Articoli di riviste sul tema "Geographical perception in motion pictures"

This study presents how motion pictures illustrate a person with cerebral palsy (CP), the social impact from the media, and the possibility of cerebral palsy education by using motion pictures. 937 motion pictures were reviewed in this study. With the criteria of nondocumentary movies, possibility of disability classification, and availability, the total number of motion pictures about CP was reduced to 34. The geographical distribution of movie number ever produced is as follows: North America 12, Europe 11, India 2, East Asia 6, and Australia 3. The CP incidences of different motor types in real world and in movies, respectively, are 78–86%, 65% (Spastic); 1.5–6%, 9% (Dyskinetic); 6.5–9%, 26% (Mixed); 3%, 0% (Ataxic); 3-4%, 0% (Hypotonic). The CP incidences of different Gross Motor Function Classification System (GMFCS) levels in real world and in movies, respectively, are 40–51%, 47% (Level I + II); 14–19%, 12% (Level III); 34–41%, 41% (Level IV + V). Comparisons of incidence between the real world and the movies are surprisingly matching. Motion pictures honestly reflect the general public’s point of view to CP patients in our real world. With precise selection and medical professional explanations, motion pictures can play the suitable role making CP understood more clearly.

Viewing static photographs of objects in motion evokes higher fMRI activation in the human medial temporal complex (MT+) than looking at similar photographs without this implied motion. As MT+ is traditionally thought to be involved in motion perception (and not in form perception), this finding suggests feedback from object-recognition areas onto MT+. To investigate this hypothesis, we recorded extracranial potentials evoked by the sight of photographs of biological agents with and without implied motion. The difference in potential between responses to pictures with and without implied motion was maximal between 260 and 400 msec after stimulus onset. Source analysis of this difference revealed one bilateral, symmetrical dipole pair in the occipital lobe. This area also showed a response to real motion, but approximately 100 msec earlier than the implied motion response. The longer latency of the implied motion response in comparison to the real motion response is consistent with a feedback projection onto MT+ following object recognition in higher-level temporal areas.

Abstract: In these days, assessment camera structure wins as a security system at high speed since this structure can screen from remote spots using Web camera joined to video screen by network. Besides, computerized supplies like Web camera, and hard circle drive are proficiently fabricated, and are sold for minimal price. Likewise, execution gain of these mechanized sorts of stuff improves at a fast rate. Current perception camera structure shows dynamic pictures from some oversight areas shot by various Web cameras all the while. Then, this system makes spectator's mind and body tired considering the way that he/she wants to watch enormous number of dynamic pictures been persistently strengthened. Moreover, this structure has a troublesome issue, which is an observer slips over mark of bad behavior. This study eliminates Motion Region from moving individual, and measures Motion Quantity for assessing his/her dynamic state. Also, this recommendation method finds the distinctive place of questionable activity, and checks the degree of risk of the questionable development.

The article is devoted to the analysis of Russian travelers ideas about North African countries (Algeria, Tunisia, Egypt) in the period from the end of the XIX century to the beginning of the XX century. The paper considers the perception of this geographical area by Russian travelers in literary travelogues. North Africa in the designated period of time was considered not only as the cradle of ancient and great civilization, but also as a Europeanized, modernized territory of the Arab area. The travelogues analyzed in the article make it possible to distinguish in them two different cultural pictures of the world - North Africa and the picture of the world of Western Europe reflected in it.

Visual perception is adapted toward a better understanding of our own movements than those of non-conspecifics. The present study determined whether time perception is affected by pictures of different species by considering the evolutionary scale. Static (“S”) and implied movement (“M”) images of a dog, cheetah, chimpanzee, and man were presented to undergraduate students. S and M images of the same species were presented in random order or one after the other (S-M or M-S) for two groups of participants. Movement, Velocity, and Arousal semantic scales were used to characterize some properties of the images. Implied movement affected time perception, in which M images were overestimated. The results are discussed in terms of visual motion perception related to biological timing processing that could be established early in terms of the adaptation of humankind to the environment.

To tackle obesity, upgrading the image of healthy food is increasingly relevant. Rather than focusing on long-term benefits, an effective way to promote healthy food consumption through visual advertising is to increase its pleasure perception. We investigate whether implied motion, a popular trend in food pictures, affects food perceptions through anticipated consumption pleasure. Prior research shows that motion affects food perceptions, but these studies focused on limited food categories, using experiments with a single food stimulus, and mainly showing unhealthy food effects. Therefore, we aim to (1) replicate prior findings on the effects of food in motion on appeal, tastiness, healthiness, and freshness perceptions; (2) examine whether these effects differ for healthy and unhealthy food; and (3) investigate whether anticipated pleasure of consumption drives the effects of implied motion on food perceptions. Three between-subjects experiments (N = 626) reveal no evidence for the effectiveness of motion (vs. no motion) across a large variety of food products. We further show no differential effects for healthy versus unhealthy foods. Moreover, implied motion does not increase appeal or taste perceptions through anticipated pleasure. Considering the current replication crisis, these findings provide more nuanced insights into the effectiveness of motion in visual food advertising.

The present study investigates whether obstruent voicing may or may not affect the imagery of different strengths of motor execution. In a modified version of the implicit association test, participants responded to discrimination tasks that include viewing static pictures of athletes in motion and hearing mono-syllabic linguistic sounds. The results suggest that voiced obstruents are compatible with the motion imagery that implies stronger motor executions, whereas voiceless obstruents are compatible with the imagery that implies weaker motor executions. These results provide experimental support for crossmodal associations between the auditory perception of linguistic sounds, namely, the voicing of obstruents, and the visually induced imagery of different levels of strength in motor actions.

This paper discusses the application of Eye Tracking (ET) technologies for researchers to understand a driver’s perception of signage at the highway work zone. Combining ET within a screen-based motion pictures and a driving simulator, the team developed an analytical method that allowed designers to evaluate signage design. Two experiments were set up to investigate how signage design might affect a driver’s visual attention and interaction under various environmental complexities and glare conditions. The study explores the visual perception related to several spatial features, including signage modality, scene complexity, and color schemes. The ET method utilizes total fixation time and time to first fixation data to evaluate the effectiveness of signage presented through screen-based video and a driving simulator.

Marriage is a topic that has been dealt by Hollywood since the beginning of motion pictures. Even though the subject of marriage seems to be banal, there is a wide diversity in how people lead their married lives. Factors such as culture, religion, education, and history have major influences on the perception and definition of marriage. Hollywood, which has always been deft to notice the evolution in marriage, has accurately portrayed them through the use of movies. Through this paper, the researcher intends to chart the development in the concept of marriage through cinema over the past century.

Straipsnyje susitelkiama į fenomenologijos diskurso taikymo Lietuvos XX a. antrosios pusės modernistinėje tapyboje problematiką siekiant paaiškinti judėjimo idėjos perteikimą tapybos kūrinyje. Tam analizuojami Kazimieros Zimblytės ir Eugenijaus Antano Cukermano abstraktūs paveikslai, sukurti aštuntajame–dešimtajame dešimtmečiuose. Abu menininkus domina abstrakčios plastinės idėjos – kaip sukurti paveikslo paviršiuje dėmės, plokštumos, fono judėjimo įspūdį. Straipsnyje keliamas klausimas: kaip vyksta judėjimas, slinktis paveiksluose, kas slenka, kaip tai atsiskleidžia pačiuose kūriniuose? Judėjimo fenomeną tapyboje siekiama paaiškinti analizuojant tapybos medžiagą, remiantis Maurice’o Merleau-Ponty fenomenologijoje apmąstyta juslinio suvokimo samprata, grindžiančia figūros ir fono struktūra, vizualaus lauko samprata, chiazmo principu.Pagrindiniai žodžiai: Cukermanas, Zimblytė, modernistinė tapyba, fenomenologija, judėjimo idėja.THE IDEA OF MOTION IN MODERNIST PAINTINGMilda Žvirblytė SummaryThis article deals with the problem of the phenomenological discourse as an methodological issue raised in the modernist Lithuanian painting of the second half of the twentieth century aiming to reveal the idea of motion in painting. In this case the abstract pictures by Kazimiera Zimblytė and Eugenijus Antanas Cukermanas, created in the eighth−tenth decades, have been chosen to discuss. Both artists are interested in abstract plastic idea – how to create the impression of a motion of a spot, plane, background on the canvas surface. The question is: how to explain the idea of motion in a painting, who does constitutes movement, what makes count as an object in motion, what produces a perception of movement in painting? Article approaches the idea of motion on the basis of painting with the reference to the theory of perception by phenomenologist Maurice Merleau-Ponty according to the following concepts: the relationship between figure and background, the visual field, the Chiasm.Keywords: Cukermanas, Zimblytė, modernist painting, phenomenology, idea of motion.

Enjoying a movie at a cinema may be an exciting experience for people who are enthusiastic about wide-screen motion pictures. This study seeks to examine Generation Z's perception of online applications for purchasing movie tickets. A total of ten respondents from Generation Z were surveyed regarding online applications for purchasing movie tickets. The researcher employs a qualitative descriptive method, while the model employed in this test is a technology-accepted model (TAM). The findings of this study indicate that the availability of an online cinema ticket booking application for generation z is seen as highly successful and advantageous, despite the presence of hurdles.

