusier's work through 3D digital modeling constitutes an important issue for the dissemination of the legacy of this major architect. During an analytical process, a relevant use of contemporary graphic means associated to an understanding of the codes of architectural representation allows to reveal new issues, or new points of view. When linking the graphic production of such process to film narrative and to the codes of documentary film, one obtain singular documents: short-movies based on computer generated images that support an analytical and critical thought, but also present projects under a new visual expression; didactic and descriptive. Those documents become particularly interesting when it comes to highlighting obscure architectural heritage, or to give body to projects remained on paper. With the support of the Fondation Le Corbusier, some Master architecture students investigated Belgian projects of the work of Le Corbusier, from which only two were built and no more than one remains. Through precise methodological issues, this paper accounts for the knowledge that such productions can offer on sometimes less-known architectural objects from the Swiss master.Resumen: Analizar las obras arquitectónicas de Le Corbusier, a través la modelización 3D, constituye un desafío importante de difusión del legado de este gran arquitecto. Mediante el proceso analítico, un uso pertinente de los medios contemporáneos de representación gráfica asociados a una comprensión de los códigos de representación arquitecturales permite de establecer nuevas perspectivas y problemáticas poco tratadas. Cuando acoplamos la producción gráfica, creada por este tipo de proceso analítico, a la narración cinematográfica y a los códigos del cine documental, obtenemos documentos singulares : cortometrajes dentro de imágenes digitales que sostienen un propósito analítico y critico, pero que su vez presentan también los proyectos arquitectónicos bajo una nueva expresión visual, didáctica y descriptiva. Estos documentos pueden revelarse particularmente interesantes cuando se trata de valorizar un patrimonio arquitectural desconocido, o de ofrecer un cuerpo solido a los proyectos yacidos en hojas de papel. Con el apoyo de la Fundación Le Corbusier, los estudiantes de Master de arquitectura se interesaron a los proyectos belgas de los trabajos diseñados por Le Corbusier, de los cuales solo dos han sido construidos y solo uno permanece en pie. Mediante cuestionamientos metodológicos precisos, este articulo relata el conocimiento que este tipo de producciones pueden ofrecer sobre los objetos arquitectónicos menos conocidos del gran maestro suizo. Keywords: Le Corbusier, architectural analysis, 3D modelisation, photography, short film, Belgium.Palabras clave: Le Corbusier, análisis arquitectónico, modelización 3D, fotografía, cortometrajes, Bélgica. DOI: http://dx.doi.org/10.4995/LC2015.2015.764
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Elkilany, Elsayed Abdelwahed. "Arabic Language Topics in Al Arab Qatari Newspaper: A Study in Journalistic Treatment Patterns." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0252.

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The purpose of this research is to explore the patterns of journalistic treatments for issues of Arab Language in Al Arab Qatari newspaper during the year of 2017. It also seeks to understand the degree to which this journalistic behavior enhances Qatar National identity. The importance of this research, which is funded by Qatar National Research Fund, No. UREP21-095-5-009 is to test the relationship between journalistic practices in relation to coverage of Arabic language issues and national identity. As interdisciplinary research combining Arabic language and journalism studies, its data were gathered by students of Arabic and Mass Communication Departments. The study adopted the descriptive and analytical approach to explore a sample of 841 publications that covered 10 linguistic forms including folk literature, translation, sermon, thought, novel, narration, poetry, story, drama and others as well as 6 editorial forms including investigative report, news report, dialogue, news, article, feature story and others. We analyze both the editorial content and the layout treatment. The results showed a statistical significance in the use of different editorial forms to demonstrate the Arabic language topics in Al Arab Qatari newspaper as well as the use of different layout techniques such as positioning, size, headline style and the accompanying visual elements. Future studies can compare the influence of different journalistic practices on national identity.
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Costa, Robson Xavier da. "Trajetórias do olhar: pintura naïf e história da arte paraibana." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3687.

