A visual language for the collaborative visualization of integrated conceptual models in product development scenarios

In various industrial and scientific fields, conceptual models are derived from real world problem spaces to understand and communicate containing entities and coherencies. Abstracted models mirror the common understanding and information demand of engineers, who apply conceptual models for performing their daily tasks. However, most standardized models in Process Management, Product Lifecycle Management and Enterprise Resource Planning lack of a scientific foundation for their notation. In collaboration scenarios with stakeholders from several disciplines, tailored conceptual models complicate communication processes, as a common understanding is not shared or implemented in specific models. To support direct communication between experts from several disciplines, a visual language is developed which allows a common visualization of discipline-specific conceptual models. For visual discrimination and to overcome visual complexity issues, conceptual models are arranged in a three-dimensional space. The visual language introduced here follows and extends established principles of Visual Language science.

A visual description of early-number counting, addition and subtraction knowledge

Early-number is a rich fabric of interconnected ideas that is often misunderstood and thus taught in ways that do not lead to rich understanding. In this presentation, a visual language is used to describe the organisation of this domain of knowledge. This visual language is based upon Piaget’s notion of reflective abstraction (Dubinsky, 1991; Piaget, 1977/2001), and thus captures the epistemological associations that link the problems, concepts and representations of the domain. The constructs of this visual language are introduced and then applied to the early-number domain. The introduction to this visual language may prompt reflection upon its suitability and significance to the description of other domains of knowledge. Through such a process of analysis and description, the visual language may serve as a scaffold for enhancing pedagogical content knowledge and thus ultimately improve learning outcomes.

Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present

This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.

The notion of space in the artistic language of Alfredo Jaar

Conceptual art and communicator role has influenced the work of Chilean architect Alfredo Jaar, which has been proposed report, with other codes [verbal and nonverbal], global events influencing contemporary society. His early training as an architect has driven innovation in the design of artistic space , using the message to convey to the viewer the reason for his work for more than three decades, highlights the artistic composition with various material resources whose purpose lies in conceptualizing various topics relevant in considering the role of artistic communication. Jaar’s style is the sum of his own life experience in relation to the contradictions of the world today, which is exposed and from the perspective of postmodernism from the exploitation of the notion of space as an open stage for visual and expressiveness beyond national borders, societies and cultures of the world.

Aspectos linguístico-ergonômicos em rótulos: avaliação da linguagem verbo-visual de rótulos de embalagens para alimentos achocolatados

We have been living in a world of packed products. The package and the labels support the companies to communicate with the customers in addition to give protection, storage and convenience in proportion to the products that move in the price list. The labels mainly add up a value which helps the companies differ their products and increase the value of the brands among the final customers. However, the information given in the label are not clear sometimes. It displays a verbal-visual defective language resulted from a poor visibility, legibleness and comprehensibleness of the verbal and visual marks. The aim of this research is to verify, according to the costumers‟ view, the level of the clarity in the informative texts, harmony and ergonomic conformity of the package labels in the chocolate powder of the Claralate brand, considering the linguistic aspects presented on the labels. The criteria to evaluate the chocolate package selected were based on the linguistic field: the organization and the structure of the text derided from the classification of the textual genre; the clarity and the comprehension of the language utilized on those labels. From the ergonomic view, the informative and ergonomic conformity, based on the following requirements: legibility, symbols, characters, reading fields and intermission of the written lines. Therefore, the research done july 2007 and added july 2011 had a structured questionnaire in the interview put to the 118 customers of the chocolate package that go shopping in one of the two supermarkets in Floriano, Piauí São Jorge and/or Super Quaresma. The main results of the investigation show that the linguistic aspects in the informative texts of the labels provide the customers‟ expectancy partially, while the consideration of the informative ergonomic analyzed can contribute to the improvement of the information and consequent visual progress of those, on the labels of chocolate package investigated. As recommendation towards the maker of the product, the outcome of the research indicates: harmonize the proportion of the letters and numbers; enlarge the letters size; make the visual information more comprehensive determined by the reading field; put the expiry date in a better visual place

