Innovation and Visualization: Trajectories, Strategies and Myths

Abstract

The extent to which thinking about art has been shaped by the predominantly descriptive approach of the past is a topic in need of review. This paper summarizes historical influences that stimulated the textual turn and traces the evolution toward more visual communication.

Plato’s Myth of the Cave Images. A Didactic Analysis of the Mediation Function

“…Over the years, numerous authors [17] have provided different graphic, pictorial, cinematic and digital representations of the myth for different communicative purposes and uses (expressive, documentary, educational, etc.) [18] that contributed to and transforming it even into an icon of pop-culture, a very well known object among non-specialist audiences [19,20]. Some examples include: the films Wachowski's 'The Matrix' and 'The Truman Show' of P. Weir; the video game 'Furi' (The Game Bakers, 2016) or the webseries 'Cave of Shadows' (Bluwood Films, 2015).…”

“Visual Science Literacy”

“…W. Bauer, Shukla, & Allum, 2012; Bucchi & Trench, 2014, 2016). However, science literacy has so far always been defined in terms of the ability of respond to questions about scientific content, largely neglecting the fact that the visual has historically been central to science communication; this is even more so in the context of contemporary circulation of information through digital media (Bucchi, 2016; Frankel & DePace, 2012; Ione, 2004; Struken & Cartwright, 2009). One methodological reason for this limitation might have been the fact that during the past decade, many surveys of public understanding of science were conducted through CATI (Computer-Assisted Telephone Interviewing) techniques (Allum, Sturgis, Tabourazi, & Brunton-Smith, 2008; M.…”

“…The so-called science literacy (H. H. Bauer, 1994;Miller, 1983Miller, , 1992 has become a standard dimension in studies and discussion of public understanding of science at the international level; longitudinal trends, comparison across different publics and countries, have also been extensively used to invoke policies and strategies for public engagement with science (M. W. Bauer, Shukla, & Allum, 2012;Bucchi & Trench, 2014. However, science literacy has so far always been defined in terms of the ability of respond to questions about scientific content, largely neglecting the fact that the visual has historically been central to science communication; this is even more so in the context of contemporary circulation of information through digital media (Bucchi, 2016;Frankel & DePace, 2012;Ione, 2004;Struken & Cartwright, 2009). One methodological reason for this limitation might have been the fact that during the past decade, many surveys of public understanding of science were conducted through CATI (Computer-Assisted Telephone Interviewing) techniques (Allum, Sturgis, Tabourazi, & Brunton-Smith, 2008;M.…”