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Visual Communication - Science topic

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I'm doing a comparative study on social media language used by native and non-native speakers with special reference to Instagram. I am planning on using Discourse analysis. What is your take on this? Could anyone please suggest me what else can be used?
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I wonder why you are carrying out this study?
What questions are you trying to answer, through examining social media language from different speakers in this way?
Why are these questions interesting?
If you are clear about your own answers to questions like these, you will be better placed to judge which analytical methods are likely to be appropriate.
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I'm writing an essay on visual language and have been looking at different theories from Ferdinand de Saussure, Sigmund Freud, Joseph Kosuth, John Berger, Laszlo Mahony- Nagy to name a few. My research leads me to semiotics and how we see art. I'm basing the writing on art with substance(meaning) ie psychoanalytical, political art, etc.
Does anyone have any source material that could be useful in terms of theory?
Or an example of an artist you think has created a successful visual language and why? (Preferably someone in the last 200 years, the more contemporary the better)
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Hello, Tomas
I think is a littler bit difficult to work on concepts as "successful" visual language, I'm not sure what you refer with this. Also, I think would be possible to consider the language of every artist as a unique language or exactly the opposite. In that case I agree with the answer before, from a semiotic perspective every symbolic creation could be analyze.
However, if you are looking for interesting artist to explore there visual languages I could recommend you Hito Steyerl in video-art. So interesting work with different kind of digital images, she also has an interesting theory research work.
Best regards,
V.
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Hi scholars, I’m curious what your biggest problems are with visual communication of your research or technology. I’m happy to share my results and brainstorm some solutions together!
In particular, I am interested in how it would make a difference in your life to get a good answer for this problem or find a solution for your need? How easy is it for you to find solutions to your problem?
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Overtime, I have learnt not to fill up the slides with lots of content and long tables. Most people will not read or understand it. Keep minimum contents on the slides. Focus on the most important aspects. Use graphs and infographics instead of long tables. The objective to provide people a broad understanding of your research.
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Does the conversion of visual language into visual communication through visual perception create visual thinking? Does visual thinking create visual learning? Does visual thinking create visual communication?
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Kevin: to see the links to the articles, you'll have to back up to the beginning of the thread and hit the "read more" button at the end of the first answer, since RG chops off the tails of all but the shortest posts. The first article there explains why there are problems with the old (20th century) cognitivist/computationalist paradigm, which is overdependent on "internal processing", largely ignoring --or at least downplaying-- the embodied nature of mind and its physical and sociocultural contexts (that's the third dimenson to the patterns I mentioned above, when trying to translate my visual thinking into a brief verbal image). The articles I suggested contain working definitions of key concepts and references to more detailed explanations, especially the first article. This may help you understand my previous posts. In my view, I'm not inventing the arrows; the connections already exist and a model should be sufficient to describe the phenomena being studied if it is to be useful. If you like to keep things on a simpler level, you are welcome to do so. As you apply your theory to real cases, you may --or may not-- find it necessary to expand and refine it, depending on your research goals. Its strengths and weaknesses will probably become apparent through its application to a variety of examples of visual communication.
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The study can be a book, a peer review, a research article, etc.
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Abambres M.
Hi I have just gone through it and after working on my dissertation I have realized how redundant the academic research traditions are. I have some points which directly or indirectly relates to your work:
1-Considering my context of a less developed country has a lack of academic resources the academic research seems a luxury not afforded by many.
2-In the case of people who speak English as a 2nd language the scenario is even worst, getting fluency in English especially for academic writing is not an easy task and the English native editorial services are comparatively expensive.
3- I know may senior researchers who have a lot of publications in their name and guess what their unsung students have all the credits for data collection, field trips, and literature review. Refusing to coorporate can land these students in deep trouble. And YES harassment is a real problem in academia especially when it comes to publishing research work.
4- The traditional research writing and publication have rigid protocols that kill the voice of the researcher.
5- Western understanding of worldview, reality and knowledge are different from the Eastern ones, the available research footprints are mostly Western which makes it very difficult to contextualize in the Eastern perspective in set standards of research and literature review. (and it's a long debate)
There are lot of other major and minor issues in conventional research standards, especially when looking at it through a designer's lens. However, I appreciate your effort and wish sincerely for a better world having fewer obstacles to say and to be heard.
