Visual Communication - Science topic

Hello Maryam Hassan Thank you for your question.

I don't know about the best journals in Eastern Europe, but I can recommend a few journals that are among the best in Europe and the world in general. I don't know exactly their Q rating, but it is very difficult to publish in these journals and they only publish high quality papers.

JOURNAL NAME (ISSN / E-ISSN)

Best Regards

I totally agree that (good) illustrations are essential to draw in those who are unfamiliar with the work, especially those who are less scientifically inclined.

If it is prepared using clearly understandable internationally known symbols, it can be used as a visual communication tool.

The link by Sotiris Folinas may be of help

Here is the paper about how the visual communication of social presence affects sales in affiliate marketing, co-written an affiliate marketer.

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.

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.

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.

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.

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.

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.

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.

I appreciate your answer. Great art happens and when it does it does it goes "pop".

Due to technical and Design issues, Audiences can just experience Most of AR Art projects by watching videos or looking at screenshots, but the real pleasure of Augmented Reality is the feeling of presence in the scene.

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.

Okay thanks Aat Alessie it would be great if you share some references to the study so I may look into the details.

BioRender! (https://biorender.io/)

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!

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/

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.

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

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.

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.

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

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.

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.

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

Here is a pdf list of references I have gathered over the years. 

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

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

as and underground architect i would argue that population reductions would reshape our vertical climes to infinity and humanize our environments

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.

Dear Subramani, my Ph.d is related to role of FB emoticons. I would love to chat with you to discuss.

Regards

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. 

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.

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?