Search (20 results, page 1 of 1)

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Abstract

The "Screen Design Manual" provides designers of interactive media with a practical working guide for preparing and presenting information that is suitable for both their target groups and the media they are using. It describes background information and relationships, clarifies them with the help of examples, and encourages further development of the language of digital media. In addition to the basics of the psychology of perception and learning, ergonomics, communication theory, imagery research, and aesthetics, the book also explores the design of navigation and orientation elements. Guidelines and checklists, along with the unique presentation of the book, support the application of information in practice.

Date

22. 3.2008 14:29:25

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Content

Dissertation for MA degree in electronic media, School of Humanities, Oxford Brookes University

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Date

30. 5.2010 16:22:35

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Date

1. 2.2016 18:25:22

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Footnote

Rez. in: JASIST 56(2005) no.10, S.1126-1128 (P.K. Nayar): "How Images Think is an exercise both in philosophical meditation and critical theorizing about media, images, affects, and cognition. Burnett combines the insights of neuroscience with theories of cognition and the computer sciences. He argues that contemporary metaphors - biological or mechanical - about either cognition, images, or computer intelligence severely limit our understanding of the image. He suggests in his introduction that "image" refers to the "complex set of interactions that constitute everyday life in image-worlds" (p. xviii). For Burnett the fact that increasing amounts of intelligence are being programmed into technologies and devices that use images as their main form of interaction and communication-computers, for instance-suggests that images are interfaces, structuring interaction, people, and the environment they share. New technologies are not simply extensions of human abilities and needs-they literally enlarge cultural and social preconceptions of the relationship between body and mind. The flow of information today is part of a continuum, with exceptional events standing as punctuation marks. This flow connects a variety of sources, some of which are continuous - available 24 hours - or "live" and radically alters issues of memory and history. Television and the Internet, notes Burnett, are not simply a simulated world-they are the world, and the distinctions between "natural" and "non-natural" have disappeared. Increasingly, we immerse ourselves in the image, as if we are there. We rarely become conscious of the fact that we are watching images of events-for all perceptioe, cognitive, and interpretive purposes, the image is the event for us. The proximity and distance of viewer from/with the viewed has altered so significantly that the screen is us. However, this is not to suggest that we are simply passive consumers of images. As Burnett points out, painstakingly, issues of creativity are involved in the process of visualization-viewwes generate what they see in the images. This involves the historical moment of viewing-such as viewing images of the WTC bombings-and the act of re-imagining. As Burnett puts it, "the questions about what is pictured and what is real have to do with vantage points [of the viewer] and not necessarily what is in the image" (p. 26). In his second chapter Burnett moves an to a discussion of "imagescapes." Analyzing the analogue-digital programming of images, Burnett uses the concept of "reverie" to describe the viewing experience. The reverie is a "giving in" to the viewing experience, a "state" in which conscious ("I am sitting down an this sofa to watch TV") and unconscious (pleasure, pain, anxiety) processes interact. Meaning emerges in the not-always easy or "clean" process of hybridization. This "enhances" the thinking process beyond the boundaries of either image or subject. Hybridization is the space of intelligence, exchange, and communication.
The sixth chapter looks at this interfacing of humans and machines and begins with a series of questions. The crucial one, to my mind, is this: "Does the distinction between humans and technology contribute to a lack of understanding of the continuous interrelationship and interdependence that exists between humans and all of their creations?" (p. 125) Burnett suggests that to use biological or mechanical views of the computer/mind (the computer as an input/output device) Limits our understanding of the ways in which we interact with machines. He thus points to the role of language, the conversations (including the one we held with machines when we were children) that seem to suggest a wholly different kind of relationship. Peer-to-peer communication (P2P), which is arguably the most widely used exchange mode of images today, is the subject of chapter seven. The issue here is whether P2P affects community building or community destruction. Burnett argues that the trope of community can be used to explore the flow of historical events that make up a continuum-from 17th-century letter writing to e-mail. In the new media-and Burnett uses the example of popular music which can be sampled, and reedited to create new compositions - the interpretive space is more flexible. Private networks can be set up, and the process of information retrieval (about which Burnett has already expended considerable space in the early chapters) involves a lot more of visualization. P2P networks, as Burnett points out, are about information management. They are about the harmony between machines and humans, and constitute a new ecology of communications. Turning to computer games, Burnett looks at the processes of interaction, experience, and reconstruction in simulated artificial life worlds, animations, and video images. For Burnett (like Andrew Darley, 2000 and Richard Doyle, 2003) the interactivity of the new media games suggests a greater degree of engagement with imageworlds. Today many facets of looking, listening, and gazing can be turned into aesthetic forms with the new media. Digital technology literally reanimates the world, as Burnett demonstrates in bis concluding chapter. Burnett concludes that images no longer simply represent the world-they shape our very interaction with it; they become the foundation for our understanding the spaces, places, and historical moments that we inhabit. Burnett concludes his book with the suggestion that intelligence is now a distributed phenomenon (here closely paralleling Katherine Hayles' argument that subjectivity is dispersed through the cybernetic circuit, 1999). There is no one center of information or knowledge. Intersections of human creativity, work, and connectivity "spread" (Burnett's term) "intelligence through the use of mediated devices and images, as well as sounds" (p. 221).
Burnett's work is a useful basic primer an the new media. One of the chief attractions here is his clear language, devoid of the jargon of either computer sciences or advanced critical theory. This makes How Images Think an accessible introduction to digital cultures. Burnett explores the impact of the new technologies an not just image-making but an image-effects, and the ways in which images constitute our ecologies of identity, communication, and subject-hood. While some of the sections seem a little too basic (especially where he speaks about the ways in which we constitute an object as an object of art, see above), especially in the wake of reception theory, it still remains a starting point for those interested in cultural studies of the new media. The Gase Burnett makes out for the transformation of the ways in which we look at images has been strengthened by his attention to the history of this transformation-from photography through television and cinema and now to immersive virtual reality systems. Joseph Koemer (2004) has pointed out that the iconoclasm of early modern Europe actually demonstrates how idolatory was integral to the image-breakers' core belief. As Koerner puts it, "images never go away ... they persist and function by being perpetually destroyed" (p. 12). Burnett, likewise, argues that images in new media are reformed to suit new contexts of meaning-production-even when they appear to be destroyed. Images are recast, and the degree of their realism (or fantasy) heightened or diminished-but they do not "go away." Images do think, but-if I can parse Burnett's entire work-they think with, through, and in human intelligence, emotions, and intuitions. Images are uncanny-they are both us and not-us, ours and not-ours. There is, surprisingly, one factual error. Burnett claims that Myron Kreuger pioneered the term "virtual reality." To the best of my knowledge, it was Jaron Lanier who did so (see Featherstone & Burrows, 1998 [1995], p. 5)."

