How Visual is Visual Prediction?

Infants are readily able to use their recent experience to shape their future behavior. Recent work has confirmed that infants generate neural predictions based on their recent experience (Emberson, Richards, & Aslin, 2015) and that neural predictions trigger visual system activity similar to that elicited by visual stimulation. This study uses behavioral methods to ask, how visual is visual prediction? In Experiment 1, we confirmed that when additional trials provide additional visual experience with the experimental shape, infants exhibit a robust novelty preference. In Experiment 2, we removed the visual stimulus from some trials and presented the predictive auditory cue alone, allowing the effects of neural prediction to be assessed. We found no evidence of looking preferences at test, suggesting that visual prediction does not contribute to the computation of visual familiarity. In Experiment 3, we provided infants with a degraded visual stimulus to test whether visual prediction could bias visual perception under ambiguous conditions. Again, we found no evidence of looking preferences at test, suggesting that visual prediction is not biasing perception of an uncertain stimulus. Overall, our results suggest that visual prediction is not visual, in the strictest sense, despite the presence of visual system activation.     

A study of subjective visual disturbances in jewellery manufacturing

Subjective Visual Disturbances are silent adversaries that appear over a period of continued exposure and arise when the visual demands of the tasks exceed the visual abilities of the user. Jewellery manufacturing activity involves precision designs, setting the metal and stones, polishing and filing which requires higher visual demand. Therefore, it is expected that the jewellery manufacturing workers may experience subjective visual disturbances. This study was taken up with the following objectives 1) To study the presence of subjective visual disturbances among jewellery manufacturing workers and compare the same with VDT operators 2) To study the effect of work exposures on subjective visual disturbances and 3) to ascertain whether subjective visual disturbances have any permanent vision related problems. The study was carried out on jewellery manufacturing workers, VDT operators and on graduate students. The symptoms of subjective visual disturbances were identified using a questionnaire developed by Sheedy (2003). Viewing distances were measured and visual angles were calculated. The eye check--ups were also carried out. The subjective visual disturbances were higher in jewellery manufacturing workers. The findings suggest that work exposure has an impact on the causation of subjective visual disturbances. No pathological conditions of the eyes were observed.     

People with visual impairment ‘watching’ television? Leisure pursuits of people with visual impairment in Ghana

Leisure pursuits of people with visual impairment is one of the under-researched concepts in disability discourse. Employing focus group discussions, this study explored the leisure pursuits of people with visual impairment. Their leisure pursuits include chatting, sleeping, listening to radio, meditation and watching television. The watching of television is traditionally considered unconventional for people with visual impairment; however, this was pursued for multiple reasons including as a form of resistance to traditional stereotypes on visual impairment as well as its educational and informative values. Reasons underlying their leisure pursuits include availability and accessibility, desire to obtain information and relaxation.     

Editorial

This introductory article provides an overview and theoretical anchor for the following contributions in this special issue. The article discusses, first, the necessity for introducing a new research paradigm – ‘visual competence’ – in the social sciences (anthropology, communication science, media and social psychology, political science, sociology), arguing that the actual transformations of reality triggered by processes of globalisation and digitisation require a closer scrutiny of the visual. In a second step, the new paradigm ‘visual competence’ is introduced, focusing on four dimensions: visual production, perception, interpretation and reception competencies. A new model, the visual competence cycle, is suggested. The article concludes with a specific application example for studying visual interpretation competence in a case study of the humanising and de‐humanising effects of portraiture.     

HPV vaccination campaign fear visuals: An eye-tracking study exploring effects of visual attention and type on message informative value,recall, and behavioral intentions

HPV is the most common sexually transmitted disease, and there are alarming global disparities in cervical cancer and HPV vaccination uptake (CDC, 2016a). To inform HPV vaccination public health campaigns, an experiment with a psychophysiological measure (eye-tracking) explores the effects of visual attention to vaccination messages on message recall, informative value, and behavioral intentions. Results indicate 1) visual type affects recall and informative value of vaccination messages as well as intentions to vaccinate; 2) visual attention is negatively related to message recall only when a non-fear visual is used; and 3) visual attention predicts intent to vaccinate only when a fear visual is utilized. These results suggest the use of fear appeals in health, crisis, and risk public relations campaigns may promote performance of recommended safeguarding behaviors.     