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Do changes to visual thinking create visual learning?
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I would argue that we are all visual learners. Some of us are more aware of our vision than others. It operates secretly and is obscured by the data that it provides. Object language is the visual language of objects. What to they communicate to us? It is similar to aesthetics. The difference between aesthetics and object language is that aesthetics is a study and object language is a phenomenon.
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The transdisciplinary nature of visual communication design makes it challenging to depict the complete process. There are a lot of factors involve that shapes the final design output. During my research, I went through figures, charts, flow sheets and diagrams that encompass a complete design process from ideation to final production. Not only that what impact does a design creates on society and vice versa? There are people who play major roles in design generation; client, consumer, designer and producer. Then there are factors like language, culture, economy, society, etc. I wish to have a more comprehensive visualization of the VCD process if you as a reader know such resources I would love to see.
Best Day!
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Yes, you are right Guillaume Descoteaux-Isabelle but my concern remains on the standard procedure in visual communication design. How would you visually depict the complex process of design from ideation to post-design; that includes client briefing, budgeting, concept development, understanding of the consumers, sociocultural considerations, sketch process, progress back and forth, etc. A flow chart or complex diagram showing a complete process lets say in print design, in packaging or digital design.
I am sharing a figure from "Connecting student design practice to design research through a critical reflection framework”, by Blaiklock, 2010 Occasional Papers on Learning and Teaching at UniSA.
I hope this will give you clarity though it's not that inclusive but still gives the idea about the steps involved in the design.
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Is visual communication converted into visual language by physical actions after visual learning occurs?
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I appreciate your answer. Great art happens and when it does it does it goes "pop".
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Dear colleagues,
I am working on related research areas, by now on scientific fake pictures, I'd like to know if possible about your current project and maybe we could collaborate.
Thanks
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Probably you are focusing on a concept about "the real" that not is accepted nowadays, actually surpassed longtime ago. Maybe could be interesting for you to check some other works, apart from mine. At some on my articles you can find wide references about it.
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Are there any recent additions in CRP within visual communication design especially considering the technological advancements? Which is the best way to reflect design practices in your opinion?
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Okay thanks Aat Alessie it would be great if you share some references to the study so I may look into the details.
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Hello, this might be important for many of us where know how share could help achieve better efficiency of presenting our findings. What are technical tools you are using for visualization of scientific data - research results? Newest ICT tools for drawing info graphics, charts etc.?
I'm using infogr.am as one of, not so satisfied with ArcGIS ESRI design for mapping of spatial research.
What are your favorite tools for visual communication?
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Basically an online app that contains a library of pre-made cells, proteins, membrane shapes, organs, lab equipment, etc. that you can drag-and-drop so you don't have to spend time drawing each element of the figure out yourself. Saves a lot of time for creating schematic figures, and the icons are all created by scientific illustrators so they're both beautiful and accurate!
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Dear Colleagues
I'm finishing an article about how the visual communication of social presence affects sales in affiliate marketing: (1) case study research, (2) in cooperation with a practitioner/affiliate/publisher, (3) explained variable = real ales value 30 days after publishing the post, (4) explaining variables = different elements that communicate the social presence in posts published in the affiliate marketer's website. I have already completed the literature review to develop research question, and the co-author/practitioner selected six cases but can't find any material for anecdotal evidence that supports the research question.
I have seen a few stories (A / B tests) about how social presence affects click-throughs rates, but I haven't seen any story about how social presence in posts affects the real value of sales
Could you recommend any success stories or quotations of practitioners about how visual communication of social presence affects real online sales value to use as anecdotal evidence in the article?
Could you share your experiences in writing scientific articles with practitioners? Have you used case study research (according to suggestions of K. Eisenhart, R. Yin?) Have you published such articles?
Regards
Richard Kleczek
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It seems to me that co-writing an article with an affiliate marketer overcomes some limitations of writing an article by a solo scientist, eg using an experiment: (1) the experimenter does not have access to data on the real value of sales generated by posts and only examines perceptual variables. eg trust etc. (2) the experimenter resides in the old interpretations of the explanations of the phenomena he is working on, e.g. the positive impact of social presence in the postings on clickthrough and the value of sales has two interpretations. The first, traditional: the impact is positive because online buyers need a social presence, which they got used to in offline shopping. Second: Posts without social presence are signals of selling counterfeit products.
