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communication</title> <meta name="description" content="Search results for: visual communication"> <meta name="keywords" content="visual communication"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="visual communication"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 5861</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: visual communication</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5861</span> The Importance of Visual Communication in Artificial Intelligence</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Manjitsingh%20Rajput">Manjitsingh Rajput</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual communication plays an important role in artificial intelligence (AI) because it enables machines to understand and interpret visual information, similar to how humans do. This abstract explores the importance of visual communication in AI and emphasizes the importance of various applications such as computer vision, object emphasis recognition, image classification and autonomous systems. In going deeper, with deep learning techniques and neural networks that modify visual understanding, In addition to AI programming, the abstract discusses challenges facing visual interfaces for AI, such as data scarcity, domain optimization, and interpretability. Visual communication and other approaches, such as natural language processing and speech recognition, have also been explored. Overall, this abstract highlights the critical role that visual communication plays in advancing AI capabilities and enabling machines to perceive and understand the world around them. The abstract also explores the integration of visual communication with other modalities like natural language processing and speech recognition, emphasizing the critical role of visual communication in AI capabilities. This methodology explores the importance of visual communication in AI development and implementation, highlighting its potential to enhance the effectiveness and accessibility of AI systems. It provides a comprehensive approach to integrating visual elements into AI systems, making them more user-friendly and efficient. In conclusion, Visual communication is crucial in AI systems for object recognition, facial analysis, and augmented reality, but challenges like data quality, interpretability, and ethics must be addressed. Visual communication enhances user experience, decision-making, accessibility, and collaboration. Developers can integrate visual elements for efficient and accessible AI systems. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20communication%20AI" title="visual communication AI">visual communication AI</a>, <a href="https://publications.waset.org/abstracts/search?q=computer%20vision" title=" computer vision"> computer vision</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20aid%20in%20communication" title=" visual aid in communication"> visual aid in communication</a>, <a href="https://publications.waset.org/abstracts/search?q=essence%20of%20visual%20communication." title=" essence of visual communication."> essence of visual communication.</a> </p> <a href="https://publications.waset.org/abstracts/174998/the-importance-of-visual-communication-in-artificial-intelligence" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174998.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">95</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5860</span> Freedom of Expression and Its Restriction in Audiovisual Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sevil%20Yildiz">Sevil Yildiz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Audio visual communication is a type of collective expression. Collective expression activity informs the masses, gives direction to opinions and establishes public opinion. Due to these characteristics, audio visual communication must be subjected to special restrictions. This has been stipulated in both the Constitution and the European Human Rights Agreement. This paper aims to review freedom of expression and its restriction in audio visual media. For this purpose, the authorisation of the Radio and Television Supreme Council to impose sanctions as an independent administrative authority empowered to regulate the field of audio visual communication has been reviewed with regard to freedom of expression and its limits. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=audio%20visual%20media" title="audio visual media">audio visual media</a>, <a href="https://publications.waset.org/abstracts/search?q=freedom%20of%20expression" title=" freedom of expression"> freedom of expression</a>, <a href="https://publications.waset.org/abstracts/search?q=its%20limits" title=" its limits"> its limits</a>, <a href="https://publications.waset.org/abstracts/search?q=radio%20and%20television%20supreme%20council" title=" radio and television supreme council"> radio and television supreme council</a> </p> <a href="https://publications.waset.org/abstracts/39325/freedom-of-expression-and-its-restriction-in-audiovisual-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/39325.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">326</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5859</span> Communication Design in Newspapers: A Comparative Study of Graphic Resources in Portuguese and Spanish Publications</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=F%C3%A1tima%20Gon%C3%A7alves">Fátima Gonçalves</a>, <a href="https://publications.waset.org/abstracts/search?q=Joaquim%20Brigas"> Joaquim Brigas</a>, <a href="https://publications.waset.org/abstracts/search?q=Jorge%20Gon%C3%A7alves"> Jorge Gonçalves</a> </p> <p class="card-text"><strong>Abstract:</strong></p> As a way of managing the increasing volume and complexity of information that circulates in the present time, graphical representations are increasingly used, which add meaning to the information presented in communication media, through an efficient communication design. The visual culture itself, driven by technological evolution, has been redefining the forms of communication, so that contemporary visual communication represents a major impact on society. This article presents the results and respective comparative analysis of four publications in the Iberian press, focusing on the formal aspects of newspapers and the space they dedicate to the various communication elements. Two Portuguese newspapers and two Spanish newspapers were selected for this purpose. The findings indicated that the newspapers show a similarity in the use of graphic solutions, which corroborate a visual trend in communication design. The results also reveal that Spanish newspapers are more meticulous with graphic consistency. This study intended to contribute to improving knowledge of the Iberian generalist press. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication%20design" title="communication design">communication design</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20resources" title=" graphic resources"> graphic resources</a>, <a href="https://publications.waset.org/abstracts/search?q=Iberian%20press" title=" Iberian press"> Iberian press</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20journalism" title=" visual journalism"> visual journalism</a> </p> <a href="https://publications.waset.org/abstracts/87512/communication-design-in-newspapers-a-comparative-study-of-graphic-resources-in-portuguese-and-spanish-publications" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87512.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">269</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5858</span> The Intersection of Art and Technology: Innovations in Visual Communication Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sareh%20Enjavi">Sareh Enjavi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent years, the field of visual communication design has seen a significant shift in the way that art is created and consumed, with the advent of new technologies like virtual reality, augmented reality, and artificial intelligence. This paper explores the ways in which technology is changing the landscape of visual communication design, and how designers are incorporating new technological tools into their artistic practices. The primary objective of this research paper is to investigate the ways in which technology is influencing the creative process of designers and artists in the field of visual communication design. The paper also aims to examine the challenges and limitations that arise from the intersection of art and technology in visual communication design, and to identify strategies for overcoming these challenges. Drawing on examples from a range of fields, including advertising, fine art, and digital media, this paper highlights the exciting innovations that are emerging as artists and designers use technology to push the boundaries of traditional artistic expression. The paper argues that embracing technological innovation is essential for the continued evolution of visual communication design. By exploring the intersection of art and technology, designers can create new and exciting visual experiences that engage and inspire audiences in new ways. The research also contributes to the theoretical and methodological understanding of the intersection of art and technology, a topic that has gained significant attention in recent years. Ultimately, this paper emphasizes the importance of embracing innovation and experimentation in the field of visual communication design, and highlights the exciting innovations that are emerging as a result of the intersection of art and technology, and emphasizes the importance of embracing innovation and experimentation in the field of visual communication design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20communication%20design" title="visual communication design">visual communication design</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20and%20technology" title=" art and technology"> art and technology</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20reality" title=" virtual reality"> virtual reality</a>, <a href="https://publications.waset.org/abstracts/search?q=interactive%20art" title=" interactive art"> interactive art</a>, <a href="https://publications.waset.org/abstracts/search?q=creative%20process" title=" creative process"> creative process</a> </p> <a href="https://publications.waset.org/abstracts/166755/the-intersection-of-art-and-technology-innovations-in-visual-communication-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/166755.