Human concepts can be roughly divided into entities (prototypically referred to in language by nouns) and events (prototypically referred to in language by verbs). While much work in cognitive neuroscience has investigated how the brain represents different categories of entities, less attention has been given to the more basic distinction between entities and events. We used functional magnetic resonance imaging to examine brain activity while subjects performed a conceptual matching task that required them to access knowledge of objects and actions, using either pictures or words. Since action events involve movement through space, we hypothesized that accessing knowledge of actions would cause greater activation in brain regions involved in motion or spatial processing. In comparison to objects, accessing knowledge of actions through pictures was accompanied by increased activity bilaterally in the human MT/MST and nearby regions of the lateral temporal cortex. Accessing knowledge of actions through words activated areas just anterior and dorsal to area MT/MST on the left, within the posterior aspect of the middle and superior temporal gyri. We propose that the lateral occipital temporal cortex contains a mosaic of neural regions that processes different kinds of motion, ranging from the perception of objects moving in the world to the conception of movement implied in action verbs. The lateral occipital temporal cortex mediates the perceptual and conceptual features of action events, similar to the way that the ventral occipital temporal cortex processes the perceptual and conceptual features of entities.

Abstract The formal, cinematic language specific to immersive motion pictures is an area of cinema theory that has been neglected up until now. This paper investigates a new language of cinematic montage specific to immersive cinema, somatic montage, while it examines historical precedents in the sciences, arts, and cinema of the twentieth century. We propose somatic montage as a model for developing new poetic structures in time-based works that inhabit a three-dimensional, architectonic space – a space of embodiment, motion, perception, and participation in the reception of a work of art. In this paper, we consider cinema as a four-dimensional artwork conceptually engendered by the principles of hyper-dimensions, the outgrowth of scientific discoveries made at the turn of the twentieth century. The expanded cinema mediums of fulldome cinema, immersive video and film installation, virtual reality, and extended reality, when approached as four-dimensional cinema space, allow for a spatialized, non-linear juxtaposition of the cinematic elements. Somatic montage is presented here as an extended, supra-dimensional notion of what Sergei Eisenstein called the ‘disjunctive method of narration’.

“If a magazine should be published at ten cents and made light, bright, and lively,” thought publisher Frank Munsey, it would surely attain a “wide circulation.” What he meant in part, by “light, bright, and lively,” was lots of pictures. Happily for publishing entrepreneurs like Munsey, who courted “the millions” as readers during the 1890s, two innovative communications technologies came together to help make the cheap “picture” magazine possible — photography and the halftone reproduction process. With the birthing of the modern mass magazine — combining low price, increased use of halftone illustrations, an abundance of advertisements, and contents shrewdly designed to satisfy, as Hamlin Garland put it, “the appetites of the millions” by appealing “to shopgirls, tired businessmen, and others who demanded easy and exciting reading” — two revolutions were set in motion, one in perception and the other in values.

The author analyses peculiarities of choices of motion pictures with different dy- namic characteristics, taking into consideration spectator’s subjective perception of in- tenseness of his or her life in time perspective. The student participants were offered a choice of 16 films from which they were required to select the one they would prefer to watch at the moment. The film set was formed based on the ratings of films that are popular amongst students, in which survey 187 students participated. The selected films differed in terms of temporal and dynamic characteristics, and they were famil- iar to all the 60 participants in the sample. The students were also required to rate the fullness of their life in temporal perspective. The analysis of the data revealed that the film preference appears to be compensatory in nature. The perception of one’s life as boring and barren determines the choice of dynamic films with stimulation of forced attention by means of attention reflex and actualization of basic needs. The percep- tion of one's life as dynamic and full of new experiences contributes to the selection of circumstantial cinematic narrative and stimulation of voluntary attention through actualization of social needs.

The aim of this article is to examine shifts of meaning of the visual material in a piece of art called Pippi Examples (2001). The Swedish artist Palle Torsson uses parts of the Pippi Långstrump motion picture for this video work, which has been accused of "making porn of Pippi". It is when the visual material is moved from its original context of children'scultureand placed in a context ofart, that the perception of the viewers' position changes. Four pictures from Pippi Examples are examined through a semiotic method. These pictures are related in different ways to signs of sexualisation used in visual pornographic material. The girls in the material are exposed in a sexualised way, related to two frames of interpretation. The first one is the references in the pictures to a pornographic visual tradition. The second important frame of interpretation is the concept of the male gaze, in the article also referred to as the male viewer's position. This position is structured through the historical meaning of children's sexuality, cultural boundaries for girls' physical use of their body and the sexualised gaze of male adults. The theoretical ground for the article is Laura Mulvey^ essay on the male gaze and Michel Foucaulfs work on the history of sexuality. In the final part of the article the gender of the artist is discussed as a vital part of Pippi Examples. The artisfs male gender both confirms the sexual content of the visual material and tums the interest to his person rather than to the art. This can be seen as a new situation for the male artist that historically has had a position related neither to sexuality nor gender.

Far from being merely a medium of simplification and conveyance of scientific facts, motion pictures exhibit an important epistemic function. On the one hand, the medium film is itself a product of research in various fields, on the other hand, it retroacts on perception and problem-solving in science, thereby influencing and changing research practices. The paper aims at describing these reciprocal effects and synergies by discussing two examples: first by the film “The principles of Einstein’s theory of relativity”, first released in Germany in 1922, second by the film “Mathematical image of the struggle for life”, produced in 1937 for the inauguration of the “Palace of discoveries” in Paris, demonstrating the latest developments in evolutionary theory. It becomes evident that picture media have the capacity to transform the symbolic dimension of things and bodies, thereby offering new access to reality, which not only fascinated the spectators, but also inspired scientific research.

In this paper I analyze various ways in which Bill Morrison’s travel films, Night Highway (1990), The Death Train (1993), City Walk (1999) and Ghost Trip (2000), tend to challenge the concept of the American landscape through the use of cinematic conventions traditionally associated with early cinema’s phantom rides as well as contemporary travel ride films and road movies. Particularly, I argue that Morrison’s experimental pictures, while simultaneously drawing on and playing with selected phantom ride, travel ride film and road movie tropes, exploit the dynamics between the spectator’s unique frontal perspective, visual mobilities and distant panoramic views as well as evoke a distorted experience of sensational and contemplative voyages, hence challenging panoramic perception and an idealized image of American (film) landscape intrinsically bound with the natural and technological sublime. To achieve this particular effect, the analyzed material incorporates such elements as deteriorated footage, manipulated travel imagery and image looping enhanced by atmospheric scores, slow and fast motion cinematography or more conventional traditions of abstract formalism.

Tourists’ decisions on selecting their destinations are driven by their imagination of available offers, rather than by the real offers. The special role of the image of tourism destination in the process of building a competitive position result, among other things, comes from the fact the image is a factor of competitiveness influenced by both intentional and accidental actions of entities, whom are active in a particular tourism destination as well as environmental elements, which are beyond the influence of these entities. The cities of the Upper Silesian Conurbation were for many years perceived as completely dominated by heavy industry. Nowadays, after significant changes in their economy and environment, local authorities are struggling to fight that negative perception. The aim of the paper is to examine if the negative image of the Conurbation is grounded by the textbooks for geography for secondary schools in Poland. The textbooks were studied using the content analysis as an example of important autonomous sources of information. Particular stress was put on analysis of the heading and pictures in the chapters on the Conurbation. The results prove that industrial image of the region is being grounded by the geography textbooks. It was discovered that the picture of Upper Silesian Conurbation that might be found in researched textbooks is almost identical with what was previously presented in the literature as tourists’ perception of the Conurbation. The results prove the role of the textbooks and the whole school education as factors shaping the image of particular places that people have also as adults. That role was neither researched nor clearly stated in the literature so far.

In “Depicting by gestures” (Gesture, 8 (3)), I have explored the methods by which hand gestures depict the world. Here I explore how gestures themselves are depicted. Many paintings and sculptures show human bodies in motion or showcase traces of body movements, including gestures of the hand. The issue is how the artists succeeded in depicting or insinuating movement in media that are inherently still, and how such arrested gestures function in pictures of social life so that these are perceived as “legible interactions” (Gombrich). By scrutinizing the changing logic of representation of embodied communication in the visual arts, gesture researchers can gain insights into the relationships between movement, form, meaning, and context, and recontextualize their own analytic methodologies within the broader discourse in the humanities on human behavior and its interpretation (Streeck, 2003). In the following, I examine a number of characteristic attempts, made during different periods of Western art-history, to solve this problem: in Egyptian, Greek, and Hellenistic art; in some medieval illuminations; in the early and late Renaissance; and in the 20th century styles of “écriture automatique” and Abstract Expressionism. Each of the strategies involved is predicated on three types of analysis: of ways in which body motion communicates meaning, of visual perception, and of the nature of pictorial representation.

The perception of object-directed actions performed by either hands or tools recruits regions in left fronto-parietal cortex. Here, using functional MRI (fMRI), we tested whether the common role of hands and tools in object manipulation is also reflected in the distribution of response patterns to these categories in visual cortex. In two experiments we found that static pictures of hands and tools activated closely overlapping regions in left lateral occipitotemporal cortex (LOTC). Left LOTC responses to tools selectively overlapped with responses to hands but not with responses to whole bodies, nonhand body parts, other objects, or visual motion. Multivoxel pattern analysis in left LOTC indicated a high degree of similarity between response patterns to hands and tools but not between hands or tools and other body parts. Finally, functional connectivity analysis showed that the left LOTC hand/tool region was selectively connected, relative to neighboring body-, motion-, and object-responsive regions, with regions in left intraparietal sulcus and left premotor cortex that have previously been implicated in hand/tool action-related processing. Taken together, these results suggest that action-related object properties shared by hands and tools are reflected in the organization of high-order visual cortex. We propose that the functional organization of high-order visual cortex partly reflects the organization of downstream functional networks, such as the fronto-parietal action network, due to differences within visual cortex in the connectivity to these networks.

