Institute of Digital Communication Environments
Dauerhafte URI für die Sammlunghttps://irf.fhnw.ch/handle/11654/13
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Ergebnisse nach Hochschule und Institut
Publikation Evoking Communication through Images: between Precision and Openness—The Form of Images and Their Discursive Effects(14.09.2021) Reymond, Claire; Käser, SusanneThe Form of Images and Their Discursive Effects The colloquium explores the form of images with regard to their effects on the discursive situations they open and reshape. A first contribution focuses on teaching. We explore how images trigger the reflection of design students, either to involve in the discourse of image theory or to activate a process of image-making that challenges the habitual design practice and engages in practice-led iconic research. The second article deals with a historically documented design exercise. Design aims at communicating in visual signs but must consider the changeability of image meaning. In order to observe how the meaning of images changes in relation to others, students generate various pairs of images. A third contribution deals with enabling participations, in the training of language skills after illnesses or in the inclusion of different viewpoints in participatory urban planning processes. The central question of our research is how different forms of images can foster rehabilitation or participation. A fourth contribution inquires how we negotiate the supposed truth in images in two cases: 1. pictures resulting from gesture processes and their personal signature; 2. photography and its accurate representation of reality – a claim that will be explored in respect to the materiality and space of architecture. A final paper focuses on the act of form finding: The designer negotiates not only with the image in the making, but also with the icons, control panels and functions of the software. This contribution will inquire this setting of the design process and the internalized act of negotiation.06 - PräsentationPublikation Effect of Formal Training on Consensus of Visual Aesthetic Appreciation(01.09.2021) Vessel, Edward A.; Reymond, Claire; Etcoff, NancyPrevious research has shown that the degree of aesthetic consensus (“shared taste”) across observers differs by visual aesthetic domain, being higher for natural kinds (faces and landscapes) and lower for cultural artifacts (artworks and architecture). This may arise because cultural artifacts have little relevance for most people’s daily behavior and thus do not motivate convergent learning. We examined the aesthetic preferences of students enrolled in training programs for design and architecture, and hypothesized that formal training in an artistic domain would lead to shifts in which features individuals use to aesthetically evaluate that domain, leading to changes in which images are preferred, and potentially, to an increase in shared taste (convergence) across individuals. 37 architecture and 25 design (visual communication) students were asked to look at pictures of architecture, fine art paintings and design posters and rate them on both a cognitive (“did you understand the image”) and aesthetic emotional scale (“were you touched by the image”), both at the beginning of their first semester (T1) and again at the beginning of their second semester (T2). While we did observe an initial domain-specific preference amongst design students (for design posters) and architecture students (for buildings), we did not find evidence for a domain-specific effect of training on consensus for aesthetic appeal. Rather, we found more generalized increases in consensus for understanding, and decreases in consensus for aesthetic appeal for specific stimulus types. These findings suggest that a semester of domain-specific training accentuates the individuality of aesthetic judgments, an essential skill for design and architecture students.06 - PräsentationPublikation Premises for Interaction between Images(Routledge, 12/2017) Reymond, ClaireWhen images are seen in pairs, the viewer seeks the perceivable features shared by the two images, to compare them. The aim of this process is to understand why they stand next to each other and also, if possible, to understand the images as a unity. Studies in the field of art history (see the method of ‘comparative seeing’) and psychology (as an example ‘visual metaphors’) investigate–in the field of image-juxtaposition–different aspects of this phenomenon. Nevertheless, the premises that are needed for images to be interpreted as belonging together have yet to be examined on the image-level. This study analyzes the basic conditions that should be given for image connection processes to occur and tries to answer the following question: “Which pictorial elements can be detected as premises for a relation between two images?”. The investigation is an explorative study using the method of practice-led iconic research to detect the premises that allow connection processes between images to occur. The analysis documents the relevance of different image-features, as for example, the analogy of the directional positions within the images or the width of the stroke in line drawings. An eye-tracking study, that was conducted as a subsequent step, strengthens the findings of the practical research.01A - Beitrag in wissenschaftlicher ZeitschriftPublikation E-Inclusion – Defining Basic Image Properties for Illustrated Stimuli in Aphasia Treatment(Routledge, 12/2019) Reymond, Claire; Müller, Christine; Grumbinaite, IndreWord production is stimulated by images in treatment processes for people with aphasia (Heuer & Hallowell, 2007). Although stimulation through pictorial stimuli has a long tradition in aphasia therapy, there is a lack in research on which image stimuli are the most suitable for this purpose (Brown & Thiessen, 2018). Current research assumes that stimulation via photographic images evokes better and more direct retrieve of searched words, than stimulation by illustrations (Heuer, 2016). However, the illustrations investigated so far mostly comprise black and white line drawings and there are hardy no studies investigating possible effects of different image parameters as style, image cropping or perspective in relation to clear naming. We developed a visual concept of illustrated images enabling clear determinability of activities and objects. The 128 designed stimuli that meet linguistic research criteria were named by 62 students regarding "name agreement" and evaluated on a 5-point scale with respect to "visual complexity" and "image agreement". The illustrated images will be examined in a following study regarding the correctness of the naming by persons with aphasia and be compared with corresponding photographic stimuli. The analysis presented here is part of the study E-Inclusion, an interdisciplinary project that includes researchers in life science technology, linguistics and speech therapy as well as image research from the University of Applied Sciences and Art Northwestern Switzerland (FHNW).01A - Beitrag in wissenschaftlicher Zeitschrift