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">118</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5857</span> Visual Intelligence: Perception, Image and Manipulation in Visual Communication</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Poojitha%20Vemula">Poojitha Vemula</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Understanding how we use image manipulation to communicate through an audience’s perceptions and conceive visual intelligence. With the use of many software and high-end skills, designers have developed a third eye to combine two different visuals and create the desired image by using photoshop and other software skills. The purpose of visual intelligence is to convey a message to the targeted audience. For instance, the images of models are retouched on their skin to make it more convincing and draw attention from the audience. There are many ways of manipulating an image, such as double exposure, retouching photography inks or paint airbrushing and piecing photos together, or enhancing the brightness and contrast. To understand visual intelligence, a questionnaire survey as well as research was conducted on how image manipulation is used by both the audience and the designers. This depends on the message that needs to be conveyed by the brands. For instance, Fair & Lovely, a brightening cream for ladies use a lot of retouching and effects to show the dramatic change the cream takes effect on dark or dusky faces. Thus the designer’s role is to use their third eye to incorporate the message into visuals. The research and questionnaire survey concludes the perceptions and manipulations used in visual communication. However this is all to make an effortless communication between the designer and the audience by using the skills of the designer and the features provided by the software. The objective of visual intelligence is to covet the message of the brands that advertise their products or services by using visuals through softwares. Conveying a message through visual intelligence requires an audiences perceptions and understanding from the visuals created by the artists or designers. Visual intelligence determines how we use our technical skills to retouch and manipulate an image for a better understanding to convey the message to the targeted audience. This also bridges the communication between the brand and the audience. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=graphic%20design" title="graphic design">graphic design</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication" title=" visual communication"> visual communication</a>, <a href="https://publications.waset.org/abstracts/search?q=convey%20messages" title=" convey messages"> convey messages</a>, <a href="https://publications.waset.org/abstracts/search?q=photoshop" title=" photoshop"> photoshop</a>, <a href="https://publications.waset.org/abstracts/search?q=image%20manipulation" title=" image manipulation"> image manipulation</a> </p> <a href="https://publications.waset.org/abstracts/146002/visual-intelligence-perception-image-and-manipulation-in-visual-communication" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146002.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">218</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5856</span> Promoting Visual Literacy from Primary to Tertiary Levels through Literature</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mohd%20Nazri%20Latiff%20Azmi">Mohd Nazri Latiff Azmi</a>, <a href="https://publications.waset.org/abstracts/search?q=Mairas%20Abd%20Rahman"> Mairas Abd Rahman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Traditionally, literacy has been commonly defined as the ability to read and write at an adequate level of proficiency that is necessary for communication. However, as time goes by, literacy has started to refer to reading and writing at a level adequate for communication, or at a level that lets one understand and communicate ideas in a literate society, so as to take part in that society. Meanwhile, visual literacy is a set of abilities that enables an individual to effectively find, interpret, evaluate, use, and create images and visual media. This study aims to investigate the collaboration between visual literacy and literature, eventually to determine how visual literacy can enhance learner’s ability to comprehend literary texts such as poems and short stories and develop his intellectuality, especially critical and creative thinking skills, and also to find out the different impacts of literature in visual literacy at four levels of education: pre-school, primary and secondary schools and university. This study is based on Malaysian environment and involves a qualitative method consisting of observation and interviews. The initial findings show that people with different levels of education grasp visual literacy differently but all levels show outstanding impacts of using literature. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20literacy" title="visual literacy">visual literacy</a>, <a href="https://publications.waset.org/abstracts/search?q=literature" title=" literature"> literature</a>, <a href="https://publications.waset.org/abstracts/search?q=language%20studies" title=" language studies"> language studies</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a> </p> <a href="https://publications.waset.org/abstracts/1924/promoting-visual-literacy-from-primary-to-tertiary-levels-through-literature" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/1924.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">372</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5855</span> The Contemporary Visual Spectacle: Critical Visual Literacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lai-Fen%20Yang">Lai-Fen Yang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this increasingly visual world, how can we best decipher and understand the many ways that our everyday lives are organized around looking practices and the many images we encounter each day? Indeed, how we interact with and interpret visual images is a basic component of human life. Today, however, we are living in one of the most artificial visual and image-saturated cultures in human history, which makes understanding the complex construction and multiple social functions of visual imagery more important than ever before. Themes regarding our experience of a visually pervasive mediated culture, here, termed visual spectacle. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20culture" title="visual culture">visual culture</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary" title=" contemporary"> contemporary</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a>, <a href="https://publications.waset.org/abstracts/search?q=literacy" title=" literacy"> literacy</a> </p> <a href="https://publications.waset.org/abstracts/9045/the-contemporary-visual-spectacle-critical-visual-literacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/9045.