Abstract Business intelligence and analytics are nowadays being integrated into diverse industries, from healthcare to customer relationship management and behavioral profiling, due to the competitive advantages that they offer. Nevertheless, most companies try to integrate as many forms of business intelligence systems as possible into different internal processes. This overall digitization applied to more and more business departments is being analyzed with both curiosity and reluctance. The decision regarding the implementation of innovative forms of automation is taken in an attempt to discover and solve business challenges. However, there are several issues involved, which need to be addressed. One of the risks that are being discussed in the research environment refers to the level of acceptance of artificial intelligence systems. The tolerance and overall readiness of the consumers towards innovation and technology is one of the critical factors which need to be determined before implementing disruptive business intelligence systems. Moreover, in an effort to make devices friendlier to consumers, some developers chose to assign anthropomorphic appearances and even create individual identities for each artificial intelligence system. In this context, it is important for most companies investing in intelligent automation systems to determine to which extend the use of anthropomorphic designs impacts the customer’s perception. The objective of this research paper is to analyze the unconscious reaction of consumers towards two opposite designs of artificial intelligence systems: a robotic-like form and a human-like design. Based on this difference, a photo collage was created figuring two pictures: one with a metallic robot having a conversation with a human being and one with a robot with a strong anthropomorphic figure found in the same situation. For the analysis, an eye tracking device was used, in order to measure the point of gaze, the unconscious motion of the eyes, along with the time spent on each fixation and the order in which different elements were fixated upon by the respondents. As the eye-tracking device can generate data in various forms, this research includes both qualitative and quantitative analyses of the results, which confirm the same hypothesis, regarding the consumer’s preference towards artificial intelligence systems with robotic designs.

The Hungarian capital city has been the protagonist or at least the supporting actress of numerous feature films; however, Budapest cannot be identified with a unique image to promote herself in film-induced tourism. The visual representations of the city's symbolic economy play an important role in the creation of place identity. The purpose of this study is to analyze the identity of Budapest and its cultural landscape depicted in international and Hungarian movie productions. The article highlights the consequences of this specific use of the urban place and how these images can influence Budapest's role in film tourism. In order to explore the potential of Budapest in the film tourism niche market, an analysis of tourists' perception of the capital city and tourists' attitude towards film-induced tourism was undertaken. The results of the visitor survey show that international tourists staying in Budapest would be interested to discover the film locations in the city; however, they were not able to link the titles of films set in Budapest to the real film location. Hosting international film productions clearly has a positive impact on the economy as a whole, but tourism destination marketing cannot benefit from the motion pictures' success when Budapest interprets somewhere else.

Return to the Ruins: The Appeal of Post-War Germany One of the most important dates in Germany’s postwar history was May 6, 1955, when the Federal Republic joined the North Atlantic Alliance, an event which perfectly reflected the dynamics of geopolitical changes that had taken place in the ten years since the end of World War II. The article focuses on the depictions of the German civilian population in selected motion pictures which, at least in theory, do not hold ordinary Germans responsible for war crimes. A look at the German war-torn landscape and its functionality will play an important role in the analysis, as it is against this background that the key plot lines are developed. Emphasis is placed on the allegorical and metaphorical significance of the ruins and their hidden meanings. The films under investigation are works created independently of German cinematography (except for two recent international co-productions). This is because the purpose of the analysis is to present the changing attitudes of filmmakers representing nations hostile to Germany until 1945 to the civilian population of ruined German cities. These attitudes, it is worth emphasizing, sometimes stand in opposition to the prescribed perception of Germany and Germans resulting from Cold War political realities and dictating that the nation be treated with sympathy, trust, friendship, and love as a new ally.

Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992) As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.

Введение. Рассматривается англоязычная переводческая рецепция повести А. П. Чехова «Степь» (1888), которая стала первым крупным произведением, ознаменовавшим переход к зрелому периоду творчества писателя. Определяющим пространственным ориентиром в повести и творчестве Чехова в целом выступает степь. В контексте изучения переводов повести на английский язык особое значение приобретает вопрос о диалектическом единстве национальной и универсальной проблематики в чеховском образе степи. Цель – изучение множественных репрезентаций образа степи в англоязычных переводах повести «Степь» в его двух взаимосвязанных измерениях: как национально-маркированного географического пространства и как «ландшафта настроения». Материал и методы. Материалом исследования послужили переводы «Степи» на английский язык, выполненные Э. Л. Кэй (1915), К. Гарнет (1919), Р. Хингли (1980), А. Миллером (1989), Р. Уилксом (2001), Р. Пивером и Л. Волохонской (2004) и отражающие различные этапы восприятия повести. В основе методологии настоящего исследования – сравнительно-сопоставительный метод изучения оригинала и переводов, объектом сопоставления выступают устойчивые формально-содержательные компоненты (мотивы), формирующие образ степи («простор», «даль», «тоска», «одиночество»). Результаты и обсуждение. Основная пространственная характеристика степи – ее бесконечная протяженность – выражена в повести мотивами простора и дали. Данные понятия отражают особенности восприятия пространства носителями русского языка. Нерасторжимая связь пространства с национальной ментальностью наиболее ярко проявляется в слове «простор». Мотив простора является центральным в авторской трактовке образа степи Чеховым. Простор степи лишает человека ориентиров, делает пространство несоразмерным его устремлениям. Анализ мотива «простор» в переводах повести позволяет говорить о двух тенденциях: с одной стороны, переводчиками выделяются универсальные составляющие пространственной семантики (эквиваленты «space», «room»), с другой – предпринимаются попытки передать специфические свойства русского простора (эквиваленты «spaciousness», «wide (vaste) expanse», «vastness»). При передаче мотива дали основным эквивалентом выступает существительное «distance». При этом отмечаются его отличия от значения исходной единицы «даль»: соотнесенность в большей степени с длиной, чем с широтой пространства, присутствие вектора движения. Наиболее очевидными трансформациями оригинала при передаче мотива дали можно считать использование переводчиками лексических единиц с семантикой границы («end», «horizon», «limits»). Образ степи в чеховской повести построен на тесной связи изображения степных пейзажей с душевным состоянием героев. Пространство степи выступает проекцией их внутреннего мира. Непреодолимость степи, нескончаемое однообразие и монотонность ее пейзажей вызывают всеохватное чувство тоски и одиночества, которые становятся ключевыми мотивами, формирующими образ степи как «ландшафта настроения». «Тоска» относится к ключевым словам русской культуры. Национально-культурная специфика, в частности связь тоски с русскими пространствами, определяет обнаруженные в переводах трансформации мотива тоски. Он представлен широким рядом эквивалентов, формирующих для восприятия англоязычного читателя новое поле смыслов. На первый план в нем выходит общее значение горя или страдания («grieve»/«grief», «misery»/«miserable»/«miserably», «anguish» и др.), реже – желания чего-либо («longing», «yearning»/«yearn»), т. е. в переводах актуализируются прежде всего культурно-универсальные эмоциональные ассоциации. Индивидуальное воплощение данный мотив приобрел в переводе Хингли, где эксплицируется связь тоски со смертью («agonized», «lamenting», «dying»). Сходные трансформации обнаруживаются при передаче мотива одиночества. Наиболее часто переводчики выбирают эквиваленты, соответствующие оригиналу своей эмоциональной окрашенностью («lonely»/«loneliness», «solitary»/«solitariness», «solitude»). Заключение. Образ степи заключает в себе неразрывную связь русской национальной и чеховской индивидуально-авторской картин мира. Включенность формирующих образ степи мотивов в глубокий национально-культурный контекст ограничивает их переводимость на язык иной ментальности, что подтверждается множественностью и разнообразием предлагаемых переводчиками эквивалентов. С их помощью переводчики адаптируют образ степи, как правило выводя на передний план в рассмотренных мотивах универсальные смыслы и редуцируя национально-специфические, а вместе с тем и авторские, расставляют индивидуальные акценты в своих интерпретациях. В то же время вследствие такой, очевидно, неизбежной культурной адаптации в рассмотренных переводах не сохраняется «резонансный» принцип построения текста повести, реализованный Чеховым в системе авторских повторов. Introduction. The article analyses English translations of Anton Chekhov’s The Steppe (1888), the first major work of the writer’s mature period. The central spatial landmark in the story is the steppe, whose image is of great importance for translation studies in terms of the dialectics between the national and the universal. Aim. The author aims at studying the multiple representations of the steppe in English translations in two interrelated aspects: as a nationally marked geographical space and as a “mood landscape.” Material and methods. Six English translations of The Steppe at the various stages of reception: by Adeline Kaye (1915), Constance Garnett (1919), Ronald Hingley (1980), Alex Miller (1989), Ronald Wilkes (2001), Richard Pevear and Larissa Volokhonsky (2004). The author employs a comparative approach for analysing the recurring meaningful elements (motifs) embedded in the image of the steppe (“prostor”, “dal’”, “toska”, “odinochestvo”). Results and discussion. The main spatial feature of the steppe is its infinity expressed through the motifs of “prostor” and “dal’”, which are peculiar for the perception of the steppe by native Russian speakers. The motif of “prostor” is central for Chekov’s interpretation of the steppe. “Prostor” is something that deprives people of reference points and becomes disproportionate to human aspirations. This concept most clearly manifests an indissoluble connection of the steppe infinity with the national mentality. The analysis of its English translations shows two simultaneous tendencies: while in some cases the translators specify universal components of spatial semantics (“space”, “room”), in others they seek to convey the specific properties of the Russian “prostor” through such equivalents as “spaciousness”, “wide (vast) expanse”, and “vastness.” The Russian “dal’” is mainly translated into English as “distance”. However, there is an obvious difference between “distance” and the original “dal’”: the former is more about length and directed motion, while the latter correlates with the latitude of space. The most frequent translation equivalents of “dal’” are the lexemes with the semantics of boundary (“end”, “horizon”, “limits”). The image of the steppe in Chekhov’s story demonstrates a close connection of the landscape with the characters’ state of mind. The steppe acts as a projection of people’s inner world, with its infinite vastness and endless monotony evoking all-encompassing melancholy and loneliness. These feelings become the key motifs in the image of the steppe as a “mood landscape.” Nationally and culturally determined, the motif of “toska” does not have a universal translation, producing a broad range of equivalents that shape new semantic fields for English-speaking readership. The most foregrounded concepts of grief and suffering (“to grieve”/“grief”, “misery”/“miserable”/“miserably”, “anguish” etc.) are followed by those of longing for something (“longing”, “yearning”/“yearn”), i.e. the translations primarily promote universal emotional associations. In Hingley’s translation, however, the original motif acquires a unique rendition, since the translator explicitly links melancholy with death. Similar transformations can be found in translation of the motif of loneliness. The translators mainly choose equivalents to match the emotional colouring of the original (“lonely”/“loneliness”, “solitary”/“solitariness”, “solitude”). Conclusion. Chekhov’s image of the steppe demonstrates an inextricable link between the Russian national and the writer’s pictures of the world. Since the motifs constructing the image of the steppe are deeply embedded in the national culture, their translatability into other language mentalities is limited. Various equivalents are used to adapt the image of the steppe for other cultural contexts. As a rule, the translators foreground the universal component and reduce the national specificity, adding individual accents in their renditions. At the same time, due to such an obviously inevitable cultural adaptation, the “resonance” principle of constructing the text of the story, implemented by Chekhov through the system of repetitions, was not preserved in the considered translations.

