The issue of race is the focus of Oates’novel Because It Is Bitter,and Because It Is My Heart.The racial identity metaphors in the photos in the novels show the characteristics of racial ideology.This paper argues th...The issue of race is the focus of Oates’novel Because It Is Bitter,and Because It Is My Heart.The racial identity metaphors in the photos in the novels show the characteristics of racial ideology.This paper argues that photographs are no longer used as external cultural metaphors,but as invisible references to racial prejudice and racial contradictions.This article re-examines Oates’racial issue writing in the form of visual narratives and considers the ambivalence of the dual identities and double consciousness of blacks in New York City in the late 1950s from the visual ethical interpretation of black identity awareness,and the perception of cruelty and violence of social inequality.The historical limitations of the harsh reality of racism make a critical intervention in visual ethics.展开更多
This study analyzes the curatorial translation mechanism of the Sino-Western Art Dialogue exhibition,and based onfive exhibition cases such as the Asian Art Museum and the Tate Modern from 2020 to 2024,reveals the vis...This study analyzes the curatorial translation mechanism of the Sino-Western Art Dialogue exhibition,and based onfive exhibition cases such as the Asian Art Museum and the Tate Modern from 2020 to 2024,reveals the visual grammar of culturalmediators.Through in-depth interviews with curators,analysis of audience behavior data and visual symbols,six fundamentaltranslation strategies were distilled:symbol anchoring,narrative rhythm,context correction,semantic layering,sensoryenhancement and participatory framework.Take a contemporary ink painting exhibition as an example.The curatorial teamdeconstructed the brushstrokes of calligraphy into dynamic projections,allowing Western audiences to understand the aestheticsof qi Yun through the rhythm of brushwork.Eye-tracking data shows that the length of stay and comprehension score of theseexhibition areas that incorporate interactive narratives are significantly higher than those of traditional exhibitions.The researchalso revealed differences in cultural decoding—the concept of empty space in Ming Dynasty landscape paintings is oftenmisinterpreted by non-Chinese audiences as a compositional flaw.At this stage,a“visual dictionary”must be implemented:byintegrating sensory projections into the exhibition wall,when the viewer observes for more than five seconds,the pavilions andterraces of the paintings will emerge through a three-dimensional perspective analysis.These practices provide methodologicalreferences for intercultural exhibitions.展开更多
Narrative visualization facilitates data presentation and communicates insights,while virtual reality can further enhance immersive and engaging experiences.The combination of these two research interests shows the po...Narrative visualization facilitates data presentation and communicates insights,while virtual reality can further enhance immersive and engaging experiences.The combination of these two research interests shows the potential to revolutionize the way data is presented and understood.Within the realm of narrative visualization,empirical evidence has particularly highlighted the importance of camera planning.However,existing works primarily rely on user-intensive manipulation of the camera,with little effort put into automating the process.To fill the gap,this paper proposes CineFolio,a semi-automated camera planning method to reduce manual effort and enhance user experience in immersive narrative visualization.CineFolio combines cinematic theories with graphics criteria,considering both information delivery and aesthetic enjoyment to ensure a comfortable and engaging experience.Specifically,we parametrize the considerations into optimizable camera properties and solve it as a constraint satisfaction problem(CSP)to realize common camera types for narrative visualization,namely overview camera for absorbing the scale,focus camera for detailed views,moving camera for animated transitions,and user-controlled camera allowing users to provide inputs to camera planning.We demonstrate the feasibility of our approach with cases of various data and chart types.To further evaluate our approach,we conducted a within-subject user study,comparing our automated method with manual camera control,and the results confirm both effectiveness of the guided navigation and expressiveness of the cinematic design for narrative visualization.展开更多
Data videos are a highly impactful method of communication and are becoming a prevalent medium for communicating information.While the majority of current research focuses on the cinematic aspects of data videos,very ...Data videos are a highly impactful method of communication and are becoming a prevalent medium for communicating information.While the majority of current research focuses on the cinematic aspects of data videos,very little is known about the narrative methodologies involved.This paper presents our insights derived from an initial exploration of this area.We present a taxonomy based on the analysis of 70 existing data videos examining their narrative and visual approaches.We propose that our taxonomy can be used to explain the characteristics or design of data videos.Applying this taxonomy,we present our observations,including the trend of popular technologies applied in current data videos,the under-utilization of promising methods,and highlight research opportunities in the field.展开更多
文摘The issue of race is the focus of Oates’novel Because It Is Bitter,and Because It Is My Heart.The racial identity metaphors in the photos in the novels show the characteristics of racial ideology.This paper argues that photographs are no longer used as external cultural metaphors,but as invisible references to racial prejudice and racial contradictions.This article re-examines Oates’racial issue writing in the form of visual narratives and considers the ambivalence of the dual identities and double consciousness of blacks in New York City in the late 1950s from the visual ethical interpretation of black identity awareness,and the perception of cruelty and violence of social inequality.The historical limitations of the harsh reality of racism make a critical intervention in visual ethics.