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">513</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5854</span> History and Its Significance in Modern Visual Graphic: Its Niche with Respect to India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hemang%20Madhusudan%20Anglay">Hemang Madhusudan Anglay</a>, <a href="https://publications.waset.org/abstracts/search?q=Akash%20Gaur"> Akash Gaur</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Value of visual perception in today’s context is vulnerable. Visual Graphic broadly and conveniently expresses culture, language and science of art that satisfactorily is a mould to cast various expressions. It is one of the essential parts of communication design which relatively can be used to approach the above areas of expressions. In between the receptors and interpreters, there is an expanse of comprehension and cliché in relation to the use of Visual Graphics. There are pedagogies, commodification and honest reflections where Visual Graphic is a common area of interest. The traditional receptors amidst the dilemma of this very situation find themselves in the pool of media, medium and interactions. Followed by a very vague interpretation the entire circle of communication becomes a question of comprehension vs cliché. Residing in the same ‘eco-system’ these communities who make pedagogies and multiply its reflections sometimes with honesty and sometimes on commercial values tend to function differently. With the advent of technology, which is a virtual space allows the user to access various forms of content. This diminishes the core characteristics and creates a vacuum even though it satisfies the user. The symbolic interpretation of visual form and structure is transmitted in a culture by the means of contemporary media. Starting from a very individualistic approach, today it is beyond Print & Electronic media. The expected outcome will be a study of Ahmedabad City, situated in the Gujarat State of India. It is identity with respect to socio-cultural as well as economic changes. The methodology will include process to understand the evolution and narratives behind it that will encompass diverse community, its reflection and it will sum up the salient features of communication through combination of visual and graphic that is relevant in Indian context trading its values to global scenario. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=communication" title="communication">communication</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic" title=" graphic"> graphic</a>, <a href="https://publications.waset.org/abstracts/search?q=visual" title=" visual"> visual</a> </p> <a href="https://publications.waset.org/abstracts/62304/history-and-its-significance-in-modern-visual-graphic-its-niche-with-respect-to-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62304.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">275</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5853</span> Aspects of Semiotics in Contemporary Design: A Case Study on Dice Brand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laila%20Zahran%20Mohammed%20Alsibani">Laila Zahran Mohammed Alsibani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of the research is to understand the aspects of semiotics in contemporary designs by redesigning an Omani donut brand with localized cultural identity. To do so, visual identity samples of Dice brand of donuts in Oman has been selected to be a case study. This study conducted based on semiotic theory by using mixed method research tools which are: documentation analysis, interview and survey. The literature review concentrates on key areas of semiotics in visual elements used in the brand designs. Also, it spotlights on the categories of semiotics in visual design. In addition, this research explores the visual cues in brand identity. The objectives of the research are to investigate the aspects of semiotics in providing meaning to visual cues and to identify visual cues for each visual element. It is hoped that this study will have the contribution to a better understanding of the different ways of using semiotics in contemporary designs. Moreover, this research can be a review of further studies in understanding and explaining current and future design trends. Future research can also focus on how brand-related signs are perceived by consumers. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=brands" title="brands">brands</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication" title=" visual communication"> visual communication</a> </p> <a href="https://publications.waset.org/abstracts/158274/aspects-of-semiotics-in-contemporary-design-a-case-study-on-dice-brand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/158274.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">159</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5852</span> Perceptions on Development of the Deaf in Higher Education Level: The Case of Special Education Students in Tiaong, Quezon, Philippines</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ashley%20Venerable">Ashley Venerable</a>, <a href="https://publications.waset.org/abstracts/search?q=Rosario%20Tatlonghari"> Rosario Tatlonghari</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study identified how college deaf students of Bartimaeus Center for Alternative Learning in Tiaong, Quezon, Philippines view development using visual communication techniques and generating themes from responses. Complete enumeration was employed. Guided by Constructivist Theory of Perception, past experiences and stored information influenced perception. These themes of development emerged: social development; pleasant environment; interpersonal relationships; availability of resources; employment; infrastructure development; values; and peace and security. Using the National Economic and Development Authority development indicators, findings showed the deaf students’ views on development were similar from the mainstream views. Responses also became more meaningful through visual communication techniques. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=deaf" title="deaf">deaf</a>, <a href="https://publications.waset.org/abstracts/search?q=development" title=" development"> development</a>, <a href="https://publications.waset.org/abstracts/search?q=perception" title=" perception"> perception</a>, <a href="https://publications.waset.org/abstracts/search?q=development%20indicators" title=" development indicators"> development indicators</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication" title=" visual communication"> visual communication</a> </p> <a href="https://publications.waset.org/abstracts/18504/perceptions-on-development-of-the-deaf-in-higher-education-level-the-case-of-special-education-students-in-tiaong-quezon-philippines" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/18504.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">431</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5851</span> Applications of Visual Ethnography in Public Anthropology</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Subramaniam%20Panneerselvam">Subramaniam Panneerselvam</a>, <a href="https://publications.waset.org/abstracts/search?q=Gunanithi%20Perumal"> Gunanithi Perumal</a>, <a href="https://publications.waset.org/abstracts/search?q=KP%20Subin"> KP Subin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Visual Ethnography is used to document the culture of a community through a visual means. It could be either photography or audio-visual documentation. The visual ethnographic techniques are widely used in visual anthropology. The visual anthropologists use the camera to capture the cultural image of the studied community. There is a scope for subjectivity while the culture is documented by an external person. But the upcoming of the public anthropology provides an opportunity for the participants to document their own culture. There is a need to equip the participants with the skill of doing visual ethnography. The mobile phone technology provides visual documentation facility to everyone to capture the moments instantly. The visual ethnography facilitates the multiple-interpretation for the audiences. This study explores the effectiveness of visual ethnography among the tribal youth through public anthropology perspective. The case study was conducted to equip the tribal youth of Nilgiris in visual ethnography and the outcome of the experiment shared in this paper. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20ethnography" title="visual ethnography">visual ethnography</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20anthropology" title=" visual anthropology"> visual anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=public%20anthropology" title=" public anthropology"> public anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=multiple-interpretation" title=" multiple-interpretation"> multiple-interpretation</a>, <a href="https://publications.waset.org/abstracts/search?q=case%20study" title=" case study"> case study</a> </p> <a href="https://publications.waset.org/abstracts/127577/applications-of-visual-ethnography-in-public-anthropology" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/127577.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">183</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5850</span> The Analogy of Visual Arts and Visual Literacy</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lindelwa%20Pepu">Lindelwa Pepu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual Arts and Visual Literacy are defined with distinction from one another. Visual Arts are known for art forms such as drawing, painting, and photography, just to name a few. At the same time, Visual Literacy is known for learning through images. The Visual Literacy phenomenon may be attributed to the use of images was first established for creating memories and enjoyment. As time evolved, images became the center and essential means of making contact between people. Gradually, images became a means for interpreting and understanding words through visuals, that being Visual Arts. The purpose of this study is to present the analogy of the two terms Visual Arts and Visual Literacy, which are defined and compared through early practicing visual artists as well as relevant researchers to reveal how they interrelate with one another. This is a qualitative study that uses an interpretive approach as it seeks to understand and explain the interest of the study. The results reveal correspondence of the analogy between the two terms through various writers of early and recent years. This study recommends the significance of the two terms and the role they play in relation to other fields of study. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title="visual arts">visual arts</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20literacy" title=" visual literacy"> visual literacy</a>, <a href="https://publications.waset.org/abstracts/search?q=pictures" title=" pictures"> pictures</a>, <a href="https://publications.waset.org/abstracts/search?q=images" title=" images"> images</a> </p> <a href="https://publications.waset.org/abstracts/165940/the-analogy-of-visual-arts-and-visual-literacy" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165940.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">166</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5849</span> Pictorial Multimodal Analysis of Selected Paintings of Salvador Dali</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shaza%20Melies">Shaza Melies</a>, <a href="https://publications.waset.org/abstracts/search?q=Abeer%20Refky"> Abeer Refky</a>, <a href="https://publications.waset.org/abstracts/search?q=Nihad%20Mansoor"> Nihad Mansoor</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Multimodality involves the communication between verbal and visual components in various discourses. A painting represents a form of communication between the artist and the viewer in terms of colors, shades, objects, and the title. This paper aims to present how multimodality can be used to decode the verbal and visual dimensions a painting holds. For that purpose, this study uses Kress and van Leeuwen’s theoretical framework of visual grammar for the analysis of the multimodal semiotic resources of selected paintings of Salvador Dali. This study investigates the visual decoding of the selected paintings of Salvador Dali and analyzing their social and political meanings using Kress and van Leeuwen’s framework of visual grammar. The paper attempts to answer the following questions: 1. How far can multimodality decode the verbal and non-verbal meanings of surrealistic art? 2. How can Kress and van Leeuwen’s theoretical framework of visual grammar be applied to analyze Dali’s paintings? 3. To what extent is Kress and van Leeuwen’s theoretical framework of visual grammar apt to deliver political and social messages of Dali? The paper reached the following findings: the framework’s descriptive tools (representational, interactive, and compositional meanings) can be used to analyze the paintings’ title and their visual elements. Social and political messages were delivered by appropriate usage of color, gesture, vectors, modality, and the way social actors were represented. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=multimodal%20analysis" title="multimodal analysis">multimodal analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=painting%20analysis" title=" painting analysis"> painting analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=Salvador%20Dali" title=" Salvador Dali"> Salvador Dali</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20grammar" title=" visual grammar"> visual grammar</a> </p> <a href="https://publications.waset.org/abstracts/131544/pictorial-multimodal-analysis-of-selected-paintings-of-salvador-dali" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131544.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">122</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5848</span> Visual Analytics in K 12 Education: Emerging Dimensions of Complexity </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Linnea%20Stenliden">Linnea Stenliden</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of this paper is to understand emerging learning conditions, when a visual analytics is implemented and used in K 12 (education). To date, little attention has been paid to the role visual analytics (digital media and technology that highlight visual data communication in order to support analytical tasks) can play in education, and to the extent to which these tools can process actionable data for young students. This study was conducted in three public K 12 schools, in four social science classes with students aged 10 to 13 years, over a period of two to four weeks at each school. Empirical data were generated using video observations and analyzed with help of metaphors by Latour. The learning conditions are found to be distinguished by broad complexity characterized by four dimensions. These emerge from the actors’ deeply intertwined relations in the activities. The paper argues in relation to the found dimensions that novel approaches to teaching and learning could benefit students’ knowledge building as they work with visual analytics, analyzing visualized data. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=analytical%20reasoning" title="analytical reasoning">analytical reasoning</a>, <a href="https://publications.waset.org/abstracts/search?q=complexity" title=" complexity"> complexity</a>, <a href="https://publications.waset.org/abstracts/search?q=data%20use" title=" data use"> data use</a>, <a href="https://publications.waset.org/abstracts/search?q=problem%20space" title=" problem space"> problem space</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20analytics" title=" visual analytics"> visual analytics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20storytelling" title=" visual storytelling"> visual storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=translation" title=" translation"> translation</a> </p> <a href="https://publications.waset.org/abstracts/17440/visual-analytics-in-k-12-education-emerging-dimensions-of-complexity" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/17440.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">376</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5847</span> Search for New Design Elements in Time-Honoured Shops in Tainan — On Curriculum Practice about Culture Creative Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ya-Ling%20Huang">Ya-Ling Huang</a>, <a href="https://publications.waset.org/abstracts/search?q=Ming-Chun%20Tsai"> Ming-Chun Tsai</a>, <a href="https://publications.waset.org/abstracts/search?q=Fan%20Hsu"> Fan Hsu</a>, <a href="https://publications.waset.org/abstracts/search?q=Kai-Ru%20Hsieh"> Kai-Ru Hsieh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This paper mainly discusses the research and practice process of a laboratory curriculum by leading students to perform field investigation into time-honoured shops that have existed for more than 50 years in the downtown area of Tainan, Taiwan, and then search again for design elements and completing the design. The participants are juniors from the Department of Visual Communication Design, Kun Shan University. The duration of research and practice is two months. Operators of these shops are invited to jointly appraise the final achievements. 9 works out of 27 are chosen for final exhibition and commercialization. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture%20creative%20industry" title="culture creative industry">culture creative industry</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20communication%20design" title=" visual communication design"> visual communication design</a>, <a href="https://publications.waset.org/abstracts/search?q=curriculum%20experimental" title=" curriculum experimental"> curriculum experimental</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20arts" title=" visual arts"> visual arts</a> </p> <a href="https://publications.waset.org/abstracts/7338/search-for-new-design-elements-in-time-honoured-shops-in-tainan-on-curriculum-practice-about-culture-creative-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/7338.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">355</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5846</span> Developing Innovative Participatory Visual Toolkits for Community Story Collection</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jiawei%20Dai">Jiawei Dai</a>, <a href="https://publications.waset.org/abstracts/search?q=Xinrong%20Li"> Xinrong Li</a>, <a href="https://publications.waset.org/abstracts/search?q=Yulong%20Sun"> Yulong Sun</a>, <a href="https://publications.waset.org/abstracts/search?q=Yunxiao%20Hao"> Yunxiao Hao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recently, participatory approaches have become popular in a variety of fields, including social work, community, and population health, as important research tools for researchers to understand and immerse communities and conceptualize social phenomena. The participatory visual research methods promote the diversification and depth of the exploration process and communication forms to support the feasibility and practicality of the scheme, which helps to further inspire designers and avoid blind spots caused by the solidification of single thinking. This paper focuses on how to develop visual toolkits for participatory methods to assist and shape crowd participation and trigger idea generation in community issues. This project helps to verify the value of participatory visual tools in shaping participation and arousing expression, which provides support for gaining community diversity insights and community problem-solving. In addition, a visual toolbox was developed based on an actual case in a community for field testing, and further discussion was carried out after the data results were analyzed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=participatory%20design" title="participatory design">participatory design</a>, <a href="https://publications.waset.org/abstracts/search?q=community%20service" title=" community service"> community service</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20toolbox" title=" visual toolbox"> visual toolbox</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20metaphor" title=" visual metaphor"> visual metaphor</a> </p> <a href="https://publications.waset.org/abstracts/152051/developing-innovative-participatory-visual-toolkits-for-community-story-collection" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152051.