The paper attempts to explore the structural elements of the landscape of Andrei Bely’s novel in correlation with the spatial coordinates and symbolic images of A. Böcklin’s painting The Isle of the Dead. The Swiss artist’s techniques used in the novel are highlighted: color and light painting, the technique of inverse and combined perspective. In addition, microplots of fog, sails and the Bronze Horseman are presented in the novel as ‘pictures with motion’, due to which the visual images-symbols smoothly ‘flow’ into each other, forming a single whole, which meets the author’s desire to reproduce a three-dimensional mythopoetic model of the world based on the unity of macrocosm and microcosm, nature and man. From Bely’s point of view, gloomy rocks, the sky, white clothes, cypresses are a kind of coordinate axes of Böcklin’s painting - they set the horizontal and vertical levels of the universe. In the painting The Isle of the Dead, the horizontal is the Styx and the sky that seems bright; the vertical is shaped by the cypress and the rock. In the novel Petersburg the spire(s) acts as a vertical. The spire is not only a connecting line stretching from the city to the sky, but also a component of the symbolism of the cross: the Neva and the city streets, Petersburg lines, primarily act as a horizontal line. In addition, the image of the spire also fulfils a psychological and compositional function by drawing attention to the climaxes of a particular storyline: as a rule, the moment of the highest psychological tension (whether we are talking about the senator, the terrorist Dudkin, Anna Petrovna, or others) is marked by the mention of the ‘needle’, and extended introspection is often replaced by a ‘point’ indication of this detail of the city panorama, which turns out to be the focus of the character’s perception.

A tabula scalata consists of triangular slats painted on two sides and attached to a panel, creating a “double image”. Sometimes, a mirror was placed at straight angles of the upper frame, allowing the beholder to see both painted sides at the same time – but only when standing in the right position. This contribution analyses how these scarcely studied devices relied on the beholder’s active participation to convey intertwined layers of artistic, scientific, political, and poetic meanings. To do so, it discusses two sixteenth-century case studies. The first is a lost painting created in French royal court circles around 1550 and subsequently making its way to Rome as a diplomatic gift. The device combined a portrait of Henry II of France, a moon symbol, and a puzzle-ridden poem to convey interrelated political and poetic meanings. The second painting is Ludovico Buti’s Portrait of Charles III of Lorraine and Christina de’ Medici. It was commissioned by the Medici, and originally hung in a room filled with maps and geographical devices. This article considers three aspects central to the paintings’ reception: motion, sensory perception, and ideology. Operating in an intellectual culture fuelled by curiosity and designed to evoke wonder, these devices aimed to prolong the beholders’ attention by establishing thresholds within the artistic experience. As such, they straddled the vague boundaries between painting, scientific instrument, and poem to stimulate the beholders’ senses and involve them in an interactive game of meaning-making.

The article (the end of the publication, beginning: No 1 (35), 2018) analyzes the sound features of Japanese motion pictures created in the second half of the 20th - beginning of the 21st centuries, on the example of the speech expressiveness of screen actors. The peculiarity of the acting game for a long time was one of the obstacles to understanding and accepting Japanese films by the Western audience. The approach of Japanese film actors to taking roles was based on traditions of the theatrical performance. However, theatrical techniques organically entered the artistic structure and became distinctive features of the genre of dzidaigaki (costume-historical film), especially loved by the audience. The main vehicle in the sound design of such films was the actor's speech using an ancient language, differing from modern Japanese by the presence of additional endings and pronouns. The mode of stylization of speech, associated with a special attention to detail, brings the audience closer to the time displayed on screen, adding realism in the perception of the screen event. The article presents stylistic, phonetic, semantic features of actor's speech in Japanese films not only in costume and historical genre, but also in fantasy and animation films. In the latter two genres, the onomatopoeia (sound imaging) plays an important role in creating the sound design of the film, which is so common in Japanese colloquial and written speech that can also be attributed to a peculiar Japanese cultural tradition. Analysis of sound designs of the Japanese films, including the use of onomatopoeia, is the novelty of the work presented. The articles topicality is that analyzing another view of the world can broaden the horizon of seeing a specific creative task that is not even related to the Japanese theme, while opening up new creative opportunities. In addition, the material of the article in some extent fills a gap in Russian cinema studies, related to the theme of sound in Japanese cinema.

The article focuses on the feature films "The World Champion" and "Eleven Silent Men" released by the domestic cinema in the winter of 2021/2022, which relate to the genre of historical films about a specific event. In the absence of a universal theory and methods of analyzing historical cinema, an attempt is being made to consider films based on the assumption that they broadcast the mythologeme "USSR – The West". The current political situation is taken into account, characterized by the interest of the Russian state in the production of historical and patriotic motion pictures popular with the viewer, as well as the acute phase of confrontation between the Russian Federation and Western countries. The essence of historical films claiming to be connected with the modern context and going beyond the usual perception in the conditions of digital media communication is also taken into account. Using the example of the development of the "USSR – The West" mythologeme in feature films, the evolution of the "Us – Them" myth is shown and the approval of such a normative order in which Soviet sports victories acquire an epic scale and legendary dimension, and the actions of Soviet citizens are predictable, inscribed in the logic of rational, correct behavior. The actions of representatives of the Western world are associated with ambiguous, often caricatured images referring to heterogeneous socio-cultural phenomena. It is noted that an important factor in the success of films is what generation the audience belongs to, what forms of nostalgia they experience: this is both a restorative nostalgia, which allows us to recall the grandiose sports victories that the entire Soviet people were involved in, and a reflective nostalgia that focuses on details and contexts. After watching movies, the viewer begins to live as if in two realities. In one – cinematographic – the victories of Soviet athletes and almost fair play; in the other – objective – violations of international law and campaigns to discredit Russian athletes as heirs of Soviet winning traditions.

The city is an important center of social life. In different historical periods of time, the role of cities was changing, as well as the city image in the picture of the world and in the society system of values. The study of the city image is one of the urgent tasks of urban studies, as well as the entire humanitarian knowledge with the involvement of various historical sources. The article sets out a task of studying the city image using the example of textbooks for teaching literacy (Primers) as books that form the initial picture of the human world. To that end Karion Istomin’s illustrated Primer was chosen. It was first created in handwritten form to teach the children of Tsar Alexei Mikhailovich. In 1694 it was published at the Moscow Printing Yard. Boards for that all-engraved edition were made by the engraver Leonty Bunin. A Рrimer is a combination of verbal and visual information. For the first time in it an important feature became the illustrative series was important, which was supposed to help the student in mastering letters of the alphabet. Each page of the Primer consisted of pictures with captions and a poem. They interpreted words that began with or included the letter being studied. Among the illustrations by Leonty Bunin, images of the city and city buildings occupy a significant place. As a result of the study of verbal and visual information about the city and the urban environment, the following images of the city are distinguished in the article: the city as a sacred space; the image of a city as a geographical marker (depicting parts of the world through the creation of different types of cities);image of city’s architecture (buildings for the residence of townspeople, churches, outbuildings, protective and the fortification structures); the city image as a symbol of the native land. It was important for the formation of a picture of the world among youths starting to learn to read and write. Through the visual-verbal series of the image of the city, children formed a certain perception of the urban environment, urban space – different and multifunctional.

The city is an important center of social life. In different historical periods of time, the role of cities was changing, as well as the city image in the picture of the world and in the society system of values. The study of the city image is one of the urgent tasks of urban studies, as well as the entire humanitarian knowledge with the involvement of various historical sources. The article sets out a task of studying the city image using the example of textbooks for teaching literacy (Primers) as books that form the initial picture of the human world. To that end Karion Istomin’s illustrated Primer was chosen. It was first created in handwritten form to teach the children of Tsar Alexei Mikhailovich. In 1694 it was published at the Moscow Printing Yard. Boards for that all-engraved edition were made by the engraver Leonty Bunin. A Рrimer is a combination of verbal and visual information. For the first time in it an important feature became the illustrative series was important, which was supposed to help the student in mastering letters of the alphabet. Each page of the Primer consisted of pictures with captions and a poem. They interpreted words that began with or included the letter being studied. Among the illustrations by Leonty Bunin, images of the city and city buildings occupy a significant place. As a result of the study of verbal and visual information about the city and the urban environment, the following images of the city are distinguished in the article: the city as a sacred space; the image of a city as a geographical marker (depicting parts of the world through the creation of different types of cities);image of city’s architecture (buildings for the residence of townspeople, churches, outbuildings, protective and the fortification structures); the city image as a symbol of the native land. It was important for the formation of a picture of the world among youths starting to learn to read and write. Through the visual-verbal series of the image of the city, children formed a certain perception of the urban environment, urban space – different and multifunctional.