Ilustração: passeio pela poesia visual

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Design e gênero: diretrizes metodológicas para validação do uso da linguagem visual na roupa infantil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Contextos comunicacionais adequados e inadequados à inclusão de alunos com deficiência visual em aulas de termologia

This article represents a continuation of the results of a research presented in Camargo and Nardi (2007). It is inserted in the study that seeks to understand the main student’s inclusion barriers with visual impairment in the Physics classes. It aims to understand which communication context shows kindness or unkindness to the impairment visual student’s real participation in thermology activities. For this, the research defines, from the empirical - sensory and semantics structures, the used languages in the activities, as well, the moment and the speech pattern in which the languages have been used. As result, identifies a strong relation between the uses of the interdependent empirical structure audio-visual language in the non-interactive episodes of authority; a decrease of this structure use in the interactive episodes and the creation of education segregation environments within the classroom.

Contextos comunicacionales adecuados e inadecuados para la inclusión de alumnos con discapacidad visual en clases de física moderna

This article is inserted in a wider study that seeks to understand the main inclusion barriers in Physics classes for students with visual impairment It aims to understand which communication context favors or impedes the visually impaired student participation to the impairment visual student’s real participation in Modern Physics activities. The research defines, from the empirical-sensory and semantics structures, the languages used in the activities, as well as, the moment and the speech pattern in which those languages have been used. As a result, this study identifies a strong relation between the uses of the interdependent empirical structure audio-visual language in the non-interactive episodes of authority; a decrease of this structure use in the interactive episodes; the creation of education segregation environments within the clasroom and the frequent use of empirical tactile-hearing interdependent language structure in these environments. Moreover, the concept of «special educational need» is discussed and its inadequate use is analyzed. Suggestions are given for its correct use of «special educational need,» its inadequate use, giving suggestions for its correct use.

Adolescence : a useful concept for this millennium

This paper proposes adolescence as a useful concept rather than definitive. It explores the notion of adolescence and its relevance to contemporary society and schooling. We reflect on the purposes for the emergence of research into adolescence during the early 20th century, particularly the particular scientific and societal pressures that served to bring this field to prominence. Recent debate has started to problematise many of the early parameters used to define and provide bounds for understanding adolescents and adolescent experience and for the rationale for some notionally tailored educational contexts. This paper provides an overview of this debate and argues for a reconsideration of some of the basic tenets for definition. In particular we discuss the cultural construction of adolescence in the light of our new globalised society. A possibility for thinking about contemporary adolescents is by considering them in terms of generational characteristics. What makes a new generation? Typically, members of a generation share age, a set of experiences during formative years, and a set of social and economic conditions. The adolescents of today fall into the group known collectively as the ‘Y Generation’, the ‘D (digital) Generation’, Generation C (consumer) and the ‘Millennial’s’. Born after mid-1980, they are characterised as computer and internet competent, multi-taskers, with a global perspective. They respond best to visual language, and are heavily influenced by the media. We consider the generational traits and how this impacts on the teaching and learning.

Visuacy, imagination, and engagement

Australia’s National Review of Visual Education (DEEWR, 2009) asserts the primacy of visual language ability, or ‘visuacy” in problem-solving. This paper reports on a recent university/schools research project with ‘at risk’ middle school students in which visuacy was promoted as a primary medium for obtaining data relating to issues of immediate concern to the students. Using a students-as-researchers approach, the project investigated middle school students’ perspectives on school engagement and disengagement. In this project, novice researchers used a variety of data gathering methods including photography, video interviews and drawn images as well as more traditional verbal methods, such as interviews, and quantitative methods, such as questionnaires. Engaging student imagination was a key focus of the approach taken by the project, acknowledging that student participants may be reluctant to enter dialogue with teachers and researchers on matters to which they have previously had little input. Students who have previously been marginalized and prevented from contributing their voices to educational forums often have difficulty in adjusting to the novelty of collaborative research with adults (Rudduck, 2003) and may be uncertain of their own place in the relationship that defines teacher/student interactions. It is argued that the project’s promotion of visuacy, alongside more traditional literacies and numeracy in education research, helped to overcome these concerns, engaged the imaginations of the student researchers, and provided a medium for the expression of the voices of marginalised young people.

