Multiform references (MFRs) are classified into three main types: explicit, implicit and indeterminate. Within a multiform argument (MFA), an explicit MFR announces its own juxtaposition of the verbal and visual components, usually through brackets in the main text, and at the beginning of the caption of the illustration. In the brackets, the term ”fig. n.”Continue reading “Explicit Multiform References”
Author Archives: Noa Yaari
Multiform References
The integration of the verbal and visual components of multiform arguments (MFAs) into a cohesive utterance is possible by juxtaposing and entangling the semantic and visual aspects of words and images. This is feasible since printed words and printed images have the capacity to be both meaningful and visible at the same time. Further, theirContinue reading “Multiform References”
Multiformity vs. Multimodality
The concept “multiformity” resonates with the concept “multimodality,” not only in the way it looks and sounds, but also the broad social and cultural contexts from which it develops and to which it is addressed. Both concepts allow us to explore forms of communication that mix what we apprehend as distinct channels of transmitting information:Continue reading “Multiformity vs. Multimodality”
What are Multiform Arguments?
Multiform arguments (hereafter MFAs) are arguments that are composed of words and images. MFAs claim that a certain phenomenon has happened or explain the reasons for its occurrence. I became aware of MFAs while reading illustrated historiography, especially of cultural history. I noticed that when I wanted to point out how cultural historians use visualContinue reading “What are Multiform Arguments?”
History Sells
Noa Yaari, History Sells (homage to Andy Worhol), 2015. A bookmark. 20.5 x 5 cm. Toronto
In the
Noa Yaari, I Lose Control, 2018. Ink on paper. 21 x 27 cm. Toronto Image source – Sandro Botticelli’s The Birth of Venus (1482-1485): https://en.wikipedia.org/wiki/The_Birth_of_Venus#/media/File:Venus_botticelli_detail.jpg
What Makes Visual Evidence “Evidence”?
Alfa Romeo 4C Spider In April’s post, I asked if – within the industry of creating and communicating historical knowledge – there is any epistemological significance to visual evidence that was photographed by the historian who writes about it. I claimed that participating in the production of the visual evidence is an “opportunity to compareContinue reading “What Makes Visual Evidence “Evidence”?”
Historians Photograph their Visual Evidence
The visual material in illustrated historiography usually results from a chain of practices, most noticeable are the artistic creation, the photographing of the artwork, and the printing of that photograph in the book. This chain of practices is the industry of creating and communicating historical knowledge. Within that industry, is there any epistemological significance toContinue reading “Historians Photograph their Visual Evidence”
Renaissance Society of America – New Orleans, March 22-24, 2018
At the RSA 2018, I commented on three papers that art historians Dr. Jorge Sebastián Lozano, Dr. Víctor Mínguez Cornelles and Dr. Inmaculada Rodríguez Moya presented in the session: “Between Word and Image: Verbal-Visual Representations of Sixteenth- and Seventeenth-Century Spanish Royal Women,” which I organized, and Dr. Julie Campbell chaired. This is what I said: Over the last few weeks,Continue reading “Renaissance Society of America – New Orleans, March 22-24, 2018”
Drawing Childhood Memories on Money as a Teaching Tool
The following article was published in Innovatus, York University’s monthly pedagogical newsletter, on January 19, 2018. It describes an art exercise I gave in my tutorials. In the last tutorial of the fall term, students in the History course Making Money drew their early memories on money. This exercise, given by artist and Teaching Assistant Noa Yaari, buildsContinue reading “Drawing Childhood Memories on Money as a Teaching Tool”
Noa Yaari 