<p><strong>Abstract.</strong> Some actual research teams in Education Science go toward the development of educative serious games on mobile devices for letting elementary school pupils (i.e. primary school students) playing outdoor to learn geographic facts, concepts, and patterns. The challenge is about improving their geographic literacy and fluency, or ‘geoliteracy’, and their map-reading competencies, called ‘cartology’, before their adolescence as critical development ‘threshold’.</p><p> The aspects one has to work on consider the ways to learn, use, and comprehend maps as geospatial representations, both concrete display of a terrain on the paper sheet or on a digital screen and, on another hand, cognitive configuration in the mind that structures, interprets, and recalls on demand geospatial information on location or orientation at geographical scales. The fundamental interest of cartographic abilities to make and read a map is that it creates information value, structures memory about places and events, and enhances mobility.</p><p> In fact, there is a societal concern that a majority of adult population is not geographically literate neither efficient in reading and using maps in real-life context, even for just path finding. The main concern to address early at school is still “why” and “how to repair that situation”? If their geospatial cognitive development was weak at school, then that impedes them to comprehend geospatial concepts, structures, and information, later as adults. If a student does not succeed to pass over a kind of learning threshold, even the few abilities feebly acquired may vanish without significant usage neither interest in them. Later, it will be very hard to restart learning of that same matter without the necessary mental frames to organize geographical concepts and relations into an actionable knowledge.</p><p> Facing this geoliteracy challenge, the geographical map appears as the best, powerful, and necessary support or instrument of geospatial knowledge representation. One may define geoliteracy as a set of stabilized and adaptive cognitive abilities and functional competencies to handle, by self, geographical realities and cartographical representations. According to Edelson (2012), the three components of achieved geoliteracy are to develop consciousness of geographical <i>interactions</i> (understanding of human and natural systems in space), <i>interconnections</i> (geographic reasoning), and <i>implications</i> (systematic decision-making).</p><p> Thus in detail, a geoliterate adult should develop abilities in geospatial thinking and possess a complete (but rarely exhaustive) set of skills that are necessarily useful in normal autonomous life to:</p> <ul><li>read, use, and even detect errors on maps and other carto-geographic representations (at any format, support,and scale or zoom level);</li><li>locate places and situations occurring here and there, find new ways in space (at any scales); </li><li>understand and interpret geospatial concepts, signs, and structures on a critical, reasoned, and wise fashion,while discarding misconceptions; </li><li>determine, delimit, plan, and select best places to install activities; </li><li>recall modes and patterns of geospatial (not only geometrical neither topological) representation, even withoutmaps at hand (not just from mental images, capital cities, touristic metaphors, or evocative pictures to comeout from memory, which is necessary, of course, but not sufficient); </li><li>enhance own geographic culture, multiscale perspective, and useful geospatial awareness; </li><li>elaborate an opinion or explanation regarding daily geospatial situations or circumstances.</li></ul><p> What a troubling concern is the multiple evidences that the majority of adult population is not literate neither efficient in just reading and using maps, i.e. cannot perform most of the precedent list of geospatial abilities and competencies.</p><p> A research team joined with elementary schoolteachers, within a small community of practice, in order to identify pedagogic needs and test some game components as exercises in class context; then emerged the project <i>Géolittératie</i> (2015-2017). The pedagogic goal in designing an educative serious game on mobile device is to apply conceptual and applied methods for both learning and teaching geospatial competencies accordingly to the official school curriculum. That requires theoretical and methodological considerations about educative <i>serious game</i> (Kaufman &amp; Sauvé, 2010), cartographical <i>semiology</i> (Bertin, 1967, 1983), the four <i>cognitive development</i> stages for geospatial representation by children (Piaget, 1967), and the <i>experiential learning cycle</i> model (Kolb, 1978, 1984). This kind of cycle supports Piaget’s learning phases, from topologic perception to spatial conceptualisation, as well as the three main cartographic processes of map-making, reflexive visualization, and map-reading, which sustain any geographical reasoning.</p><p> A methodological framework of a mobile serious game was designed didactically with maps and other components following an increasing complexity, step by step of play. The teacher has to prepare a sequence of tasks to perform in a progressive game according to the different learning styles, for exposing practically the pupils to the <i>cartographical process</i> of making a plan, then a <i>map</i> to use thereafter. Students should like going outdoor on the terrain to gather data in order to answer a question on a <i>theme</i> of investigation related to a curriculum matter. They will consider a designed <i>scenario</i> of typical steps (or “rounds”), within a geospatial environment, that tells a progressive plot and the rules of the game. Thus, they will choice and follow different types of geometrical and geospatial <i>trajectories</i>, that lead the story toward the goal of the game, while taking field-notes on their way as answering questions of the scenario. Then, they draw their collected data on a plan or map and explain in conclusion what happened to the story (and what they learn) due to the spatial organisation of the site or area.</p><p> Progress in complexity levels of <i>scenario</i> may start with choosing between right or left to reach the next point of interest, to trying to plan both the shortest and the more pleasant paths to visit the spots where to settle a youth club in the neighbourhood. Types of <i>trajectories</i> going from place to place, in increasing complexity as the rounds of game advance, are based on geometrical primitives: point, succession of points, line, side of line, polyline, polygon, network, open surface, limited surface.</p><p> The pedagogic result encompasses both concrete display of a terrain (on paper or on a screen) and learned cognitive configurations in the mind. Only such mental or cognitive representations allow structuring, interpreting, and recalling on demand from memory geospatial information on location, distance, or orientation, within a situation that occurs at geographical scales. Therefore, for these pupils, the fundamental question in geography shall no more be “where” but “how and why is this situation there?”</p><p> At that point, only the first half of the experiential learning cycle is accomplished and the cognitive development process be achieved just at the phase associated to a threshold of operational comprehension. Now, the students know how to describe a spatial situation and to make a map, good but not enough. The challenge remains to learn from this quite technical knowledge how to deeply read a map, any map, and to get dense information from it; it is a reflexive, analytical, abstract new phase called visualization.</p><p> That phase engages a second process along the second half of the experiential learning cycle, which mirror or complement the cartographic one: a <i>cartological process</i>. A definition for cartology could say “to make the map talking”, even for telling a new story. Since player students now know the characteristics of a map, its cartographic “alphabet” composed of dimensions, scale, extent, and semiological symbols, the way is open to ask question by self to the map. They can read on it information that even the map-maker did not know neither put on it, project the map over the place represented and make a wise decision for planning or travelling. One can organize the steps of the cartologic process into another mobile game with scenarios and trajectories for gaining a better understanding of the power of maps for the cognitive structuration of geographical space and learn more efficiently about a specified theme that, for instance, composes historical thought and geographical reasoning about that place. A good theme to begin with is about the meaning of the toponymy in the neighbourhood.</p><p> A prototype mixes these mobile serious game components (map, theme, scenario, and trajectory) into a scheme of about fifteen successive rounds of play, then engaging the abilities relative to the three main cartographic processes, along a complete <i>experiential cycle</i>. Part of this method for developing geoliteracy by combination of both cartography and cartology within a serious game was tested recently with undergraduate students in didactic course. Practical experiments must continue strengthen the theoretical and methodological frame and ease the schoolteacher’s work in the best usage of maps to structure the geographical comprehension of home place and the World.</p>

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings (a small range) were more related to Difficulty ratings (a large range) than Movement ratings (a moderate range).

Previous research has demonstrated that duration of implied motion (IM) was dilated, whereas hMT+ activity related to perceptual processes on IM stimuli could be modulated by their motion coherence. Based on these findings, the present study aimed to examine whether subjective time perception of IM stimuli would be influenced by varying coherence levels. A temporal bisection task was used to measure the subjective experience of time, in which photographic stimuli showing a human moving in four directions (left, right, toward, or away from the viewer) were presented as probe stimuli. The varying coherence of these IM stimuli was manipulated by changing the percentage of pictures implying movement in one direction. Participants were required to judge whether the duration of probe stimulus was more similar to the long or short pre-presented standard duration. As predicted, the point of subjective equality was significantly modulated by the varying coherence of the IM stimuli, but not for no-IM stimuli. This finding suggests that coherence level might be a key mediating factor for perceived duration of IM images, and top-down perceptual stream from inferred motion could influence subjective experience of time perception.

Abstract Several artists, neuroscientists, and art psychologists have investigated the existence of a relationship between perceived motion and beauty in figurative and abstract paintings. In our study, we created stimulus pictures by combining the same matrices, consisting of modular stochastic polygons, to obtain regular (translational symmetry) and irregular (non-symmetry) combinations. Some of these combinations consisted of many small matrices, making it difficult to read the ‘shapes’ of stochastic polygons. Our sample consisted of both art experts and non-art experts. We hypothesised that irregular combinations, with fewer and greater numbers of the same matrices, would have stimulated more perception of motion, complexity and beauty than regular compositions. Results showed that stochastic irregular combinations are generally dynamic, more complex, and more aesthetically pleasing than stochastic regular compositions. Perhaps the greater dynamism of irregular combinations influences beauty evaluation for compositions with stochastic matrices. Research has shown that specific artistic competence influences the assessment of irregular or asymmetrical stimuli as beautiful. Our study, on the other hand, shows that irregular stochastic combinations are more beautiful for both art experts and non-experts.

