1. The field of vision is a much wider than the sphere for the circulation of images or questions regarding the nature of representation.
1.1. There is so much more to see in our field of vision than what we actually take in. We can look at things without actually seeing them.
2. argumentative aspects of resemblance and representation
3. semiology
3.1. Barthes
3.1.1. Context
3.1.1.1. rhetoric of an image
3.1.1.1.1. Discontinuous/scattered traits
3.1.1.2. Non-Coded
3.1.1.2.1. Denotation
3.1.1.3. Coded
3.1.1.3.1. Connotation
3.1.1.4. Symbolic Message
3.1.1.4.1. Cultural or Connotated
3.1.2. The Linguistic Message
3.1.2.1. Present in every image
3.1.2.1.1. The Title
3.1.2.1.2. Caption or Press Article
3.1.2.1.3. Dialogue or comic strip balloon
3.1.2.2. Anchorage
3.1.2.2.1. Most frequent function of the Linguistic message
3.1.2.3. Relay
3.1.2.4. Polysemous: many ideas attached/within
3.1.3. The Denoted Image
3.1.3.1. Symbolic Message
3.1.3.1.1. No "pure" literal messages, literal always works in relation to the symbolic.
3.1.4. Panzani Advertisment
3.1.4.1. visual symbolism
3.2. McCloud
3.2.1. Images are not always what they seem.
3.2.1.1. The pictures we see are just, that...
3.2.1.1.1. Amplify an image by stripping it down to its minimal/essential meaning
3.2.2. People constantly make faces out of images they se.
3.2.2.1. Prefer to look at something more like our own faces.
3.2.2.1.1. Look at more than abstract image.
3.3. Ehses
3.3.1. Rhetoric
3.3.1.1. 5 Phases of
3.3.1.1.1. 1. Inventio
3.3.1.1.2. 2. Dispositio
3.3.1.1.3. 3. Elocutio
3.3.1.1.4. 4. Memoria
3.3.1.1.5. 5. Pronunciatio
3.3.2. Figures of Speech
3.3.2.1. Figures of Contrast
3.3.2.1.1. Antithesis
3.3.2.1.2. Irony
3.3.2.2. Figures of Contiguity
3.3.2.2.1. Metonymy
3.3.2.2.2. Synecdoche
3.3.2.2.3. Periphrasis
3.3.2.2.4. Puns
3.3.2.3. Figures of Resemblance
3.3.2.3.1. Metaphor
3.3.2.3.2. Personification
3.3.2.4. Figures of Graduation
3.3.2.4.1. Amplification
3.3.2.4.2. Hyperbole
3.4. Arnheim
3.5. Semiotics for beginners
3.5.1. Denotation
3.5.1.1. Literal
3.5.1.2. Obvious
3.5.1.3. Commonsense
3.5.2. Connotatin
3.5.3. Signs
3.5.3.1. Signifier
3.5.3.1.1. the form which the sign takes
3.5.3.2. Signified
3.5.3.2.1. the concept it represents
3.5.4. Paradigmatic relationships
3.5.4.1. Concern sustitution
3.5.5. Syntagm
3.5.5.1. chain
3.5.5.2. sequential
3.5.5.3. can represent spacial relationships
3.6. Faigley
3.6.1. New node
3.7. New node
4. visual argument
4.1. Faigley-Understanding Visual Arguments
4.1.1. argument
4.1.1.1. a claim supported by one or more reasons
4.1.2. visual arguments
4.1.2.1. often powerful because they invite viewers to co-create claims and links
4.1.3. visual persuasion
4.1.3.1. 1. get consumers to buy product
4.1.3.2. 2. name / brand recognition
4.1.3.3. 3. identify with messages which leads to identifying with brand
4.1.3.4. 4. associate with something desirable (romantic fulfillment, financial success)
4.1.4. visual metaphor
4.1.4.1. the use of an image that represents an abstract concept to make a visual analogy
4.1.5. photographs
4.1.5.1. 1. support arguments used as factual evidence
4.1.5.2. 2. provide evidence of the past
4.1.5.3. 3. significance subject to contest (staged, faked)
4.1.6. tables, charts, & graphs as evidence for arguments