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Este trabalho tem como objetivo discutir as relações entre a imaginação histórica, a história visual, a memória e as fontes orais a partir de um enfoque na pintura naïf como objeto para o estudo da História. A imagem neste trabalho será encarada como texto visual, passível de análises apuradas, levando-se em conta o papel da imaginação na construção da narrativa e a contextualização das relações estabelecidas a partir, para e pela obra visual. Examinaremos algumas concepções de cultura visual, história visual, memória e história oral, buscando as possíveis contribuições para as artes visuais, particularmente referentes a pintura naïf, inserida no contexto das primeiras vanguardas do Século XX.
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Reports on the topic "Visual narration"

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Bonniksen, Derek. Judgments of Lethal Risk: A Comparison of Visual and Narrative Stimuli. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6593.

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Szybinska Matusiak, Barbara, Justyna Martyniuk-Peczek, Sergio Sibilio, Claudia Naves, David Amorim, David Amorim, Michelangelo Scorpio, Giovanni Ciampi, et al. Subtask A: User perspective and requirements - A.3 Personas. IEA SHC Task 61, October 2021. http://dx.doi.org/10.18777/ieashc-task61-2021-0009.

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The consumption of energy for lighting in buildings depends very much on the way people interact with the build environment. In this study the following building types were studied, office, school, university, commercial and industry buildings. For each building type typical user groups were identified. Then, Personas have been created for each group. As opposed to describing users with numbers and statistics, a single Persona reflects a group and is presented with a narrative. The Persona has a name, a family and living conditions that are representative for the group, also her/his values and interests are not uncommon. The Personas “typical day” includes a time schedule typical for the group. Visual conditions are common for the group, but some specific challenges connected to the visual conditions that may occur in the group are also mentioned.
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Palau-Sampio, D., and A. Cuartero-Naranjo. El periodismo narrativo español y latinoamericano: influencias, temáticas, publicaciones y puntos de vista de una generación de autores. Revista Latina de Comunicación Social, May 2018. http://dx.doi.org/10.4185/rlcs-2018-1291.

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Rodríguez Borda, Nadia del Pilar, and María Isabel Porras Torres. Vivencias de la discapacidad en estudiantes universitarios de la modalidad virtual de la zona centro Boyacá como factor protector en salud pública. Universidad Nacional Abierta y a Distancia - UNAD, 2021. http://dx.doi.org/10.22490/ecisa.4765.

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El objetivo de la presente investigación es Interpretar las vivencias de la discapacidad, a partir de la narrativa de estudiantes universitarios de la modalidad virtual del departamento de Boyacá. Esta investigación se inscribe en el paradigma de naturaleza cualitativa, enfoque hermenéutico. Se seleccionarán a los participantes por bola de nieve o en cadena hasta la saturación teórica. Se recolectará la información por medio de una entrevista a profundidad, no estructurada basada en un derrotero temático afín a las categorías de análisis. Cada entrevista será grabada, transcrita y analizada. Posteriormente se realizará la codificación y categorización, para estructurar la historia de vida de cada participante. Este análisis e interpretación de los datos, requiere de un proceso de categorización y triangulación de los mismos, la comparación constante en cada uno de los pasos, y la ejecución de un análisis de contenido y un análisis visual. Así mismo se deberá elaborar matrices, que permitan la interpretación de la información, para finalmente comunicar los resultados obtenidos. Se realizará la comunicación de los resultados en primera medida a los participantes de la investigación quienes validarán la información y en segunda medida se realizará la comunicación relativa a los informes de corte académico.
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Theory of change: Don’t Bet Your Life On It. Greo, June 2021. http://dx.doi.org/10.33684/2021.005.

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Gambling-related harms are increasingly recognised as a significant public health issue in Great Britain. The vast majority of those experiencing gambling harms remain unidentified and without support. Don't Bet Your Life On It (DBYLOI) blends lived experience and clinical expertise to deliver practical safer gambling strategies virtually for players that can be accessed anytime and anywhere to prevent any life from being needlessly affected by gambling-related harm. It is designed to support players at any level of play by providing players with a “seat belt” to prevent harms from occurring, identify early signs of risk, and signpost those experiencing harms to get the help they need. This theory of change visual and narrative considers the inputs, activities, outputs, and outcomes necessary to achieve these goals. It can be used by organizations, groups, and individuals in any sector impacted by gambling related harms in Great Britain.
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