Purpose This paper aims to examine whether a film’s search volume causes its ticket sales in different stages of its lifecycle. Design/methodology/approach This study tests the causality between searches and sales by using an instrumental variable approach. This study exploits the ideas that consumers’ perception of a product’s consumption risk is correlated with their search efforts and consumers use multiple information sources to infer a product’s consumption risk. As an instrument for a focal film’s search volume, this paper uses review disagreement for past movies related to the focal film. This paper incorporates the ideas in a model of weekly online search volume and revenues and apply it to a movie data set. Findings Films’ search volume influences their revenues only until the opening week. A 10% increase in opening-week search volume generates a 7.4% increase in opening-week revenue, while the same increase in pre-launch search volume generates a 4.1% increase. Although searches are not an influencer of sales from the second week on, the random forest models and cross-validation studies find that weekly search volume is a strong predictor of weekly revenues in this period. Research limitations/implications Testing the findings in other product categories is important for generalizing the findings. Practical implications This study suggests different usage values for online searches, depending on a film’s lifecycle stages. Furthermore, given that review disagreement has a positive influence on opening-week revenue through searches, managers should encourage diverse opinions about their films until the opening week to increase sales through searches. Originality/value Regarding the role of online search, previous studies have maintained the perspective that online search is a predictor of sales. This is the first study that finds causality between searches and sales for films.

Abstract Purpose Sex differences are present among individuals experiencing schizophrenia. Whether these differences extend to social cognition is unclear. In this study, we investigated sex differences in emotion perception, social perception and theory of mind (ToM). Methods We examined sex differences between males and females with schizophrenia on five social cognitive tests. Healthy male and female control participants were included to examine if any sex difference was illness-specific. Emotion perception was measured with Pictures of Facial Affect (PFA) and Emotion in Biological Motion (EmoBio); social perception with the Relationships Across Domains Test (RAD); and ToM with the Movie for the Assessment of Social Cognition (MASC) and Hinting Task. Results Two-way analyses of variance revealed overall group differences for all tests, with healthy controls outperforming individuals with schizophrenia. Significant sex effects were present for PFA and Hinting Task. There were no significant interaction effects. Within-group independent samples t-tests yielded one significant sex difference, i.e., among healthy controls for PFA. Conclusions Females had better facial emotion perception than males. This sex difference was statistically significant among healthy controls and medium-large among individuals experiencing schizophrenia. There were no significant sex differences for other social cognitive domains. The study did not find evidence for a general female advantage in social cognition.

The aim of this paper is to interrogate and trace the ghosts of heteronormative whiteness - and thus the spectres of queerness and blackness, specifically racial erasure through gendered foregrounding - in two recent motion pictures dealing with white, Afrikaner homosexuality, namely the 2011 film, Skoonheid {Beauty) and the 2018 film Kanarie {Canary). My aim is to look beyond the ostensible strengths of these films in terms of their representations of Afrikaner homosexual masculinities, both during and since the disbandment of apartheid, in order to see whether these films are indeed as politically progressive as they seem to be. Drawing on Gilles Deleuze's cinema books and Jacques Derrida's notion of hauntology - a wordplay on 'haunting' and 'ontology' - I investigate here the ways in which subjectivities and geographies (place/space) in Skoonheid and Kanarie produce and reproduce knowledges about race, gender and difference, and map some ways in which these are assimilated into socio-political, geographical and temporal configurations through what I call the spectre-image.

In traditional dialectology, prominent geographical conditions are particularly made responsible for linguistic divergence between neighboring dialect areas (e. g. rivers, mountain ranges, etc.). Also modern national borders, territories of the Middle Ages or even older borders between tribal areas are made responsible as factors which consider linguistic areas as “mirror pictures of history” (Bach 1950: 31, translation: CS). Geographical as well as political borders seem to function as points of orientation that speakers use for constructing their cognitive surroundings and which consequently can result in linguistic divergence. In our contribution, we want to focus on the question of how the topographic nature of land-scapes influences the mental construction of linguistic areas by lay speakers. For pursuing this question, we will discuss results from German dialect areas that cover a broad range of different topographic landscape forms. The analyzed areas are located in the utter southwest of Germany (characterized by flat lands along the Rhine valley and low mountain ranges of the Black Forest) and in South Tyrol in the very north of Italy (characterized by mountains and deep valley cuttings). In our contribution, we will argue that speakers in their subjective dialect perception orient themselves toward national borders and topographically prominent points. With regard to topography primarily valleys are used as eponyms for subjective dialect areas.

The end-state comfort effect (ESC) describes the tendency to grasp an object with an initial uncomfortable grasp posture in order to achieve a comfortable end posture. The ESC is an example for anticipative processes in manual action. ESC planning is investigated in many studies where this effect is measured in the context of motor observation and motion capture. However, there is little evidence if the anticipative link between different action states, especially between initial grasp postures and comfortable end postures, is represented in memory. The aim of the present study was to investigate whether the perception of a grasp posture holding a bar leads to the activation of action-related representations of grasping actions. For this purpose, a priming paradigm was used in which prime images were shown depicting either a comfortable (overhand grip) or uncomfortable (underhand grip) grasp posture holding a two-colored bar. The subsequently shown target images represented either a comfortable (thumb-up) or uncomfortable (thumb-down) final grasp posture of this grasping action. Due to the different grasp postures in the prime and target, prime-target pairs represented different types of action sequences. Furthermore, physically possible, and physically impossible actions were presented. Participants were asked to react to the top color of the bar shown in the target-picture, whereby the shown grasp posture was irrelevant for this decision. Results showed that reaction times did not differ after presentation of an overhand grip to target pictures showing comfortable or uncomfortable final grasp postures. In contrast, after presentation of an underhand grip in the prime, reactions to target pictures with final comfortable grasp postures were faster compared to target pictures with uncomfortable grasp postures. The effect was only found for the physically possible action. The findings suggest that the perception of the underhand grip leads to cognitive pre-activation of a final action state. The present study suggests that the association between an initial uncomfortable underhand grip and its action effect, in form of a final action state that is consistent with the ESC, is represented in memory. Such motor representation might be important for the anticipation and control of goal-directed grasping.

The studies presented here apply the concept of entitativity in order to understand how belonging to a particular geographical area – neighborhood - can determine the way others organize information and form impressions about area’s residents. In order to achieve this objective, three studies were carried out. The first study aims to verify if a neighborhood varies in terms of perceived entitativity, and identify the physical and social characteristics of the neighborhoods that are more strongly associated with the perception of entitativity. The Study 2 and 3 used an experimental paradigm to explore how people’s perceptions of neighborhoods’ entitativity influenced their impressions of residents. To activate stereotypes, Study 2 used the name of real neighborhoods, and Study 3 employed only a set of pictures of unknown neighborhoods. The results show that the neighborhoods vary significantly with the regard to the perception of entitativity, and a set of physical attributes of place were strongly related with entitativity. The results showed that, independent of stimuli, the neighborhoods perceived as highly entitative, the supposed residents were subject to more extreme and quicker trait judgments, supported by greater confidence on the part of perceivers. Study 3 also reported that in highly entitative neighborhoods, the perceivers transferred more traits from the group to individual members. These results provide strong evidence that physical structure of neighborhoods imply different entitatity judgments that influences the way in which residents are perceived.