Storyboard augmentation of process model grammars for stakeholder communication

Process models are often used to visualize and communicate workflows to involved stakeholders. Unfortunately, process modeling notations can be complex and need specific knowledge to be understood. Storyboards, as a visual language to illustrate workflows as sequences of images, provide natural visualization features that allow for better communication, to provide insight to people from non-process modelling expert domains. This paper proposes a visualization approach using a 3D virtual world environment to visualize storyboards for business process models. A prototype was built to present its applicability via generating output with examples of five major process model patterns and two non-trivial use cases. Illustrative results for the approach show the promise of using a 3D virtual world to visualize complex process models in an unambiguous and intuitive manner.

Roadmapping in industrial companies: Experiences

From its origins in the US electronics sector in the 1970s, technology roadmapping has been adapted (and adopted) widely, for many different innovation, strategy and policy applications. Communication is commonly cited as one of the key benefi ts of roadmapping, particularly in terms of the process that brings different organizational perspectives together, with the roadmap providing a common visual 'language'. There is signifi cant demand for methods that are agile, in the sense of being rapid, flexible and effective to apply, focused on strategic decisions and actions. 'Fast-start' roadmapping workshop techniques enable key stakeholders to address strategic issues efficiently using the visual structure of roadmaps to capture, discuss, prioritize, explore and communicate. This paper presents the learning from a set of five diverse applications of the fast-start approach in the Basque Country, which demonstrate the agility of the technique.

A ilustração enquanto processo e pensamento: autoria e interpretação

A ilustração como expressão, cumprindo o desígnio de comunicar visualmente, é reveladora de um modo específico de processo e pensamento. E pelo facto desse modo se constituir a partir do sentido implícito (do que não é dito), exigindo para se manifestar a participação cognitiva e afectiva do ilustrador, revela marcas de subjectividade e de poética portadoras de soluções narrativas, gráficas e plásticas originais. Essa transmutação entre as linguagens verbal e visual está impregnada de experiências, memórias e conhecimento; de tudo aquilo, enfim, que pelo corpo é percebido e sentido. Por isso se entende que configura, necessariamente, algo novo, já que não existem dois seres organicamente iguais. Tem-se como objectivo desta tese, reflectir sobre a ilustração ficcional enquanto construção de um autor na interpretação do texto de um outro, querendo, deste modo, contribuir para a afirmação do que é hoje a ilustração. Pretende-se, neste percurso, compreender os desígnios que cumpre a ilustração na actualidade e explicar o seu protagonismo no contexto presente do design de comunicação; quer-se ainda evidenciar que a prática da ilustração contamina ou influencia a prática do projecto de design; e que, por seu lado, a prática do projecto de design confere um entendimento distinto à prática da ilustração. As ilustrações que serão aqui objecto de estudo, são aquelas que manifestam um processo em cuja génese está a interpretação e o sentido que o seu autor atribui ao programa, e que se identificam, por isso, como próximas do projecto de design. O trabalho prático desenvolve-se pela selecção de autores que correspondem a esses pressupostos, pela sua entrevista e pela apresentação de projectos da sua autoria que justificam e reforçam a perspectiva teórica. Do confronto entre as respostas e os artefactos produzidos, conclui-se que a ilustração é, na singularidade do seu pensamento e enquanto recurso expressivo, configuradora de inovação semântica para o projecto de design de comunicação.