4.1.6.1. 1. tables
4.1.6.1.1. present an array of numerical data
4.1.6.2. 2. bar & column charts
4.1.6.2.1. make comparisons iin particular categories
4.1.6.3. 3. line graphs
4.1.6.3.1. show proportional trends over time
4.1.6.4. 4. pie charts
4.1.6.4.1. show the proportion of parts in terms of the whole
4.1.7. methods of visual analysis
4.1.7.1. 1. immediate, historical, and cultural contexts
4.1.7.2. 2. using knowledge of images to classify them
4.2. B&G
4.2.1. terms
4.2.1.1. enthymeme: informal method of reasoning
4.2.2. Traditional Perspective
4.2.3. context
4.2.3.1. 1. immediate visual
4.2.3.2. 2. immediate verbal
4.2.3.3. 3. visual culture
4.2.4. shifting standards
4.2.4.1. representation
4.2.4.1.1. may not represent
4.2.4.1.2. conventionalized
4.2.4.1.3. New node
4.2.4.2. resemblance
4.2.4.2.1. may not resemble
4.2.4.2.2. New node
4.2.5. prerequisites for visual argument (317)
4.2.5.1. accept the possibility of visual meaning
4.2.5.2. consider images in context
4.3. Kenny
4.3.1. New node
4.4. Lanham
4.5. Horn
4.5.1. Tools for Creation of Semantic Relationships
4.5.1.1. Synecdoche
4.5.1.1.1. Definition: using a part to represent a whole or vice versa
4.5.1.2. Metonymy
4.5.1.2.1. Definition: using the name of one thing for another with which it is associated
4.5.1.3. Metaphor
4.5.1.3.1. Definition: using one meaning or idea to represent a second meaning or idea in order to suggest an analogy or likeness between the two
4.6. Shauf
4.6.1. Visual Grammar
4.6.1.1. Logic of the image
4.6.1.1.1. Visual Weight - the ability to place an image effectively within a layout
4.6.1.2. Logic of the space
4.6.1.2.1. Information Architecture/Discursive Architectonics/Outlining
4.6.1.3. Photographic grammar
4.6.1.3.1. Taking a photographic means that it is possible to think photographically
4.6.2. David Siegel's Creating Killer Web Sites
4.6.2.1. Digital space can be talked about in the vocabulary of the technologist which may be why electronic argument is difficult
4.6.3. Humanism
4.6.3.1. Humanists have a duty to maintain a certain skeptical approach to things like new technologies and visual arguments
4.7. New node
4.8. New node
4.9. New node
5. visual culture
5.1. Wolf
5.1.1. computer imaging and simulation
5.1.1.1. subjunctive documentary: could be, would be, might have been
5.1.1.1.1. photography
5.1.1.1.2. computer imaging; allows us to capture things too small, too large, or too fast to be visible to traditional instruments
5.1.1.1.3. sensor technology
5.1.1.1.4. computer simulation; allows an event to be reconstruced and analyzed
5.2. Rogoff
5.2.1. Studying Visual Culture
5.2.1.1. Vision as Critique
5.2.1.1.1. Meanings circulate visually, orally, and textually.
5.2.1.1.2. Visual Culture as a Transdisciplinary and cross methodological field.
5.2.1.1.3. Images produce meanings such as:
5.2.1.2. Spectatorship in the Field of Vision
5.2.1.2.1. Our field of vision is sustained through an illusion of transparent space.
5.2.1.3. Visual Conditions of Historicizing
5.2.1.3.1. New node
5.2.1.3.2. New node
5.2.1.4. Images Convey
5.2.1.4.1. Information
5.2.1.4.2. Afford Pleasure
5.2.1.4.3. Afford Displeasure
5.2.1.4.4. Influence Style
5.2.1.4.5. Determine Consumption
5.2.1.4.6. Mediate Power Relations