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">93</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5845</span> Visual Identity Components of Tourist Destination</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Petra%20Barisic">Petra Barisic</a>, <a href="https://publications.waset.org/abstracts/search?q=Zrinka%20Blazevic"> Zrinka Blazevic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the world of modern communications, visual identity has predominant influence on the overall success of tourist destinations, but despite of these, the problem of designing thriving tourist destination visual identity and their components are hardly addressed. This study highlights the importance of building and managing the visual identity of tourist destination, and based on the empirical study of well-known Mediterranean destination of Croatia analyses three main components of tourist destination visual identity; name, slogan, and logo. Moreover, the paper shows how respondents perceive each component of Croatia’s visual identity. According to study, logo is the most important, followed by the name and slogan. Research also reveals that Croatian economy lags behind developed countries in understanding the importance of visual identity, and its influence on marketing goal achievements. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=components%20of%20visual%20identity" title="components of visual identity">components of visual identity</a>, <a href="https://publications.waset.org/abstracts/search?q=Croatia" title=" Croatia"> Croatia</a>, <a href="https://publications.waset.org/abstracts/search?q=tourist%20destination" title=" tourist destination"> tourist destination</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20identity" title=" visual identity "> visual identity </a> </p> <a href="https://publications.waset.org/abstracts/6602/visual-identity-components-of-tourist-destination" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/6602.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">1050</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5844</span> To Estimate the Association between Visual Stress and Visual Perceptual Skills</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vijay%20Reena%20Durai">Vijay Reena Durai</a>, <a href="https://publications.waset.org/abstracts/search?q=Krithica%20Srinivasan"> Krithica Srinivasan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: The two fundamental skills involved in the growth and wellbeing of any child can be categorized into visual motor and perceptual skills. Visual stress is a disorder which is characterized by visual discomfort, blurred vision, misspelling words, skipping lines, letters bunching together. There is a need to understand the deficits in perceptual skills among children with visual stress. Aim: To estimate the association between visual stress and visual perceptual skills Objective: To compare visual perceptual skills of children with and without visual stress Methodology: Children between 8 to 15 years of age participated in this cross-sectional study. All children with monocular visual acuity better than or equal to 6/6 were included. Visual perceptual skills were measured using test for visual perceptual skills (TVPS) tool. Reading speed was measured with the chosen colored overlay using Wilkins reading chart and pattern glare score was estimated using a 3cpd gratings. Visual stress was defined as change in reading speed of greater than or equal to 10% and a pattern glare score of greater than or equal to 4. Results: 252 children participated in this study and the male: female ratio of 3:2. Majority of the children preferred Magenta (28%) and Yellow (25%) colored overlay for reading. There was a significant difference between the two groups (MD=1.24±0.6) (p<0.04, 95% CI 0.01-2.43) only in the sequential memory skills. The prevalence of visual stress in this group was found to be 31% (n=78). Binary logistic regression showed that odds ratio of having poor visual perceptual skills was OR: 2.85 (95% CI 1.08-7.49) among children with visual stress. Conclusion: Children with visual stress are found to have three times poorer visual perceptual skills than children without visual stress. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=visual%20stress" title="visual stress">visual stress</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20perceptual%20skills" title=" visual perceptual skills"> visual perceptual skills</a>, <a href="https://publications.waset.org/abstracts/search?q=colored%20overlay" title=" colored overlay"> colored overlay</a>, <a href="https://publications.waset.org/abstracts/search?q=pattern%20glare" title=" pattern glare"> pattern glare</a> </p> <a href="https://publications.waset.org/abstracts/41580/to-estimate-the-association-between-visual-stress-and-visual-perceptual-skills" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/41580.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">388</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5843</span> Bag of Words Representation Based on Weighting Useful Visual Words</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Fatma%20Abdedayem">Fatma Abdedayem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The most effective and efficient methods in image categorization are almost based on bag-of-words (BOW) which presents image by a histogram of occurrence of visual words. In this paper, we propose a novel extension to this method. Firstly, we extract features in multi-scales by applying a color local descriptor named opponent-SIFT. Secondly, in order to represent image we use Spatial Pyramid Representation (SPR) and an extension to the BOW method which based on weighting visual words. Typically, the visual words are weighted during histogram assignment by computing the ratio of their occurrences in the image to the occurrences in the background. Finally, according to classical BOW retrieval framework, only a few words of the vocabulary is useful for image representation. Therefore, we select the useful weighted visual words that respect the threshold value. Experimentally, the algorithm is tested by using different image classes of PASCAL VOC 2007 and is compared against the classical bag-of-visual-words algorithm. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=BOW" title="BOW">BOW</a>, <a href="https://publications.waset.org/abstracts/search?q=useful%20visual%20words" title=" useful visual words"> useful visual words</a>, <a href="https://publications.waset.org/abstracts/search?q=weighted%20visual%20words" title=" weighted visual words"> weighted visual words</a>, <a href="https://publications.waset.org/abstracts/search?q=bag%20of%20visual%20words" title=" bag of visual words"> bag of visual words</a> </p> <a href="https://publications.waset.org/abstracts/14009/bag-of-words-representation-based-on-weighting-useful-visual-words" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/14009.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">436</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5842</span> Motion Effects of Arabic Typography on Screen-Based Media</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ibrahim%20Hassan">Ibrahim Hassan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Motion typography is one of the most important types of visual communication based on display. Through the digital display media, we can control the text properties (size, direction, thickness, color, etc.). The use of motion typography in visual communication made it have several images. We need to adjust the terminology and clarify the different differences between them, so relying on the word motion typography -considered a general term- is not enough to separate the different communicative functions of the moving text. In this paper, we discuss the different effects of motion typography on Arabic writing and how we can achieve harmony between the movement and the letterform, and we will, during our experiments, present a new type of text movement. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Arabic%20typography" title="Arabic typography">Arabic typography</a>, <a href="https://publications.waset.org/abstracts/search?q=motion%20typography" title=" motion typography"> motion typography</a>, <a href="https://publications.waset.org/abstracts/search?q=kinetic%20typography" title=" kinetic typography"> kinetic typography</a>, <a href="https://publications.waset.org/abstracts/search?q=fluid%20typography" title=" fluid typography"> fluid typography</a>, <a href="https://publications.waset.org/abstracts/search?q=temporal%20typography" title=" temporal typography"> temporal typography</a> </p> <a href="https://publications.waset.org/abstracts/142182/motion-effects-of-arabic-typography-on-screen-based-media" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142182.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">160</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5841</span> Developing Confidence of Visual Literacy through Using MIRO during Online Learning</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rachel%20S.%20E.%20Lim">Rachel S. E. Lim</a>, <a href="https://publications.waset.org/abstracts/search?q=Winnie%20L.%20C.%20Tan"> Winnie L. C. Tan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Visual literacy is about making meaning through the interaction of images, words, and sounds. Graphic communication students typically develop visual literacy through critique and production of studio-based projects for their portfolios. However, the abrupt switch to online learning during the COVID-19 pandemic has made it necessary to consider new strategies of visualization and planning to scaffold teaching and learning. This study, therefore, investigated how MIRO, a cloud-based visual collaboration platform, could be used to develop the visual literacy confidence of 30 diploma in graphic communication students attending a graphic design course at a Singapore arts institution. Due to COVID-19, the course was taught fully online throughout a 16-week semester. Guided by Kolb’s Experiential Learning Cycle, the two lecturers developed students’ engagement with visual literacy concepts through different activities that facilitated concrete experiences, reflective observation, abstract conceptualization, and active experimentation. Throughout the semester, students create, collaborate, and centralize communication in MIRO with infinite canvas, smart frameworks, a robust set of widgets (i.e., sticky notes, freeform pen, shapes, arrows, smart drawing, emoticons, etc.), and powerful platform capabilities that enable asynchronous and synchronous feedback and interaction. Students then drew upon these multimodal experiences to brainstorm, research, and develop their motion design project. A survey was used to examine students’ perceptions of engagement (E), confidence (C), learning strategies (LS). Using multiple regression, it¬ was found that the use of MIRO helped students develop confidence (C) with visual literacy, which predicted performance score (PS) that was measured against their application of visual literacy to the creation of their motion design project. While students’ learning strategies (LS) with MIRO did not directly predict confidence (C) or performance score (PS), it fostered positive perceptions of engagement (E) which in turn predicted confidence (C). Content analysis of students’ open-ended survey responses about their learning strategies (LS) showed that MIRO provides organization and structure in documenting learning progress, in tandem with establishing standards and expectations as a preparatory ground for generating feedback. With the clarity and sequence of the mentioned conditions set in place, these prerequisites then lead to the next level of personal action for self-reflection, self-directed learning, and time management. The study results show that the affordances of MIRO can develop visual literacy and make up for the potential pitfalls of student isolation, communication, and engagement during online learning. The context of how MIRO could be used by lecturers to orientate students for learning in visual literacy and studio-based projects for future development are discussed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20education" title="design education">design education</a>, <a href="https://publications.waset.org/abstracts/search?q=graphic%20communication" title=" graphic communication"> graphic communication</a>, <a href="https://publications.waset.org/abstracts/search?q=online%20learning" title=" online learning"> online learning</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20literacy" title=" visual literacy"> visual literacy</a> </p> <a href="https://publications.waset.org/abstracts/147542/developing-confidence-of-visual-literacy-through-using-miro-during-online-learning" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147542.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">112</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5840</span> The Involvement of Visual and Verbal Representations Within a Quantitative and Qualitative Visual Change Detection Paradigm</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Laura%20Jenkins">Laura Jenkins</a>, <a href="https://publications.waset.org/abstracts/search?q=Tim%20Eschle"> Tim Eschle</a>, <a href="https://publications.waset.org/abstracts/search?q=Joanne%20Ciafone"> Joanne Ciafone</a>, <a href="https://publications.waset.org/abstracts/search?q=Colin%20Hamilton"> Colin Hamilton</a> </p> <p class="card-text"><strong>Abstract:</strong></p> An original working memory model suggested the separation of visual and verbal systems in working memory architecture, in which only visual working memory components were used during visual working memory tasks. It was later suggested that the visuo spatial sketch pad was the only memory component at use during visual working memory tasks, and components such as the phonological loop were not considered. In more recent years, a contrasting approach has been developed with the use of an executive resource to incorporate both visual and verbal representations in visual working memory paradigms. This was supported using research demonstrating the use of verbal representations and an executive resource in a visual matrix patterns task. The aim of the current research is to investigate the working memory architecture during both a quantitative and a qualitative visual working memory task. A dual task method will be used. Three secondary tasks will be used which are designed to hit specific components within the working memory architecture – Dynamic Visual Noise (visual components), Visual Attention (spatial components) and Verbal Attention (verbal components). A comparison of the visual working memory tasks will be made to discover if verbal representations are at use, as the previous literature suggested. This direct comparison has not been made so far in the literature. Considerations will be made as to whether a domain specific approach should be employed when discussing visual working memory tasks, or whether a more domain general approach could be used instead. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=semantic%20organisation" title="semantic organisation">semantic organisation</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20memory" title=" visual memory"> visual memory</a>, <a href="https://publications.waset.org/abstracts/search?q=change%20detection" title=" change detection"> change detection</a> </p> <a href="https://publications.waset.org/abstracts/22696/the-involvement-of-visual-and-verbal-representations-within-a-quantitative-and-qualitative-visual-change-detection-paradigm" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/22696.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">595</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5839</span> Students’ Awareness of the Use of Poster, Power Point and Animated Video Presentations: A Case Study of Third Year Students of the Department of English of Batna University</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bahloul%20Amel">Bahloul Amel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present study debates students’ perceptions of the use of technology in learning English as a Foreign Language. Its aim is to explore and understand students’ preparation and presentation of Posters, PowerPoint and Animated Videos by drawing attention to visual and oral elements. The data is collected through observations and semi-structured interviews and analyzed through phenomenological data analysis steps. The themes emerged from the data, visual learning satisfaction in using information and communication technology, providing structure to oral presentation, learning from peers’ presentations, draw attention to using Posters, PowerPoint and Animated Videos as each supports visual learning and organization of thoughts in oral presentations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=EFL" title="EFL">EFL</a>, <a href="https://publications.waset.org/abstracts/search?q=posters" title=" posters"> posters</a>, <a href="https://publications.waset.org/abstracts/search?q=PowerPoint%20presentations" title=" PowerPoint presentations"> PowerPoint presentations</a>, <a href="https://publications.waset.org/abstracts/search?q=Animated%20Videos" title=" Animated Videos"> Animated Videos</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20learning" title=" visual learning"> visual learning</a> </p> <a href="https://publications.waset.org/abstracts/16255/students-awareness-of-the-use-of-poster-power-point-and-animated-video-presentations-a-case-study-of-third-year-students-of-the-department-of-english-of-batna-university" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/16255.