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Category Archives: Contemplations
A Creative and Effective Grammar
Multiform grammar (MFG) allows who aren’t in regular grammar to their communication ️and ️. It does so since it new paths for , logic, and . I’m analyzing here the phrase “communication ️and ️.” signifies strength, power, capability, competence, endurance, resilience, etc. In this phrase, we … Continue reading
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Using Multiform Grammar in Presentations
How do speakers who use both words and images employ MFG? And how can they do so intentionally and effectively? As you can see in the illustration below, the speaker refers to the image on the screen in three different … Continue reading
Posted in Contemplations, Research, Teaching
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Multiform Grammar and the Working Memory
In 1974, psychologists Alan Baddeley and Graham Hitch offered a model of the working memory, which was revised by Baddeley in 2000. According to the 1974 model, the working memory is a system that enables temporary storage and manipulation of … Continue reading
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Pulling and Pushing Forces in Multiform References
Explicit, implicit and indeterminate multiform references (MFRs) maintain pulling and pushing forces between their verbal and visual poles. These forces are the mechanisms that potentially move readers to shift their attention between words and images across a multiform argument (MFA) … Continue reading
Posted in Contemplations, Dissertation, Teaching
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Implicit Multiform References
Implicit multiform references (MFRs) generate shifts of attention through semantic relatedness between the MFA’s verbal and visual components and their visual features without announcing their operation. For example, the presence of both the word “cat” and an image of a … Continue reading
Posted in Contemplations, Dissertation, My Art
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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 … Continue reading
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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 … Continue reading
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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 … Continue reading
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Benjamin Lee Whorf
Writes: “[…] for science, poetry, and love are alike in being “flights” above and away from the slave-world of literal reference and humdrum prosaic details, attempts to widen the petty narrowness of the personal self’s outlook, liftings toward Arūpa, toward … Continue reading
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Wordimage in (is) Mythology
In her Reading “Rembrandt”: Beyond the Word-Image Opposition, Mieke Bal refers to Roland Barthes’s remark that “the very end of myth is to immobilize the world,” and to Philip Rahv’s observation that the persistence of romanticism and conservatism, manifested in … Continue reading
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