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Abstract

Data from multiple knowledge organization systems are combined to provide a global overview of the content holdings of a small personal library. Subject headings and classification data are used to effectively map the combined book and topic space of the library. While harvested and manipulated by hand, the work reveals issues and potential solutions when using automated techniques to produce topic maps of much larger libraries. The small library visualized consists of the thirty-nine, digital, English language books found in the Osama Bin Laden (OBL) compound in Abbottabad, Pakistan upon his death. As this list of books has garnered considerable media attention, it is worth providing a visual overview of the subject content of these books - some of which is not readily apparent from the titles. Metadata from subject headings and classification numbers was combined to create book-subject maps. Tree maps of the classification data were also produced. The books contain 328 subject headings. In order to enhance the base map with meaningful thematic overlay, library holding count data was also harvested (and aggregated from duplicates). This additional data revealed the relative scarcity or popularity of individual books.

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Date

22. 1.2017 16:54:03
22. 1.2017 17:10:56

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Date

30. 1.2007 18:22:41

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Content

Vortrag anlässlich des Workshops: "Extending the multilingual capacity of The European Library in the EDL project Stockholm, Swedish National Library, 22-23 November 2007".

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Date

22. 3.2008 14:35:21

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Date

22. 7.2010 19:36:46

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Date

4. 2.2015 9:22:39

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Date

22. 7.2006 16:11:05

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Date

20. 1.2015 18:30:22

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Date

9.12.2018 16:22:25

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Date

21.12.2018 17:22:13

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Source

Metadata for semantic and social applications : proceedings of the International Conference on Dublin Core and Metadata Applications, Berlin, 22 - 26 September 2008, DC 2008: Berlin, Germany / ed. by Jane Greenberg and Wolfgang Klas

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Source

Knowledge organization in the 21st century: between historical patterns and future prospects. Proceedings of the Thirteenth International ISKO Conference 19-22 May 2014, Kraków, Poland. Ed.: Wieslaw Babik

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Content

As the team describe in a paper posted (http://arxiv.org/abs/1605.04951) on arXiv, they found that figures did indeed matter-but not all in the same way. An average paper in PubMed Central has about one diagram for every three pages and gets 1.67 citations. Papers with more diagrams per page and, to a lesser extent, plots per page tended to be more influential (on average, a paper accrued two more citations for every extra diagram per page, and one more for every extra plot per page). By contrast, including photographs and equations seemed to decrease the chances of a paper being cited by others. That agrees with a study from 2012, whose authors counted (by hand) the number of mathematical expressions in over 600 biology papers and found that each additional equation per page reduced the number of citations a paper received by 22%. This does not mean that researchers should rush to include more diagrams in their next paper. Dr Howe has not shown what is behind the effect, which may merely be one of correlation, rather than causation. It could, for example, be that papers with lots of diagrams tend to be those that illustrate new concepts, and thus start a whole new field of inquiry. Such papers will certainly be cited a lot. On the other hand, the presence of equations really might reduce citations. Biologists (as are most of those who write and read the papers in PubMed Central) are notoriously mathsaverse. If that is the case, looking in a physics archive would probably produce a different result.

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Date

23. 3.2008 19:10:22