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">445</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5838</span> Deaf Inmates in Canadian Prisons: Addressing Discrimination through Staff Training Videos with Deaf Actors</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tracey%20Bone">Tracey Bone</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Deaf inmates, whose first or preferred language is a Signed Language, experience barriers to accessing the necessary two-way communication with correctional staff, and the educational and social programs that will enhance their eligibility for conditional release from the federal prison system in Canada. The development of visual content to enhance the knowledge and skill development of correctional staff is a contemporary strategy intended to significantly improve the correctional experience for deaf inmates. This presentation reports on the development of two distinct training videos created to enhance staff’s understanding of the needs of deaf inmates; one a two-part simulation of an interaction with a deaf inmate, the second an interview with a deaf academic. Part one of video one demonstrates the challenges and misunderstandings inherent in communicating across languages without a qualified sign language interpreter; the second part demonstrates the ease of communication when communication needs are met. Video two incorporates the experiences of a deaf academic to provide the cultural grounding necessary to educate staff in the unique experiences associated with being a visual language user. Lack of staff understanding or awareness of deaf culture and language must not be acceptable reasons for the inadequate treatment of deaf visual language users in federal prisons. This paper demonstrates a contemporary approach to meeting the human rights and needs of this unique and often ignored inmate subpopulation. The deaf community supports this visual approach to enhancing staff understanding of the unique needs of this population. A study of its effectiveness is currently underway. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=accommodations" title="accommodations">accommodations</a>, <a href="https://publications.waset.org/abstracts/search?q=American%20Sign%20Language%20%28ASL%29" title=" American Sign Language (ASL)"> American Sign Language (ASL)</a>, <a href="https://publications.waset.org/abstracts/search?q=deaf%20inmates" title=" deaf inmates"> deaf inmates</a>, <a href="https://publications.waset.org/abstracts/search?q=sensory%20deprivation" title=" sensory deprivation "> sensory deprivation </a> </p> <a href="https://publications.waset.org/abstracts/88508/deaf-inmates-in-canadian-prisons-addressing-discrimination-through-staff-training-videos-with-deaf-actors" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/88508.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">149</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5837</span> A Comparison of Anger State and Trait Anger Among Adolescents with and without Visual Impairment</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sehmus%20Aslan">Sehmus Aslan</a>, <a href="https://publications.waset.org/abstracts/search?q=Sibel%20Karacaoglu"> Sibel Karacaoglu</a>, <a href="https://publications.waset.org/abstracts/search?q=Cengiz%20Sevgin"> Cengiz Sevgin</a>, <a href="https://publications.waset.org/abstracts/search?q=Ummuhan%20Bas%20Aslan"> Ummuhan Bas Aslan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Objective: Anger expression style is an important moderator of the effects on the person and person’s environment. Anger and anger expression have become important constructs in identifying individuals at high risk for psychological difficulties. To our knowledge, there is no information about anger and anger expression of adolescents with visual impairment. The aim of this study was to compare anger and anger expression among adolescents with and without visual impairment. Methods: Thirty-eight adolescents with visual impairment (18 female, 20 male) and 44 adolescents without visual impairment (22 female, 24 male), in totally 84 adolescents aged between 12 to 15 years, participated in the study. Anger and anger expression of the participants assessed with The State-Trait Anger Scale (STAS). STAS, a self-report questionnaire, is designed to measure the experience and expression of anger. STAS has four subtitles including continuous anger, anger in, anger out and anger control. Reliability and validity of the STAS have been well established among adolescents. Mann-Whitney U Test was used for statistical analysis. Results: No significant differences were found in the scores of continuous anger and anger out between adolescents with and without visual impairment (p < 0.05). On the other hand, there were differences in scores of anger control and anger in between adolescents with and without visual impairment (p>0.05). The score of anger control in adolescents with visual impairment were higher compared with adolescents without visual impairment. Meanwhile, the adolescents with visual impairment had lower score for anger in compared with adolescents without visual impairment. Conclusions: The results of this study suggest that there is no difference in anger level among adolescents with and without visual impairment meanwhile there is difference in anger expression. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=adolescent" title="adolescent">adolescent</a>, <a href="https://publications.waset.org/abstracts/search?q=anger" title=" anger"> anger</a>, <a href="https://publications.waset.org/abstracts/search?q=impaired" title=" impaired"> impaired</a>, <a href="https://publications.waset.org/abstracts/search?q=visual" title=" visual"> visual</a> </p> <a href="https://publications.waset.org/abstracts/62109/a-comparison-of-anger-state-and-trait-anger-among-adolescents-with-and-without-visual-impairment" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/62109.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">413</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5836</span> Visual Improvement with Low Vision Aids in Children with Stargardt’s Disease</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anum%20Akhter">Anum Akhter</a>, <a href="https://publications.waset.org/abstracts/search?q=Sumaira%20Altaf"> Sumaira Altaf</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Purpose: To study the effect of low vision devices i.e. telescope and magnifying glasses on distance visual acuity and near visual acuity of children with Stargardt’s disease. Setting: Low vision department, Alshifa Trust Eye Hospital, Rawalpindi, Pakistan. Methods: 52 children having Stargardt’s disease were included in the study. All children were diagnosed by pediatrics ophthalmologists. Comprehensive low vision assessment was done by me in Low vision clinic. Visual acuity was measured using ETDRS chart. Refraction and other supplementary tests were performed. Children with Stargardt’s disease were provided with different telescopes and magnifying glasses for improving far vision and near vision. Results: Out of 52 children, 17 children were males and 35 children were females. Distance visual acuity and near visual acuity improved significantly with low vision aid trial. All children showed visual acuity better than 6/19 with a telescope of higher magnification. Improvement in near visual acuity was also significant with magnifying glasses trial. Conclusions: Low vision aids are useful for improvement in visual acuity in children. Children with Stargardt’s disease who are having a problem in education and daily life activities can get help from low vision aids. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Stargardt" title="Stargardt">Stargardt</a>, <a href="https://publications.waset.org/abstracts/search?q=s%20disease" title="s disease">s disease</a>, <a href="https://publications.waset.org/abstracts/search?q=low%20vision%20aids" title=" low vision aids"> low vision aids</a>, <a href="https://publications.waset.org/abstracts/search?q=telescope" title=" telescope"> telescope</a>, <a href="https://publications.waset.org/abstracts/search?q=magnifiers" title=" magnifiers"> magnifiers</a> </p> <a href="https://publications.waset.org/abstracts/24382/visual-improvement-with-low-vision-aids-in-children-with-stargardts-disease" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24382.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">538</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5835</span> Development of Visual Element Design Guidelines for Consumer Products Based on User Characteristics</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Taezoon%20Park">Taezoon Park</a>, <a href="https://publications.waset.org/abstracts/search?q=Wonil%20Hwang"> Wonil Hwang</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study aims to build a design guideline for the effective visual display used for consumer products considering user characteristics; gender and age. Although a number of basic experiments identified the limits of human visual perception, the findings remain fragmented and many times in an unfriendly form. This study compiled a design cases along with tables aggregated from the experimental result of visual perception; brightness/contrast, useful field of view, color sensitivity. Visual design elements commonly used for consumer product, were selected and appropriate guidelines were developed based on the experimental result. Since the provided data with case example suggests a feasible design space, it will save time for a product designer to find appropriate design alternatives. