Enhancing the teaching and learning of mathematical visual images

The literacy demands of mathematics are very different to those in other subjects (Gough, 2007; O'Halloran, 2005; Quinnell, 2011; Rubenstein, 2007) and much has been written on the challenges that literacy in mathematics poses to learners (Abedi and Lord, 2001; Lowrie and Diezmann, 2007, 2009; Rubenstein, 2007). In particular, a diverse selection of visuals typifies the field of mathematics (Carter, Hipwell and Quinnell, 2012), placing unique literacy demands on learners. Such visuals include varied tables, graphs, diagrams and other representations, all of which are used to communicate information.

Student researchers in the middle : using visual images to make sense of inclusive education

Using ‘visual narrative’ theoretically and practically, this paper explores issues of inclusive education, during a period of curriculum reform and renewal in Australia. In Australia, the middle years of schooling, Years 5 to 9, are well researched and known as a period when students disengage with learning and participation in schooling. Research in the middle years affirms the importance of engaging with ‘student voice’. In this special edition, we are aiming to highlight how the use of visual imagery can be a rich source of understanding, illustrating students’ self-knowledge of schooling. Methodologically we refer to our research approach as ‘visual narrative’. Other writers in this edition use the term ‘photo voice’. For researchers it is important to highlight the differing orientations that ‘visual narrative’ and ‘photo voice’ signify. The terms are not mutually exclusive but highlight differing research possibilities and emphasis. Our argument, through the use of visual narrative produced by middle years’ students, is that visual texts open out some innovative possibilities for understanding inclusive education and supporting new relationships with our research community. Such approaches are not new; however, in a field such as special education that purports to support marginalised groups, liberatory research methods are under-represented. This paper aims to open out these discussions and provide a way forwards for teachers and researchers interested in breaking apart why it is that inclusive education remains a never-ending struggle.

Children, visual images, and narratives

Book reviews of 
- Colomer, Teresa, Bettina Kümmerling-Meibauer, and Cecilia Silva-Diaz, eds. New Directions in Picturebook Research. New York: Routledge, 2010
- Edwards, Gail, and Judith Saltman. Picturing Canada: A History of Canadian Children’s Illustrated Books and Publishing. Toronto: U of Toronto P, 2010
- Harding, Jennifer, and Pat Pinsent, eds. What Do You See? International Perspectives on Children’s Book Illustration. Newcastle upon Tyne: Cambridge Scholars, 2008
- Lerner, Loren, ed. Depicting Canada’s Children. Waterloo: Wilfrid Laurier UP, 2009
- Pantaleo, Sylvia. Exploring Student Response to Contemporary Picturebooks. Toronto: U of Toronto P, 2009

Becoming an artist: life histories and visual images

Chapter summary:
In this chapter, we consider the experiences of an art/research experiment that took place in the context of the annual conference of the British Sociaological Association (BSA), held at the University of East London in April 2007. The essay is in four parts: in the first section, the researcher gives the context of the project that underpinned the BSA event, mapping its theoretical directions and methodological moves. In the second section, the artist tells stories of becoming through words and images. The force of the artist’s narrative challenges and reconfigures discursively constructed boundaries between the researcher and the artist, initiating a dialogic encounter that unfolds in the third section as a visual/textual interface. This encounter revolves around the quest for meaning, which is after all what oral history is about (Portelli, 2011). Our quest for meaning actually inspired us to write about and problematize the BSA event. In this light, the final section looks critically into some of the questions that have arisen, situating them within wider problematics in the field of oral histories and narrative research.

Book summary:
Interviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as 'history', and as a means to insights into the micro-practices of arts production and identity that contribute to questions of 'voice', authenticity, and authorship. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded.

Invariance of brain-wave representations of simple visual images and their names

In two experiments, electric brain waves of 14 subjects were recorded under several different conditions to study the invariance of brain-wave representations of simple patches of colors and simple visual shapes and their names, the words blue, circle, etc. As in our earlier work, the analysis consisted of averaging over trials to create prototypes and test samples, to both of which Fourier transforms were applied, followed by filtering and an inverse transformation to the time domain. A least-squares criterion of fit between prototypes and test samples was used for classification. The most significant results were these. By averaging over different subjects, as well as trials, we created prototypes from brain waves evoked by simple visual images and test samples from brain waves evoked by auditory or visual words naming the visual images. We correctly recognized from 60% to 75% of the test-sample brain waves. The general conclusion is that simple shapes such as circles and single-color displays generate brain waves surprisingly similar to those generated by their verbal names. These results, taken together with extensive psychological studies of auditory and visual memory, strongly support the solution proposed for visual shapes, by Bishop Berkeley and David Hume in the 18th century, to the long-standing problem of how the mind represents simple abstract ideas.

Design of a Web interface for anatomical images

Interactive documents for use with the World Wide Web have been developed for viewing multi-dimensional radiographic and visual images of human anatomy, derived from the Visible Human Project. Emphasis has been placed on user-controlled features and selections. The purpose was to develop an interface which was independent of host operating system and browser software which would allow viewing of information by multiple users. The interfaces were implemented using HyperText Markup Language (HTML) forms, C programming language and Perl scripting language. Images were pre-processed using ANALYZE and stored on a Web server in CompuServe GIF format. Viewing options were included in the document design, such as interactive thresholding and two-dimensional slice direction. The interface is an example of what may be achieved using the World Wide Web. Key applications envisaged for such software include education, research and accessing of information through internal databases and simultaneous sharing of images by remote computers by health personnel for diagnostic purposes.