Art in my world: Exploring the visual art experiences in the everyday lives of young children and their impact on cultural capital

This paper presents data from a unique longitudinal study exploring the visual art experiences of nine children in two Scottish primary schools. Using a theoretical lens of cultural capital, the study is focused on spaces where children experience visual art and the value of these experiences, using arts-informed, visual methods. While each child presented a particular insight, the findings question the value of current school visual art experience over other spaces. The findings also demonstrate the capacity of children to resist the control of cultural capital by adults, engaging with visual art on their own terms.     

PERFORMING THE VISUAL NORTH

During the last decade, the phrase ‘visual culture’ has come to identify a variety of interdisciplinary approaches to the visual in everyday life. While analytic perspectives may come from gender, race or media theory, political economy, psychoanalysis, and so forth, there is an apparent agreement about the critical relation the visual has to subjectivity and social organization. The travelling of critical and cultural theory across disciplinary boundaries has given ‘visual culture’ an institutional form through new degrees, programmes, cross-faculty appointments, courses, introductory textbooks, and research publications. This paper comments on the intellectual history of ‘visual culture’, identifies cultural aspects of visual performance that have been understated in recent formulations of visual culture and visual studies, and argues that the current institutional form of visual culture research has contributed to the disappearance of cultural and anthropological approaches within visual culture. The paper is developed in relation to a case study involving popular photography as a cultural performance of the Canadian north, and considers the contribution of performance to visual culture.     

The ruins of Managua vieja: the use of expressive photography in urban ethnography

This article proposes a method of conducting urban visual work – a practice-led visual study in which researcher-generated expressive photography explores the ‘city-as-archive’ (Hetherington 2013) and contributes to the urban visual archive. The photographs used in this article focus upon the social world of material remnants in the setting of the old downtown of Managua, Nicaragua. The aim of the article is four-fold: to suggest the epistemological gains of expressive photography, to discuss the methodology and style, to present the use of these images in an urban visual ethnography of Managua and to address related ethical concerns. Although expressive photographs are used to some extent by scholars, there is a noticeable lack of discussion of the method and empirical examples in urban visual studies. In this article, I propose intentionally using expressive photography to convey the subjective and affective knowledge that is generally not communicated by more conventional, ‘realist’ documentary visual techniques. Moving into a more explicit conversation of the work process, I point out three arenas for inquiry, for which this method can be useful. I detail my own visual ethnographic practice, and present my primary visual aims in three image clusters: expressive photography in conjunction with historical images, theorising the oscillation between absence and presence and visually interpreting the vernacular design of the ruinscape. The article concludes with a consideration of ‘ruin romance’ as an ethical concern, as well as some reflections over perceived difficulties in using this method as a means of doing academic research.     

Visual studies of rural life

In the last 20 years the notion that images overpower words, and the belief that a decreasing lexical literacy among the young has been offset by an increasing visual literacy, has been repeated often enough to become accepted wisdom. Yet the precise nature of visual literacy among the young and the relationship between visual competencies and the notion of media literacy have not been fully explored or adequately specified. Concepts of visual literacy and media literacy are unproductively conflated, and visual competencies are too often assumed on the part of those that exhibit familiarity with media culture. This essay compares and analyses notions of visual competence and media literacy and argues that: (1) a cultivated awareness of the production of visual forms and characteristics, and their implications, is necessary for what has been described in the literature as ‘media literacy’; and (2) the acquisition of visual analysis skills pre‐requires a broader operational context of media literacy. Through an examination of images from religious painting to news coverage the article argues that visual competencies and media literacy skills may, indeed, be mutually dependent.     

Digital baroque: New media art and cinematic folds

The decision to use participatory visual methods with young people in education, health or public policy research is linked to a desire to allow them to have some greater voice in the research and the professional activities that impact on their lives. But how that ‘voice’ is produced, whose voice it represents, and how the product of that research is used and interpreted are all contentious issues for researchers. This article analyses some of these conceptual, methodological, political and pragmatic issues from the perspective of a current Australian Research Council-funded project working with young people across education and health domains. It is argued that allowing or not allowing visual accounts to speak for themselves is not simply a political decision but one related to epistemological understandings about meaning, and also to different purposes of different visual projects, in particular their relative emphasis on voice as a window to the world of the young people, compared with voice as a window to ‘who I am’. The project discussed is one which aims to give greater authority and centrality to the visual accounts and voices of young people, but also one where researchers understand both the visual and voice as constructed rather than given. Case studies from the project are used to illustrate the way in which these commitments frame decisions about technology and methodology, and also to show and argue for an approach which treats the meaning of the visual evidence as something to be constructed ethnographically and reflexively over time.     