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20guideline" title="design guideline">design guideline</a>, <a href="https://publications.waset.org/abstracts/search?q=consumer%20product" title=" consumer product"> consumer product</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20design%20element" title=" visual design element"> visual design element</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20perception" title=" visual perception"> visual perception</a>, <a href="https://publications.waset.org/abstracts/search?q=emotional%20design" title=" emotional design"> emotional design</a> </p> <a href="https://publications.waset.org/abstracts/55080/development-of-visual-element-design-guidelines-for-consumer-products-based-on-user-characteristics" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/55080.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">372</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5834</span> Task Distraction vs. Visual Enhancement: Which Is More Effective?</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Huangmei%20Liu">Huangmei Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Si%20Liu"> Si Liu</a>, <a href="https://publications.waset.org/abstracts/search?q=Jia%E2%80%99nan%20Liu"> Jia’nan Liu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The present experiment investigated and compared the effectiveness of two kinds of methods of attention control: Task distraction and visual enhancement. In the study, the effectiveness of task distractions to explicit features and of visual enhancement to implicit features of the same group of Chinese characters were compared based on their effect on the participants’ reaction time, subjective confidence rating, and verbal report. We found support that the visual enhancement on implicit features did overcome the contrary effect of training distraction and led to awareness of those implicit features, at least to some extent. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=task%20distraction" title="task distraction">task distraction</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20enhancement" title=" visual enhancement"> visual enhancement</a>, <a href="https://publications.waset.org/abstracts/search?q=attention" title=" attention"> attention</a>, <a href="https://publications.waset.org/abstracts/search?q=awareness" title=" awareness"> awareness</a>, <a href="https://publications.waset.org/abstracts/search?q=learning" title=" learning"> learning</a> </p> <a href="https://publications.waset.org/abstracts/3302/task-distraction-vs-visual-enhancement-which-is-more-effective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/3302.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">430</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5833</span> Visual Impairment Through Contextualized Lived Experiences: The Story of James</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jentel%20Van%20Havermaet">Jentel Van Havermaet</a>, <a href="https://publications.waset.org/abstracts/search?q=Geert%20Van%20Hove"> Geert Van Hove</a>, <a href="https://publications.waset.org/abstracts/search?q=Elisabeth%20De%20Schauwer"> Elisabeth De Schauwer</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study re-conceptualizes visual impairment in the interdependent context of James, his family, and allies. Living with a visual impairment is understood as an entanglement of assemblages, dynamics, disablism, systems… We narrated this diffractively into two meaningful events: decisions and processes on (inclusive) education and hinderances in connecting with others. We entangled and (un)raveled lived experiences in assemblages in which the contextualized meaning of visual impairment became more clearly. The contextualized narrative of James interwove complex intra-actions; showed the complexity and contextualization of entangled relationalities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=disability%20studies" title="disability studies">disability studies</a>, <a href="https://publications.waset.org/abstracts/search?q=contextualization" title=" contextualization"> contextualization</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20impairment" title=" visual impairment"> visual impairment</a>, <a href="https://publications.waset.org/abstracts/search?q=assemblage" title=" assemblage"> assemblage</a>, <a href="https://publications.waset.org/abstracts/search?q=entanglement" title=" entanglement"> entanglement</a>, <a href="https://publications.waset.org/abstracts/search?q=lived%20experiences" title=" lived experiences"> lived experiences</a> </p> <a href="https://publications.waset.org/abstracts/146643/visual-impairment-through-contextualized-lived-experiences-the-story-of-james" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/146643.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">177</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5832</span> Holographic Art as an Approach to Enhance Visual Communication in Egyptian Community: Experimental Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Diaa%20Ahmed%20Mohamed%20Ahmedien">Diaa Ahmed Mohamed Ahmedien</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nowadays, it cannot be denied that the most important interactive arts trends have appeared as a result of significant scientific mutations in the modern sciences, and holographic art is not an exception, where it is considered as a one of the most important major contemporary interactive arts trends in visual arts. Holographic technique had been evoked through the modern physics application in late 1940s, for the improvement of the quality of electron microscope images by Denis Gabor, until it had arrived to Margaret Benyon’s art exhibitions, and then it passed through a lot of procedures to enhance its quality and artistic applications technically and visually more over 70 years in visual arts. As a modest extension to these great efforts, this research aimed to invoke extraordinary attempt to enroll sample of normal people in Egyptian community in holographic recording program to record their appreciated objects or antiques, therefore examine their abilities to interact with modern techniques in visual communication arts. So this research tried to answer to main three questions: 'can we use the analog holographic techniques to unleash new theoretical and practical knowledge in interactive arts for public in Egyptian community?', 'to what extent holographic art can be familiar with public and make them able to produce interactive artistic samples?', 'are there possibilities to build holographic interactive program for normal people which lead them to enhance their understanding to visual communication in public and, be aware of interactive arts trends?' This research was depending in its first part on experimental methods, where it conducted in Laser lab at Cairo University, using Nd: Yag Laser 532 nm, and holographic optical layout, with selected samples of Egyptian people that they have been asked to record their appreciated object, after they had already learned recording methods, and in its second part on a lot of discussion panel had conducted to discuss the result and how participants felt towards their holographic artistic products through survey, questionnaires, take notes and critiquing holographic artworks. Our practical experiments and final discussions have already lead us to say that this experimental research was able to make most of participants pass through paradigm shift in their visual and conceptual experiences towards more interaction with contemporary visual arts trends, as an attempt to emphasize to the role of mature relationship between the art, science and technology, to spread interactive arts out in our community through the latest scientific and artistic mutations around the world and the role of this relationship in our societies particularly with those who have never been enrolled in practical arts programs before. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Egyptian%20community" title="Egyptian community">Egyptian community</a>, <a href="https://publications.waset.org/abstracts/search?q=holographic%20art" title=" holographic art"> holographic art</a>, <a href="https://publications.waset.org/abstracts/search?q=laser%20art" title=" laser art"> laser art</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20art" title=" visual art"> visual art</a> </p> <a href="https://publications.waset.org/abstracts/24625/holographic-art-as-an-approach-to-enhance-visual-communication-in-egyptian-community-experimental-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/24625.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">479</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=visual%20communication&page=2">2</a></li> <li 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