What do you think?
Richard
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Does being colour blind ruin your chances of working in the visual communications industry (eg. Colourist in Tv/film production house) ?
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YES!
Reason: The colour is often the first layer of visual comprehension but not the only one. There is more to 'visuality' like its form, structure and texture.
The emerging Universal Design discourse/concerns in Communication Design are attempting to address the various 'colourblind' issues. Mandar Rane in his blog has meticulously discussed the issue, have a look. https://mrane.com/portfolio/design-for-the-colorblind/
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To what extent do visual communication designers and educators consider the visually-impaired audience, How do we reasonably effectively engage them through an inclusive design? Your thoughts, proposals and insights are welcome.
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I think technology has been a great aid to the visually impaired. Zoom, type size and contrast settings make content more accessible. There are not as many options in terms of print (besides the obvious, large, high-conrast type).
One possible print solution could be QR codes on everything, linking to digital, accessible versions or voice-overs.
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We have made lots of Brochures with health information for our hospital patients but we don't know if they are well written.
We would like to know if our patients like and understand what we have written.
So I'm looking for a validated test to submit to our hospital patients.
DO you know?
thanks!!!
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You should find good answers and tips in Pfizer's 'Principles for Clear Health Communication' (edited by LG Doak and CC Doak):
In the paper (DOI: 10.1089/dia.2005.7.528) I mentioned in my original reply above, I cited an earlier version of these principles. The latest 2nd Edition full-text PDF is available at https://www.pfizer.com/files/health/PfizerPrinciples.pdf
See also: Testing information recipients (readers): Powers et al. (2010) DOI: 10.1001/jama.2010.896 'Can this patient read and understand written health information?', which covered Pfizer's 'Newest Vital Sign (English)' https://www.pfizer.com/health/literacy/public-policy-researchers/nvs-toolkit
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The visual communication of scientific information is a key aspect for sharing and discussing scientific insights. Nevertheless, many images in the science landscape or popular discussions are visually unattractive or scientifically unprecise. Do you think scientific illustrations and visualizations are important for popular science in particular?
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Hi Johannes,
I am a professional scientific illustrator and could talk to you all day about the importance of science visualizations. The aesthetics aspect is crucial as humans are far more attracted to images (illustration, video, animation) than they are to text. But beyond the first-time appeal, images that convey a scientific message accurately can do so in a way that facilitates the interpretation of the viewer. S/he will have a mediated experience where the message is better assimilated and thus is more memorable.
As far as how scientific images are created there is a wide range: from scientists who create their own, to those who hire professional visual science communicators. Working with a professional guarantees an effective delivery of your message, as they will choose the best medium, know the subject (or know to ask the right questions and search the right places), and can tailor the execution to the audience.
A professional science illustrator usually has a multidisciplinary training. For example, my bachelor is in Biology, then I completed undergrad and graduate work in drawing and in science illustration, and recently I completed a PhD in Digital Media. Throughout my 10+ years career I have worked extensively with scientists, publishers, educators and museum professionals.
For examples of the work of a science illustrator and more information about what we do visit:
I'm happy to answer any additional questions you have about this subject.
Best,
Diana
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That is, how should a Brand Manual or Brand Guide specify the Brand Colors?
It seems that most Brand Manuals specify the Brand Colors as Pantone, RGB, CMYK and hex#. I can't find any literature on this and why this apparently is best practise.
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There is no standard for this simply because there is not colour matching system that covers all possible media and printing processes. The right way to define a brand colour is for the designer to decide at the creative stage which media should be used for his brand colour(s) and then define a complete SET for each colour, using existing and commercially available colour systems and standards - see www.spot-nordic.com/defacto.
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I am involved with creative projects - visual communication. Subtle clue based ads - especially the thematic concepts - can cut the digital clutter and can appeal to the audience more effectively. At the same time, many marketers are yet to understand that this visual clue based ads are the best way to appeal to a multicultural base of audience that are increasing prevailing in markets like the UK, US. Attached a recent ad of ours - have been using for academic and research purposes as well. Any focused research group on such creative visual clue based communication projects? There are lot to explore. 