Visual metrics for the evaluation of sensor data quality in outdoor perception

This paper proposes an experimental study of quality metrics that can be applied to visual and infrared images acquired from cameras onboard an unmanned ground vehicle (UGV). The relevance of existing metrics in this context is discussed and a novel metric is introduced. Selected metrics are evaluated on data collected by a UGV in clear and challenging environmental conditions, represented in this paper by the presence of airborne dust or smoke. An example of application is given with monocular SLAM estimating the pose of the UGV while smoke is present in the environment. It is shown that the proposed novel quality metric can be used to anticipate situations where the quality of the pose estimate will be significantly degraded due to the input image data. This leads to decisions of advantageously switching between data sources (e.g. using infrared images instead of visual images).

The N170 observed ‘in the wild’: robust event-related potentials to faces in cluttered dynamic visual scenes

As a social species in a constantly changing environment, humans rely heavily on the informational richness and communicative capacity of the face. Thus, understanding how the brain processes information about faces in real-time is of paramount importance. The N170 is a high temporal resolution electrophysiological index of the brain's early response to visual stimuli that is reliably elicited in carefully controlled laboratory-based studies. Although the N170 has often been reported to be of greatest amplitude to faces, there has been debate regarding whether this effect might be an artifact of certain aspects of the controlled experimental stimulation schedules and materials. To investigate whether the N170 can be identified in more realistic conditions with highly variable and cluttered visual images and accompanying auditory stimuli we recorded EEG 'in the wild', while participants watched pop videos. Scene-cuts to faces generated a clear N170 response, and this was larger than the N170 to transitions where the videos cut to non-face stimuli. Within participants, wild-type face N170 amplitudes were moderately correlated to those observed in a typical laboratory experiment. Thus, we demonstrate that the face N170 is a robust and ecologically valid phenomenon and not an artifact arising as an unintended consequence of some property of the more typical laboratory paradigm.

Estéticas periféricas: cotidiano e cultura visual no ensino da arte

Admitindo a produção estética como uma importante condição da existência humana, não é difícil entender a importância de se dar voz à juventude que tem uma produção poética rica, ainda desconhecida e pouco explorada à seu favor. Dar voz, aqui, sobretudo às suas imagens visuais, criar oportunidades de explorar a eloquência e as significações dessa literacia visual específica (Gil, 2011) e dar ouvidos ao que nos gritam tais imagens. A pagada aqui defendida se estende aos gadgets, às telas de celular, computadores, videoclipes, games, mangás, entre tantas outras fontes visuais e comportamentais. Assim, no permanente processo de ressignificação da escola, nos parece promissor o máximo aproveitamento das imagens que constituem a cultura visual que envolve o cotidiano dos estudantes. Esperamos que esta pesquisa mostre um pouco da riqueza, força ou energia cultural que existe no universo da pichação e a pertinência de sua reflexão em sala de aula como um caminho de elucidação não apenas dos seus aspectos estéticos e plásticos mas, também redefinir o papel político da afirmação de padrões estético-culturais e assim fortalecer o diálogo com os jovens estudantes periferizados

Arte & Educação em cultura visual: ensino, sentido, presença e invasões das imagens nos cotidianos

Parte da hipótese que a obra poética, artística ou não, tem força para além da mediação da palavra, ou seja, da afirmação de sentidos que obliterariam a eloquência da presença. Busca discorrer sobre a teoria da presença e sua importância na interlocução com a produção poética nas artes visuais contemporâneas. Aponta a utilidade dessa argumentação como perspectiva para problematizar a Cultura Visual e defender o investimento na elucidação do universo das imagens visuais como elemento de formação humana em sintonia com as questões da alteridade e com os tempos de hoje. Entende que o estudo equalizador entre as imagens visuais e as obras de arte visual favorece a autonomia dos indivíduos e o melhor aproveitamento do mundo das artes com menor risco de sujeição às hegemonias culturais

Remembering from any angle: the flexibility of visual perspective during retrieval.

When recalling autobiographical memories, individuals often experience visual images associated with the event. These images can be constructed from two different perspectives: first person, in which the event is visualized from the viewpoint experienced at encoding, or third person, in which the event is visualized from an external vantage point. Using a novel technique to measure visual perspective, we examined where the external vantage point is situated in third-person images. Individuals in two studies were asked to recall either 10 or 15 events from their lives and describe the perspectives they experienced. Wide variation in spatial locations was observed within third-person perspectives, with the location of these perspectives relating to the event being recalled. Results suggest remembering from an external viewpoint may be more common than previous studies have demonstrated.

'You show me yours, I'll show you mine': the negotiation of shifts from textual to visual modes in computer-mediated interaction among gay men

This article explores the way users of an online gay chat room negotiate the exchange of photographs and the conduct of video conferencing sessions and how this negotiation changes the way participants manage their interactions and claim and impute social identities. Different modes of communication provide users with different resources for the control of information, affecting not just what users are able to reveal, but also what they are able to conceal. Thus, the shift from a purely textual mode for interacting to one involving visual images fundamentally changes the kinds of identities and relationships available to users. At the same time, the strategies users employ to negotiate these shifts of mode can alter the resources available in different modes. The kinds of social actions made possible through different modes, it is argued, are not just a matter of the modes themselves but also of how modes are introduced into the ongoing flow of interaction.