While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in removing social and cultural barriers. This article examines a forerunner to visual literacy in the push to create an international symbol language born out of popular education movements, a project that fell short of its goals but still left a considerable impression on graphic media. This article, then, presents an analysis of visual literacy campaigns in the early postwar era. These campaigns did not attempt to invent a symbolic language but posited that images themselves served as a universal language in which students could receive training. Of particular interest is how the concept of visual literacy has been mobilised as a pedagogical tool in design, digital humanities and in broader civic education initiatives promoted by Third Space institutions. Behind the creation of new visual literacy curricula is the idea that images can help anchor a world community, supplementing textual communication. Figure 1: Visual Literacy Yearbook. Montebello Unified School District, USA, 1973. Shedding Light: Origins of the Visual Literacy Frame The term “visual literacy” came to the fore in the early 1970s on the heels of mass literacy campaigns. The educators, creatives and media theorists who first advocated for visual learning linked this aim to literacy, an unassailable goal, to promote a more radical curricular overhaul. They challenged a system that had hitherto only acknowledged a very limited pathway towards academic success; pushing “language and mathematics”, courses “referred to as solids (something substantial) as contrasted with liquids or gases (courses with little or no substance)” (Eisner 92). This was deemed “a parochial view of both human ability and the possibilities of education” that did not acknowledge multiple forms of intelligence (Gardner). This change not only integrated elements of mass culture that had been rejected in education, notably film and graphic arts, but also encouraged the critique of images as a form of good citizenship, assuming that visually literate arbiters could call out media misrepresentations and manipulative political advertising (Messaris, “Visual Test”). This movement was, in many ways, reactive to new forms of mass media that began to replace newspapers as key forms of civic participation. Unlike simple literacy (being able to decipher letters as a mnemonic system), visual literacy involves imputing meanings to images where meanings are less fixed, yet still with embedded cultural signifiers. Visual literacy promised to extend enlightenment metaphors of sight (as in the German Aufklärung) and illumination (as in the French Lumières) to help citizens understand an increasingly complex marketplace of images. The move towards visual literacy was not so much a shift towards images (and away from books and oration) but an affirmation of the need to critically investigate the visual sphere. It introduced doubt to previously upheld hierarchies of perception. Sight, to Kant the “noblest of the senses” (158), was no longer the sense “least affected” by the surrounding world but an input centre that was equally manipulable. In Kant’s view of societal development, the “cosmopolitan” held the key to pacifying bellicose states and ensuring global prosperity and tranquillity. The process of developing a cosmopolitan ideology rests, according to Kant, on the gradual elimination of war and “the education of young people in intellectual and moral culture” (188-89). Transforming disparate societies into “a universal cosmopolitan existence” that would “at last be realised as the matrix within which all the original capacities of the human race may develop” and would take well-funded educational institutions and, potentially, a new framework for imparting knowledge (Kant 51). To some, the world of the visual presented a baseline for shared experience. Figure 2: Exhibition by the Gesellschafts- und Wirtschaftsmuseum in Vienna, photograph c. 1927. An International Picture Language The quest to find a mutually intelligible language that could “bridge worlds” and solder together all of humankind goes back to the late nineteenth century and the Esperanto movement of Ludwig Zamenhof (Schor 59). The expression of this ideal in the world of the visual picked up steam in the interwar years with designers and editors like Fritz Kahn, Gerd Arntz, and Otto and Marie Neurath. Their work transposing complex ideas into graphic form has been rediscovered as an antecedent to modern infographics, but the symbols they deployed were not to merely explain, but also help education and build international fellowship unbounded by spoken language. The Neuraths in particular are celebrated for their international picture language or Isotypes. These pictograms (sometimes viewed as proto-emojis) can be used to represent data without text. Taken together they are an “intemporal, hieroglyphic language” that Neutrath hoped would unite working-class people the world over (Lee 159). The Neuraths’ work was done in the explicit service of visual education with a popular socialist agenda and incubated in the social sphere of Red Vienna at the Gesellschafts- und Wirtschaftsmuseum (Social and Economic Museum) where Otto served as Director. The Wirtschaftsmuseum was an experiment in popular education, with multiple branches and late opening hours to accommodate the “the working man [who] has time to see a museum only at night” (Neurath 72-73). The Isotype contained universalist aspirations for the “making of a world language, or a helping picture language—[that] will give support to international developments generally” and “educate by the eye” (Neurath 13). Figure 3: Gerd Arntz Isotype Images. (Source: University of Reading.) The Isotype was widely adopted in the postwar era in pre-packaged sets of symbols used in graphic design and wayfinding systems for buildings and transportation networks, but with the socialism of the Neuraths’ peeled away, leaving only the system of logos that we are familiar with from airport washrooms, charts, and public transport maps. Much of the uptake in this symbol language could be traced to increased mobility and tourism, particularly in countries that did not make use of a Roman alphabet. The 1964 Olympics in Tokyo helped pave the way when organisers, fearful of jumbling too many scripts together, opted instead for black and white icons to represent the program of sports that summer. The new focus on the visual was both technologically mediated—cheaper printing and broadcast technologies made the diffusion of image increasingly possible—but also ideologically supported by a growing emphasis on projects that transcended linguistic, ethnic, and national borders. The Olympic symbols gradually morphed into Letraset icons, and, later, symbols in the Unicode Standard, which are the basis for today’s emojis. Wordless signs helped facilitate interconnectedness, but only in the most literal sense; their application was limited primarily to sports mega-events, highway maps, and “brand building”, and they never fulfilled their role as an educational language “to give the different nations a common outlook” (Neurath 18). Universally understood icons, particularly in the form of emojis, point to a rise in visual communication but they have fallen short as a cosmopolitan project, supporting neither the globalisation of Kantian ethics nor the transnational socialism of the Neuraths. Figure 4: Symbols in use. Women's bathroom. 1964 Tokyo Olympics. (Source: The official report of the Organizing Committee.) Counter Education By mid-century, the optimism of a universal symbol language seemed dated, and focus shifted from distillation to discernment. New educational programs presented ways to study images, increasingly reproducible with new technologies, as a language in and of themselves. These methods had their roots in the fin-de-siècle educational reforms of John Dewey, Helen Parkhurst, and Maria Montessori. As early as the 1920s, progressive educators were using highly visual magazines, like National Geographic, as the basis for lesson planning, with the hopes that they would “expose students to edifying and culturally enriching reading” and “develop a more catholic taste or sensibility, representing an important cosmopolitan value” (Hawkins 45). The rise in imagery from previously inaccessible regions helped pupils to see themselves in relation to the larger world (although this connection always came with the presumed superiority of the reader). “Pictorial education in public schools” taught readers—through images—to accept a broader world but, too often, they saw photographs as a “straightforward transcription of the real world” (Hawkins 57). The images of cultures and events presented in Life and National Geographic for the purposes of education and enrichment were now the subject of greater analysis in the classroom, not just as “windows into new worlds” but as cultural products in and of themselves. The emerging visual curriculum aimed to do more than just teach with previously excluded modes (photography, film and comics); it would investigate how images presented and mediated the world. This gained wider appeal with new analytical writing on film, like Raymond Spottiswoode's Grammar of the Film (1950) which sought to formulate the grammatical rules of visual communication (Messaris 181), influenced by semiotics and structural linguistics; the emphasis on grammar can also be seen in far earlier writings on design systems such as Owen Jones’s 1856 The Grammar of Ornament, which also advocated for new, universalising methods in design education (Sloboda 228). The inventorying impulse is on display in books like Donis A. Dondis’s A Primer of Visual Literacy (1973), a text that meditates on visual perception but also functions as an introduction to line and form in the applied arts, picking up where the Bauhaus left off. Dondis enumerates the “syntactical guidelines” of the applied arts with illustrations that are in keeping with 1920s books by Kandinsky and Klee and analyse pictorial elements. However, at the end of the book she shifts focus with two chapters that examine “messaging” and visual literacy explicitly. Dondis predicts that “an intellectual, trained ability to make and understand visual messages is becoming a vital necessity to involvement with communication. It is quite likely that visual literacy will be one of the fundamental measures of education in the last third of our century” (33) and she presses for more programs that incorporate the exploration and analysis of images in tertiary education. Figure 5: Ideal spatial environment for the Blueprint charts, 1970. (Image: Inventory Press.) Visual literacy in education arrived in earnest with a wave of publications in the mid-1970s. They offered ways for students to understand media processes and for teachers to use visual culture as an entry point into complex social and scientific subject matter, tapping into the “visual consciousness of the ‘television generation’” (Fransecky 5). Visual culture was often seen as inherently democratising, a break from stuffiness, the “artificialities of civilisation”, and the “archaic structures” that set sensorial perception apart from scholarship (Dworkin 131-132). Many radical university projects and community education initiatives of the 1960s made use of new media in novel ways: from Maurice Stein and Larry Miller’s fold-out posters accompanying Blueprint for Counter Education (1970) to Emory Douglas’s graphics for The Black Panther newspaper. Blueprint’s text- and image-dense wall charts were made via assemblage and they were imagined less as charts and more as a “matrix of resources” that could be used—and added to—by youth to undertake their own counter education (Cronin 53). These experiments in visual learning helped to break down old hierarchies in education, but their aim was influenced more by countercultural notions of disruption than the universal ideals of cosmopolitanism. From Image as Text to City as Text For a brief period in the 1970s, thinkers like Marshall McLuhan (McLuhan et al., Massage) and artists like Bruno Munari (Tanchis and Munari) collaborated fruitfully with graphic designers to create books that mixed text and image in novel ways. Using new compositional methods, they broke apart traditional printing lock-ups to superimpose photographs, twist text, and bend narrative frames. The most famous work from this era is, undoubtedly, The Medium Is the Massage (1967), McLuhan’s team-up with graphic designer Quentin Fiore, but it was followed by dozens of other books intended to communicate theory and scientific ideas with popularising graphics. Following in the footsteps of McLuhan, many of these texts sought not just to explain an issue but to self-consciously reference their own method of information delivery. These works set the precedent for visual aids (and, to a lesser extent, audio) that launched a diverse, non-hierarchical discourse that was nonetheless bound to tactile artefacts. In 1977, McLuhan helped develop a media textbook for secondary school students called City as Classroom: Understanding Language and Media. It is notable for its direct address style and its focus on investigating spaces outside of the classroom (provocatively, a section on the third page begins with “Should all schools be closed?”). The book follows with a fine-grained analysis of advertising forms in which students are asked to first bring advertisements into class for analysis and later to go out into the city to explore “a man-made environment, a huge warehouse of information, a vast resource to be mined free of charge” (McLuhan et al., City 149). As a document City as Classroom is critical of existing teaching methods, in line with the radical “in the streets” pedagogy of its day. McLuhan’s theories proved particularly salient for the counter education movement, in part because they tapped into a healthy scepticism of advertisers and other image-makers. They also dovetailed with growing discontent with the ad-strew visual environment of cities in the 1970s. Budgets for advertising had mushroomed in the1960s and outdoor advertising “cluttered” cities with billboards and neon, generating “fierce intensities and new hybrid energies” that threatened to throw off the visual equilibrium (McLuhan 74). Visual literacy curricula brought in experiential learning focussed on the legibility of the cities, mapping, and the visualisation of urban issues with social justice implications. The Detroit Geographical Expedition and Institute (DGEI), a “collective endeavour of community research and education” that arose in the aftermath of the 1967 uprisings, is the most storied of the groups that suffused the collection of spatial data with community engagement and organising (Warren et al. 61). The following decades would see a tamed approach to visual literacy that, while still pressing for critical reading, did not upend traditional methods of educational delivery. Figure 6: Beginning a College Program-Assisting Teachers to Develop Visual Literacy Approaches in Public School Classrooms. 