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This is a tricky question. Tricky because the target audiences’ response to attempts at decoding an advertisement will be heavily influenced by their cultural, and demographic backgrounds among other parameters related to their socialisation. The advertisements’ message may not be universal. Respondents will perceive, interpret and synthesize their personalised version of the message through a cultural lens. As stated, the audience come from a multicultural background, which may translate to a variety of versions of their truth, which may not be the message the marketer intended to convey. This may be what the marketers are wary of. Subtle cues also involve time and motivation to decode. Maybe the target audience is not willing to invest the time to engage with the advertisement. In all it is a novel idea, but it needs more research as you are engaged in.
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My ressearch into visual metaphors is a part of using images to teach science. I find images undercut functional illiteracy especially in technical subjects. Most teaching of technical material depends on memorization,. I believe real learning comes through insights.  Insights often arise out of the association of images. 
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Dear David,
I agree with your insight.   However, my research has shown that the effectiveness of the graphical elements are influenced by two key factors.   Firstly, the graphic must be properly focussed on the development of the appropriate mental model within your students' minds.   To create a useful structure for understanding this aspect, I merged work from Tudoreanu and Kraemer (2008), Hegarty et al. (1999), Hegarty, Narayanan, and Freitas (2002), Narayanan and Hegarty (2002), Mayer, Mathias, and Wetzell (2002), Lowe and Boucheix (2011), Mayer, Moreno, Boire, and Vagge (1999), Ploetzner, Lowe, and Schlag (2013) and Clark and Lyons (2011).   The resulting framework separates the mental model levels, so you can identify where the graphic needs to take the students.   This is an important step, because it then allows the second aspect to be determined, which relates to complexity and working memory capacity.   In this step the level of complexity for the graphical content is assessed (e.g. based on content, context, continuity and clutter) in relation to the expected capacity of the viewers (e.g. as aligned to their expertise - novice to expert). 
Although at first glance this sounds complex, the approach is actually quite simple, and the steps were explained in my thesis.   Should you wish access to the thesis, please let me know and I will share the link.   However, the point of this post is simply to point out that just adding graphics is not a shibboleth solution in its own right.   The graphics must be properly aligned to the required outcomes, or they can become problematic in their own right.  I hope that these insights will be of assistance.
Wishing you all the very best,
Bruce Hilliard
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I need a reference to the CGIS as a source for my module
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The CGI was developed for use in NIMH-sponsored clinical trials to provide a brief, stand-alone assessment of the clinician's view of the patient's global functioning prior to and after initiating a study medication.
The CGI provides an overall clinician-determined summary measure that takes into account all available information, including a knowledge of the patient's history, psychosocial circumstances, symptoms, behavior, and the impact of the symptoms on the patient's ability to function.
The CGI actually comprises two companion one-item measures evaluating the following: (a) severity of psychopathology from 1 to 7 and (b) change from the initiation of treatment on a similar seven-point scale. Subsequent to a clinical evaluation, the CGI form can be completed in less than a minute by an experienced rater. In practice, the CGI captures clinical impressions that transcend mere symptom checklists. It is readily understandable and can be used with relative ease by the non-researcher clinician. Beyond that, the CGI can track clinical progress across time and has been shown to correlate with longer, more tedious and time consuming rating instruments across a wide range of psychiatric diagnoses.
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Do you believe that the functions defined in this study to the traditional media are valid for the digital press?
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The Humans are connected through various elements,  color as a connecting elements. It is valid to reproduce the color, recreate the color in traditional media to the digital press.
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The power of visual communication technologies like augmented reality in contemporary arts areas, the application and importance of augmented reality.
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AR is inevitable, and when it achieves an efficient implementation that is reliable, cost-effective, and easy to use, then artists will attempt to push the envelope of the possible as they have throughout cultural history.  So I guess I am agreeing with Mr. Firentino with differetn words!
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I want to Know if somebody uses NCS (Natural Colour System) teaching in Latin america
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Hola Maria Teresa, estuve contigo en Oaxaca el año pasado. Si mal no recuerdo te di mi mail para enviarte trabajos relacionados con el NCS. Saludos. Dario
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The modern architecture has to draw attention or remain imperceptible.