Visual ergonomics and computer work--is it all about computer glasses?

The Swedish Provisions on Work with Display Screen Equipment and the EU Directive on the minimum safety and health requirements for work with display screen equipment cover several important visual ergonomics aspects. But a review of cases and questions to the Swedish Work Environment Authority clearly shows that most attention is given to the demands for eyesight tests and special computer glasses. Other important visual ergonomics factors are at risk of being neglected. Today computers are used everywhere, both at work and at home. Computers can be laptops, PDA's, tablet computers, smart phones, etc. The demands on eyesight tests and computer glasses still apply but the visual demands and the visual ergonomics conditions are quite different compared to the use of a stationary computer. Based on this review, we raise the question if the demand on the employer to provide the employees with computer glasses is outdated.     

Visual transparency: Looking behind thick walls

Organizations send a lot of visual information to their stakeholders, via advertisements, PR-releases, etc. The question is whether they are ready to fulfill the need for visual information, when asked. In order to analyze this question we firstly specify the meaning of the visual code, compared to literacy and orality. The distinction made by Peirce, between iconic, indexical and symbolic signs serves as our starting point. The easy availability and the sense of authenticity of visual material are considered as crucial characteristics of the visual code. Next we construct our concept visual information need, indicating what kind of messages are then to be delivered. We hypothesize that the more the visual information need is vague or ill-defined, the more the symbolic code plays a role. And – vice versa – the more precise a question is the more iconic/indexical the presentation should be. Practical examples illustrate this thesis.     

Spokespersons’ Nonverbal Behavior in Times of Crisis: The Relative Importance of Visual and Vocal Cues

When a chief executive officer or spokesperson responds to an organizational crisis, he or she communicates not only with verbal cues but also visual and vocal cues. While most research in the area of crisis communication has focused on verbal cues (e.g., apologies, denial), this paper explores the relative importance of visual and vocal cues by spokespersons of organizations in crisis. Two experimental studies have more specifically examined the impact of a spokesperson’s visual cues of deception (i.e., gaze aversion, posture shifts, adaptors), because sending a credible response is crucial in times of crisis. Each study focused on the interplay of these visual cues with two specific vocal cues that have also been linked to perceptions of deception (speech disturbances in study 1; voice pitch in study 2). Both studies show that visual cues of deception negatively affect both consumers’ attitudes towards the organization (study 1) and their purchase intentions (study 2) after a crisis. In addition, the findings indicate that in crisis communication, the impact of visual cues dominates the outcomes of vocal cues. In both studies, vocal cues only affected consumers’ perceptions when the spokesperson displayed visual cues of deception. More specifically, the findings show that crisis communication messages with speech disturbances (study 1) or a raised voice pitch (study 2) can negatively affect organizational post-crisis perceptions.     

Whose photo? Whose voice? Who listens? ‘Giving,’ silencing and listening to voice in participatory visual projects

This article examines participatory visual projects that aspire to enable social change by providing communities with a platform through photography. It argues that projects are sites for negotiating rather ‘giving’ voice and calls for practitioners and researchers to be transparent and reflexive about these negotiated processes. Examining two sets of participant-produced images by refugee youth, one of which was shown publically and one of which went unseen, this article explores issues of control and the biases that shape editorial decisions in NGO-linked participatory visual projects. It demonstrates how voices that do not fit into dominant visual frames tend to be silenced. It is argued that this negates the critical potential of participatory visual work to enable political listening and undermines the plurality of unheard voices that participatory visual work aspires to facilitate. The article raises the central question of listening to the conception of ‘voice’ in participatory visual initiatives. It argues that the political and ideological promise of these projects relates not only to the voices they give rise to but to the kind of listening they enable.     

Automated Corneal‐Reflection Eye Tracking in Infancy: Methodological Developments and Applications to Cognition

Since the mid‐1800s, experimental psychologists have been using eye movements and gaze direction to make inferences about perception and cognition in adults (Müller, 1826, cited in Boring, 1942). In the past 175 years, these oculomotor measures have been refined (see Kowler, 1990) and used to address similar questions in infants (see Aslin, 1985, 1987; Branson, 1982; Haith, 1980; Maurer, 1975). The general rationale for relying on these visual behaviors is that where one is looking is closely tied to what one is seeing. This is not to deny the fact that we can detect visual stimuli in the peripheral visual field, but rather that there is a bias to attend to and process information primarily when it is located in the central portion of the retina. Thus, although the direction of gaze is not perfectly correlated with the uptake of visual information (e.g., as in a blank stare or a covert shift of attention), there is a strong presumption that the direction of gaze can provide important information about visual stimuli even in newborn infants (Haith, 1966; Salapatek, 1968; Salapatek & Kessen, 1966).     

