2012_july_manfoxgumiho_1500w.jpg
2012_july_manfox_single_line_1500w.jpg
2012_july_10x10_black_1500w.jpg
2012_july_10x10x10_1500w.jpg
plain_black_1500w.jpg
Wunderkammern_RitrattoMuseoFerranteImperato_wp_2000w.jpg
warburg79-49_2400w.jpg
2012_nov_m-n130-132_MoholyNagy_1500w.jpg
berger80-81_2000w.jpg
2012_nov_Now_Then3_1600w.jpg
killie04_46827_yale_03_1500w.jpg
bx_na06_NatArchives010_1500w.jpg
2012_nov_NA03-25_Bluejackets_1500w.jpg
harpers1900v2b_008_c_1500w.jpg
graphic_1900_048_relief_1500w.jpg
killie10_46833_yale_09_1500w.jpg
2012_july_formula_black_1500w.jpg
2012_nov_VN_model_3part_1500w.jpg
ricalton_BxUp_1902_map7_Tientsin_2000w.jpg
2012_july_manfoxgumiho_1500w.jpg

Visual Narrative


Visual Narrative

in a digital age

SCROLL DOWN

Visual Narrative


Visual Narrative

in a digital age

2012_july_manfox_single_line_1500w.jpg

connections


Connections

in the data deluge

connections


Connections

in the data deluge

By applying the same concept to different things the child lays the groundwork for visual categories of a higher order, capable of indicating similarities among objects that have something in common although they differ otherwise. The great network of relations begins to form.
— Rudolf Arnheim, Visual Thinking (Kepes 1965)
Over a long period of time, in the same way that the water of the stream slowly shapes the bed, neural activity changes the connectome. The two notions of the self—as both the fast-moving, ever-changing stream and the more stable but slowly transforming streambed—are thus inextricably linked.
— Sebastian Seung, Connectome: How the Brain's Wiring Makes Us Who We Are (2012)
2012_july_10x10_black_1500w.jpg

10x10


10x10

Narrative Pathways

10x10


10x10

Narrative Pathways

2012_july_10x10x10_1500w.jpg

10x10x10


10x10x10

100 stories falling

10x10x10


10x10x10

100 stories falling

plain_black_1500w.jpg

Precedents


Precedents

Narrativity of Visual Relationships

Precedents


Precedents

Narrativity of Visual Relationships

Wunderkammern_RitrattoMuseoFerranteImperato_wp_2000w.jpg

Wunderkammern


Wunderkammern

Ferrante Imperato, 1599, Natural History Cabinet

Wunderkammern


Wunderkammern

Ferrante Imperato, 1599, Natural History Cabinet

warburg79-49_2400w.jpg

Warburg


Mnemosyne Atlas

Aby Warburg, 1924-1929

Warburg


Mnemosyne Atlas

Aby Warburg, 1924-1929

2012_nov_m-n130-132_MoholyNagy_1500w.jpg

Moholy-Nagy


Painting Photography Film

Moholy-Nagy, 1925

Moholy-Nagy


Painting Photography Film

Moholy-Nagy, 1925

berger80-81_2000w.jpg

Berger


Ways of Seeing

John Berger, Essay #4, 1972

Berger


Ways of Seeing

John Berger, Essay #4, 1972

2012_nov_Now_Then3_1600w.jpg

History is not the Past


History is not the Past

History is not the Past


History is not the Past

text = history ≠ past

...the so-called past (the before now) doesn’t exist ‘meaningfully’ prior to the efforts of historians to impose upon it a structure or form; ‘the before now’ is utterly shapeless and knows of no significance of its own either in terms of its whole or its parts before it is ‘figured out’ by us. Consequently, no historian or anyone else acting as if they were a historian ever returns from his or her trip to ‘the past’ without precisely the historicisation they wanted to get; no one ever comes back surprised or empty-handed from that destination.
— Keith Jenkins, Refiguring History: New Thoughts On an Old Discipline (2002)
...the testimony of images is essential for historians of mentalities, because an image is necessarily explicit on issues that may be evaded more easily in texts.
— Peter Burke, Eyewitnessing: The Uses of Images as Historical Evidence (2011)
killie04_46827_yale_03_1500w.jpg

Siege


Siege

Boxer Uprising, Peking 1900

Siege


Siege

Boxer Uprising, Peking 1900

bx_na06_NatArchives010_1500w.jpg

Battle


Battle

Boxers & Qing Dynasty Troops vs. Allied Forces of the foreign powers, Tientsin

Battle


Battle

Boxers & Qing Dynasty Troops vs. Allied Forces of the foreign powers, Tientsin

2012_nov_NA03-25_Bluejackets_1500w.jpg

March


March

Relief Expedition departs Tientsin, August 5, 1900

March


March

Relief Expedition departs Tientsin, August 5, 1900

harpers1900v2b_008_c_1500w.jpg

Map


Relief Expedition

Path along the Peiho River

Map


Relief Expedition

Path along the Peiho River

graphic_1900_048_relief_1500w.jpg

Relief2


Relief

"Arrival of the Head of the Relief Column" siege lifted, August 15, 1900

Relief2


Relief

"Arrival of the Head of the Relief Column" siege lifted, August 15, 1900

killie10_46833_yale_09_1500w.jpg

Relief


Relief

"When the Troops Arrived" siege lifted, August 15, 1900

Relief


Relief

"When the Troops Arrived" siege lifted, August 15, 1900

Through the fog that constitutes the past, then, we may descry clear outlines of people and events...
— Beverley Southgate, “History and Art: Some Meeting Points" (2011)
...historians are not relegated to appropriating photographs only as sensuous, non-linguistic data. Another strategy, what I will call “excavation,” uses the tools of discursive analysis familiar to us through the work of Michel Foucault and others to treat sight as an experience located within historically specific regimes of knowledge.
— Julia Adeney Thomas, "The Evidence of Sight" (2009)

Visualizing the Boxer Uprising (1898-1900): a kaleidoscopic view with many media, many makers, many scenes

2012_july_formula_black_1500w.jpg

algorithm


an algorithm for visual narrative

algorithm


an algorithm for visual narrative

Visual Narrative = text + image <image Zoom> image & 2nd image (juxtaposition) x 10 images (related, adds depth) x 100 images (data subsets, adds more depth) = IMAGE => returning to image + text (informed)

True vision in this narrative necessarily involves oscillatory movement: turning away from spectacle, or if one cannot turn the whole body, closing one’s eyes to the visible world—or its mediated image—to question what one sees.
— Caroline Jones, “Senses,” Critical Terms for Media Studies, W. J. T. Mitchell and Mark B. N. Hansen (2010)
2012_nov_VN_model_3part_1500w.jpg

model


Software Design

model


Software Design

PICTURES > DIGITALITY < HISTORY

 

Proposing a model between disciplines, between text and image, between artifact and reproduction. Combining image-driven essay, thematic visual narratives, visual image data field.

Historical representation, a composed history in any medium, usually refers to written texts. Narrative in a “Visual Narrative Field Model” is latticed across images within a multi-linear complex field. History through the senses places visuality above textuality. A digital historiographic model supports authoring with visuals and allows readers to make direct contact with primary sources.

ricalton_BxUp_1902_map7_Tientsin_2000w.jpg

Afterglow


Afterglow

the image that lingers in the mind's eye

Afterglow


Afterglow

the image that lingers in the mind's eye