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It is really difficult to consider expressiveness of building without considering first the context in which it is going to be inserted, that is without looking first into specific character of the city of which it will make part. I think that only by looking at a building as a sculpture we can talk about expressiveness. But from the moment we are interesting in its architecture we have to take into consideration local typological aspects, materials and construction methods so as to be able to give to our architecture the possibility to dialogue with the surroundings and then to be able to be expressed.
Ludwig Hilberseimer had analysed thoroughly in his text Berliner Architektur der 20er Jahre (Architecture in Berlin during the 1920s) the difference between Expressionists and Elementarists and according to me is a still valid research, because many of the themes he is occupied with are still problems of current architecture and debate.
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I am looking for researchers to study the poster.
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Here is a pdf list of references I have gathered over the years. 
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I am writting my Phd Thesis about pragmatics aspects of SMS communication and I would like to get in touch with someone working on same things.
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Dear Lucía Cantamutto,
I hope the following references and attachments are of some help.
Kind regards,
Paul Chaney
 F. Rash. (2004). Linguistic politeness and greeting rituals in German-speaking Switzerland. Linguistik online. [Online]. 20(48). Available: http://www.linguistik-online.de/20_04/rash.html.
H Faiz, and N Zuhaila – (2013) Use of Greetings in SMS Messages from Students to Lecturers at a Malaysian University, International Journal of Social Science and Humanity, Vol. 3, No. 2, March 2013 [attached]
Masriatus Sholikhah (2014) Depict Im/Politeness Via Mediated Message Services (Short Message Service, Blackberry Messenger And Whatsup) Of College Students, Home > Vol 3, No 1 (2014) > Sholikhah. http://www.ejurnal.stkipjb.ac.id/index.php/KID/article/view/425
R. Ling, (2005) “The sociolinguistics of SMS: an analysis of SMS use by a random sample of Norwegians,” Mobile Communications, pp. 335-349, [attached]
David H. B. Bednal (2004) Mobile Phone Etiquette: A Cross-national Comparison [attached]
WEI Chun-yan (Faculty of Foreign Languages, Shanxi University,Taiyuan) The Pragmatics Analysis of the Text SMS of Amusement, Available: http://en.cnki.com.cn/Article_en/CJFDTOTAL-HGXS200505016.htm
T Handayani (2013) Violating Politeness Principles In Cellular Phone Provider, Journal on English Language, and Culture [attached]
Morel, Étienne; Bucher, Claudia; Pekarek-Doehler, Simona; Siebenhaar, Beat (2012) SMS communication as plurilingual communication: Hybrid language use as a challenge for classical code-switching categories, Source: Lingvisticae Investigationes, Volume 35, Number 2, pp. 260-288. http://dx.doi.org/10.1075/li.35.2.08mor
Frehner, C. (2008) Email – SMS – MMS: The Linguistic Creativity of Asynchronous Discourse in the New Media Age, Linguistic Insights - Volume 58, Bern, Berlin, Bruxelles, Frankfurt am Main, New York, Oxford, Wien, 2008. 294 pp. ISBN 978-3-03911-451-1 http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=13908&concordeid=11451
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Game matrices and trees can be hard to interpret and reason about. This is not only true for people who may be new to game theory (like young experiment participants), but even for those familiar with it.  It normally isn't a problem because most lab experiments focus on one or two familiar games and can explain them with arbitrarily great care.  But it could be a problem for experiments that use unfamiliar games or that expose participants to many different games in a session.
One way around this is to use practice rounds to give participants experience with the various outcomes, but, additionally, there must be a general intuitive approach to the materials that can present simple games in a way that highlights their different contingencies and incentives.
At present, for a 2x2 game, I imagine I'd use the classic game matrix supplemented with some equivalent textual description: "If you select strategy Left, the other player will either select Top (earning each of you 1 and 4, respectively) or Bottom (earning each of you 2 and 2, respectively).  If you select strategy Right ...."  But even that isn't so clear, and it wouldn't scale well to larger games; I'm sure there's a better way.
Is anyone familiar with research that tests, or at least uses, some unconventional intuitive format for visually communicating the different outcomes of a range of economic games? Without resorting to "cover story" narratives? 
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Hi Seth,
In my experience the biggest problem with normal-form games in experiments is that subjects get confused about their own and the payoffs of others.