文摘This study analyzes the curatorial translation mechanism of the Sino-Western Art Dialogue exhibition,and based onfive exhibition cases such as the Asian Art Museum and the Tate Modern from 2020 to 2024,reveals the visual grammar of culturalmediators.Through in-depth interviews with curators,analysis of audience behavior data and visual symbols,six fundamentaltranslation strategies were distilled:symbol anchoring,narrative rhythm,context correction,semantic layering,sensoryenhancement and participatory framework.Take a contemporary ink painting exhibition as an example.The curatorial teamdeconstructed the brushstrokes of calligraphy into dynamic projections,allowing Western audiences to understand the aestheticsof qi Yun through the rhythm of brushwork.Eye-tracking data shows that the length of stay and comprehension score of theseexhibition areas that incorporate interactive narratives are significantly higher than those of traditional exhibitions.The researchalso revealed differences in cultural decoding—the concept of empty space in Ming Dynasty landscape paintings is oftenmisinterpreted by non-Chinese audiences as a compositional flaw.At this stage,a“visual dictionary”must be implemented:byintegrating sensory projections into the exhibition wall,when the viewer observes for more than five seconds,the pavilions andterraces of the paintings will emerge through a three-dimensional perspective analysis.These practices provide methodologicalreferences for intercultural exhibitions.
基金funded by the Guangxi Science and Technology Program No.AB25069470National Natural Science Foundation of China Grant No.72371217+1 种基金the Guangzhou Industrial Informatic and Intelligence Key Laboratory No.2024A03J0628the Nansha Key Area Science and Technology Project No.2023ZD003,and Project No.2021JC02X191.
文摘Narrative visualization facilitates data presentation and communicates insights,while virtual reality can further enhance immersive and engaging experiences.The combination of these two research interests shows the potential to revolutionize the way data is presented and understood.Within the realm of narrative visualization,empirical evidence has particularly highlighted the importance of camera planning.However,existing works primarily rely on user-intensive manipulation of the camera,with little effort put into automating the process.To fill the gap,this paper proposes CineFolio,a semi-automated camera planning method to reduce manual effort and enhance user experience in immersive narrative visualization.CineFolio combines cinematic theories with graphics criteria,considering both information delivery and aesthetic enjoyment to ensure a comfortable and engaging experience.Specifically,we parametrize the considerations into optimizable camera properties and solve it as a constraint satisfaction problem(CSP)to realize common camera types for narrative visualization,namely overview camera for absorbing the scale,focus camera for detailed views,moving camera for animated transitions,and user-controlled camera allowing users to provide inputs to camera planning.We demonstrate the feasibility of our approach with cases of various data and chart types.To further evaluate our approach,we conducted a within-subject user study,comparing our automated method with manual camera control,and the results confirm both effectiveness of the guided navigation and expressiveness of the cinematic design for narrative visualization.
文摘Data videos are a highly impactful method of communication and are becoming a prevalent medium for communicating information.While the majority of current research focuses on the cinematic aspects of data videos,very little is known about the narrative methodologies involved.This paper presents our insights derived from an initial exploration of this area.We present a taxonomy based on the analysis of 70 existing data videos examining their narrative and visual approaches.We propose that our taxonomy can be used to explain the characteristics or design of data videos.Applying this taxonomy,we present our observations,including the trend of popular technologies applied in current data videos,the under-utilization of promising methods,and highlight research opportunities in the field.