Voice,authenticity and ethical challenges: the participatory dissemination of youth-generated visual data over social media

Using the theoretical frameworks of childhood studies and visual ethics, this article explores ethical ways of engaging children and young people in disseminating self-generated visual data (‘participatory dissemination’) over social media. The discussion draws on a research project carried out with a group of young people in an underserved community in South Africa. The project was an educational intervention that aimed to enable the participants to bring out their experiences with the HIV and AIDS pandemic in South Africa and to reflect on related issues through participatory video making. The methodological focus was on exploring visual ethics in the context of participatory dissemination. Despite a growing interest in social media, few studies have been conducted in relation to ethics in using social media as an outlet to disseminate visual data created by young people. This article contributes to addressing this knowledge gap. It is argued that (1) the process of remaking visual data can enhance the ethics of dissemination by offering young participants an opportunity to reflect on self-representation more carefully and (2) the verbal contextualisation of participant-generated visual data can contribute to a further clarification of young people’s ideas, thereby making dissemination more ethical. I am cautious, however, to overstate the significance of disseminating young people’s verbal and visual expressions without researchers’ discretion because such expressions may contribute to stigmatising the young people.     

Issues of collaboration,representation, meaning and emotions: utilising participant-led visual diaries to capture the everyday lives of people in mid to later life

In recent years there has been an increasing use of visual methods in ageing research. There are, however, limited reflections and critical explorations of the implications of using visual methods in research with people in mid to later life. This paper examines key methodological complexities when researching the daily lives of people as they grow older and the possibilities and limitations of using participant-generated visual diaries. The paper will draw on our experiences of an empirical study, which included a sample of 62 women and men aged 50 years and over with different daily routines. Participant-led photography was drawn upon as a means to create visual diaries, followed by in-depth, photo-elicitation interviews. The paper will critically reflect on the use of visual methods for researching the daily lives of people in mid to later life, as well as suggesting some wider tensions within visual methods that warrant attention. First, we explore the extent to which photography facilitates a ‘collaborative’ research process; second, complexities around capturing the ‘everydayness’ of daily routines are explored; third, the representation and presentation of ‘self’ by participants within their images and interview narratives is examined; and, finally, we highlight particular emotional considerations in visualising daily life.     

Five artists' valuations of the visual

Abstract

This paper comprises interviews with five practising artists: Terry Atkinson, Torie Begg, Rebecca Fortnum, Lubaina Himid, and James Hugonin. The aim is to gauge the ways in which ‘the visual’ features in contemporary fine art practice, not only at the end of a century in which the visual ‐ at least for much of the first half of that century ‐ was often accorded special status, but also, more recently, after Conceptualism and radical egalitarian interventions have challenged the status of and assumptions about the value of the visual. All five artists were asked the same questions: What/who are the formative influences on your work?; What role does the visual play in your work ‐ to what extent do you value the visual?; Can you say something about (i) aesthetic and (ii) pleasure ‐ however you define them?; How does a work evolve?; How do you define quality ‐ what makes you think one of your works is better than another?; What is the spectator's relationship to your work? ‐ what role does the spectator have? The responses bear witness to significantly different ways in which contemporary artists value the visual.     

Avoidance of Heights on the Visual Cliff in Newly Walking Infants

Work with infants on the “visual cliff” links avoidance of drop‐offs to experience with self‐produced locomotion. Adolph's (2002) research on infants' perception of slope and gap traversability suggests that learning to avoid falling down is highly specific to the postural context in which it occurs. Infants, for example, who have learned to avoid crossing risky slopes while crawling must learn anew such avoidance when they start walking. Do newly walking infants avoid crossing the drop‐off of the visual cliff? Twenty prewalking but experienced crawling infants were compared with 20 similarly aged newly walking infants on their reactions to the visual cliff. Newly walking infants avoided moving onto the cliff's deep side even more consistently than did the prewalking crawlers. Thus, in the context of drop‐offs in visual texture, our results show that once avoidance of drop‐offs is established under conditions of crawling, it is developmentally maintained once infants begin walking.