I have used a split screen in the past, where you have a table for your payoffs and for the payoff on one side and the payoffs for your opponent on the other side. This helps to make sure that people don't get confused about the matrix notation. This seems to work reasonably well. Using structural estimation methods we only have found a very small fraction of subjects behaving randomly  (like a so-called level 0 type in hierarchical models of bounded rationality). 
Another option is to use different colours for the payoffs of the player and the opponent. One could also divide the cells in the matrix (as done in many first-year textbooks) in two triangles with a diagonal line. Then all payoffs above the diagonal are the payoffs of one person and below the diagonal those of the other. Additional shading further helps.
Control questions are also helpful. (Like: What is your opponents payoff, if you play X and she plays Z) You can then program popup windows for people who get it wrong and as again until they get it right.
I hope this helps
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Hi, 
I am working on how service design can contribute to the evolution of Directories and Signages. I would like to make an evolutionary path of directories and how it changed through years. Identifying the key elements of directories in a time period from now to 5 years will be very useful in my design process. 
I will be glad if you have some knowledge or material to share with me.
Thank you!
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Hi, thank you to all for the answers. I am mainly trying to develop a customer loyalty strategy which will be present as a touchpoint of the digital directory. Besides designing the product and communication(contents) of the directory, I am also trying to put a service value in it which can be related with Loyalty programs and offline interaction with the customers when they are visiting the stores.
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expecting your reply. Thank you
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Dear Subramani, my Ph.d is related to role of FB emoticons. I would love to chat with you to discuss.
Regards
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What is the role of myths in today's culture? How could they be reinterpreted? What is the role of myths and folklore in diasporic communities (particularly for Iranian)?
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Hi Sara,
The great Jazz pianist, Charlie Mingus, said "Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity."  I applaud your stance as first, researcher, then artist.  As a researcher, you use intentional thoughtful scientific tools to collect your thoughts, explore the background, gaher the information, to arrange your thoughts and direction.  As an artist, you will then interpret your thoughts and information into a tangible, artistic production that brings to bear all of your obvious communication and creative abilities (light, dark, color, texture, composition) to distill and convey in very simple, emotional, and intetional terms, everything you have learned.  To paraphrase the quote from Charlie Mingus, the artist in you will be able to simplify the complex for all of us, those of the diaspora and those who stand outside the diaspora experience, with the compassion to try to understand.  Just as love, hope, and dreams are universal to all mankind,  diaspora, an experience or sense of displacement, is also one of the universal experiences of man.
1) Keep doing your research.  If you are blocked at the moment, there is a fact, a story, or a lesson that your research and your ongoing life experiences will bring, at exactly the right time, to provide a building block, an inspiration, a foundation, or a perspective that you require to complete this project.  Keep doing the work.  The pathway from potential to performance is paved with persistence and perseverance.
2) Look at your history, your culture, your myth, and your experiences, as though examining an expensive and precious jewel.  Look from every conceivable direction, with both eyes open, ready to learn.  Are there other artistic interpreters (sculptors; musicians; actors; speakers; leaders) of the Iranian myths or culture that you admire, and from whom you might draw inspiration, different viewpoints, or fresh perspectives as you seek to share your experiences and distilled findings?
3) After doing the research, you may have to face a monumental decision: will you insert yourself into the story, making it a first person experience and thereby welcoming others into the myth and experience, or will you draw some frame or foundation from the myth, making it a third person experience, to serve as a foundation for the message, the story you wish to show and tell the world?  
4) As the artist, you have the opportunity and the responsibility to make the courageous decision to help us experience, to see, feel, hear, taste, and even smell the essence of the lessons you've learned, and the next steps you want us to take with you in your journey. 
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is it correct to say that AR is one of the Visual Communications Technologies (VCT)/one of the technologies that will help to improve visual communications?
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Visual Communication (VC) is the communication that delivers information through two dimensional visual aids, such as, symbols, charts, animation, and pictures. Since Augmented Reality (AR) uses 3D objects embedded on the real environment, it is considered as part of visual communication. Hence your answer is correct.
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In which areas of contemporary art can we see the power of visual communication more than in others?
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I am not sure I understand your question Elaheh. My initial response is that visual communication is more present in visual contemporary art, but I think you may be looking for a different answer?