1977. ERIC. Searching for Civic Education The visual literacy initiatives formed in the early 1970s both affirmed existing civil society institutions while also asserting the need to better inform the public. Most of the campaigns were sponsored by universities, major libraries, and international groups such as UNESCO, which published its “Declaration on Media Education” in 1982. They noted that “participation” was “essential to the working of a pluralistic and representative democracy” and the “public—users, citizens, individuals, groups ... were too systematically overlooked”. Here, the public is conceived as both “targets of the information and communication process” and users who “should have the last word”. To that end their “continuing education” should be ensured (Study 18). Programs consisted primarily of cognitive “see-scan-analyse” techniques (Little et al.) for younger students but some also sought to bring visual analysis to adult learners via continuing education (often through museums eager to engage more diverse audiences) and more radical popular education programs sponsored by community groups. By the mid-80s, scores of modules had been built around the comprehension of visual media and had become standard educational fare across North America, Australasia, and to a lesser extent, Europe. There was an increasing awareness of the role of data and image presentation in decision-making, as evidenced by the surprising commercial success of Edward Tufte’s 1982 book, The Visual Display of Quantitative Information. Visual literacy—or at least image analysis—was now enmeshed in teaching practice and needed little active advocacy. Scholarly interest in the subject went into a brief period of hibernation in the 1980s and early 1990s, only to be reborn with the arrival of new media distribution technologies (CD-ROMs and then the internet) in classrooms and the widespread availability of digital imaging technology starting in the late 1990s; companies like Adobe distributed free and reduced-fee licences to schools and launched extensive teacher training programs. Visual literacy was reanimated but primarily within a circumscribed academic field of education and data visualisation. Figure 7: Visual Literacy; What Research Says to the Teacher, 1975. National Education Association. USA. Part of the shifting frame of visual literacy has to do with institutional imperatives, particularly in places where austerity measures forced strange alliances between disciplines. What had been a project in alternative education morphed into an uncontested part of the curriculum and a dependable budget line. This shift was already forecasted in 1972 by Harun Farocki who, writing in Filmkritik, noted that funding for new film schools would be difficult to obtain but money might be found for “training in media education … a discipline that could persuade ministers of education, that would at the same time turn the budget restrictions into an advantage, and that would match the functions of art schools” (98). Nearly 50 years later educators are still using media education (rebranded as visual or media literacy) to make the case for fine arts and humanities education. While earlier iterations of visual literacy education were often too reliant on the idea of cracking the “code” of images, they did promote ways of learning that were a deep departure from the rote methods of previous generations. Next-gen curricula frame visual literacy as largely supplemental—a resource, but not a program. By the end of the 20th century, visual literacy had changed from a scholarly interest to a standard resource in the “teacher’s toolkit”, entering into school programs and influencing museum education, corporate training, and the development of public-oriented media (Literacy). An appreciation of image culture was seen as key to creating empathetic global citizens, but its scope was increasingly limited. With rising austerity in the education sector (a shift that preceded the 2008 recession by decades in some countries), art educators, museum enrichment staff, and design researchers need to make a case for why their disciplines were relevant in pedagogical models that are increasingly aimed at “skills-based” and “job ready” teaching. Arts educators worked hard to insert their fields into learning goals for secondary students as visual literacy, with the hope that “literacy” would carry the weight of an educational imperative and not a supplementary field of study. Conclusion For nearly a century, educational initiatives have sought to inculcate a cosmopolitan perspective with a variety of teaching materials and pedagogical reference points. Symbolic languages, like the Isotype, looked to unite disparate people with shared visual forms; while educational initiatives aimed to train the eyes of students to make them more discerning citizens. The term ‘visual literacy’ emerged in the 1960s and has since been deployed in programs with a wide variety of goals. Countercultural initiatives saw it as a prerequisite for popular education from the ground up, but, in the years since, it has been formalised and brought into more staid curricula, often as a sort of shorthand for learning from media and pictures. The grand cosmopolitan vision of a complete ‘visual language’ has been scaled back considerably, but still exists in trace amounts. Processes of globalisation require images to universalise experiences, commodities, and more for people without shared languages. Emoji alphabets and globalese (brands and consumer messaging that are “visual-linguistic” amalgams “increasingly detached from any specific ethnolinguistic group or locality”) are a testament to a mediatised banal cosmopolitanism (Jaworski 231). In this sense, becoming “fluent” in global design vernacular means familiarity with firms and products, an understanding that is aesthetic, not critical. It is very much the beneficiaries of globalisation—both state and commercial actors—who have been able to harness increasingly image-based technologies for their benefit. To take a humorous but nonetheless consequential example, Spanish culinary boosters were able to successfully lobby for a paella emoji (Miller) rather than having a food symbol from a less wealthy country such as a Senegalese jollof or a Morrocan tagine. This trend has gone even further as new forms of visual communication are increasingly streamlined and managed by for-profit media platforms. The ubiquity of these forms of communication and their global reach has made visual literacy more important than ever but it has also fundamentally shifted the endeavour from a graphic sorting practice to a critical piece of social infrastructure that has tremendous political ramifications. Visual literacy campaigns hold out the promise of educating students in an image-based system with the potential to transcend linguistic and cultural boundaries. This cosmopolitan political project has not yet been realised, as the visual literacy frame has drifted into specialised silos of art, design, and digital humanities education. It can help bridge the “incomplete connections” of an increasingly globalised world (Calhoun 112), but it does not have a program in and of itself. Rather, an evolving visual literacy curriculum might be seen as a litmus test for how we imagine the role of images in the world. References Brown, Neil. “The Myth of Visual Literacy.” Australian Art Education 13.2 (1989): 28-32. Calhoun, Craig. “Cosmopolitanism in the Modern Social Imaginary.” Daedalus 137.3 (2008): 105–114. Cronin, Paul. “Recovering and Rendering Vital Blueprint for Counter Education at the California Institute for the Arts.” Blueprint for Counter Education. Inventory Press, 2016. 36-58. Dondis, Donis A. A Primer of Visual Literacy. MIT P, 1973. Dworkin, M.S. “Toward an Image Curriculum: Some Questions and Cautions.” Journal of Aesthetic Education 4.2 (1970): 129–132. Eisner, Elliot. Cognition and Curriculum: A Basis for Deciding What to Teach. Longmans, 1982. Farocki, Harun. “Film Courses in Art Schools.” Trans. Ted Fendt. Grey Room 79 (Apr. 2020): 96–99. Fransecky, Roger B. Visual Literacy: A Way to Learn—A Way to Teach. Association for Educational Communications and Technology, 1972. Gardner, Howard. Frames Of Mind. Basic Books, 1983. Hawkins, Stephanie L. “Training the ‘I’ to See: Progressive Education, Visual Literacy, and National Geographic Membership.” American Iconographic. U of Virginia P, 2010. 28–61. Jaworski, Adam. “Globalese: A New Visual-Linguistic Register.” Social Semiotics 25.2 (2015): 217-35. Kant, Immanuel. Anthropology from a Pragmatic Point of View. Cambridge UP, 2006. Kant, Immanuel. “Perpetual Peace.” Political Writings. Ed. H. Reiss. Cambridge UP, 1991 [1795]. 116–130. Kress, G., and T. van Leeuwen. Reading images: The Grammar of Visual Design. Routledge, 1996. Literacy Teaching Toolkit: Visual Literacy. Department of Education and Training (DET), State of Victoria. 29 Aug. 2018. 30 Sep. 2020 <https://www.education.vic.gov.au:443/school/teachers/teachingresources/discipline/english/literacy/ readingviewing/Pages/litfocusvisual.aspx>. Lee, Jae Young. “Otto Neurath's Isotype and the Rhetoric of Neutrality.” Visible Language 42.2: 159-180. Little, D., et al. Looking and Learning: Visual Literacy across the Disciplines. Wiley, 2015. Messaris, Paul. “Visual Literacy vs. Visual Manipulation.” Critical Studies in Mass Communication 11.2: 181-203. DOI: 10.1080/15295039409366894 ———. “A Visual Test for Visual ‘Literacy.’” The Annual Meeting of the Speech Communication Association. 31 Oct. to 3 Nov. 1991. Atlanta, GA. <https://files.eric.ed.gov/fulltext/ED347604.pdf>. McLuhan, Marshall. Understanding Media: The Extensions of Man. McGraw-Hill, 1964. McLuhan, Marshall, Quentin Fiore, and Jerome Agel. The Medium Is the Massage, Bantam Books, 1967. McLuhan, Marshall, Kathryn Hutchon, and Eric McLuhan. City as Classroom: Understanding Language and Media. Agincourt, Ontario: Book Society of Canada, 1977. McTigue, Erin, and Amanda Flowers. “Science Visual Literacy: Learners' Perceptions and Knowledge of Diagrams.” Reading Teacher 64.8: 578-89. Miller, Sarah. “The Secret History of the Paella Emoji.” Food & Wine, 20 June 2017. <https://www.foodandwine.com/news/true-story-paella-emoji>. Munari, Bruno. Square, Circle, Triangle. Princeton Architectural Press, 2016. Newfield, Denise. “From Visual Literacy to Critical Visual Literacy: An Analysis of Educational Materials.” English Teaching-Practice and Critique 10 (2011): 81-94. Neurath, Otto. International Picture Language: The First Rules of Isotype. K. Paul, Trench, Trubner, 1936. Schor, Esther. Bridge of Words: Esperanto and the Dream of a Universal Language. Henry Holt and Company, 2016. Sloboda, Stacey. “‘The Grammar of Ornament’: Cosmopolitanism and Reform in British Design.” Journal of Design History 21.3 (2008): 223-36. Study of Communication Problems: Implementation of Resolutions 4/19 and 4/20 Adopted by the General Conference at Its Twenty-First Session; Report by the Director-General. UNESCO, 1983. Tanchis, Aldo, and Bruno Munari. Bruno Munari: Design as Art. MIT P, 1987. Warren, Gwendolyn, Cindi Katz, and Nik Heynen. “Myths, Cults, Memories, and Revisions in Radical Geographic History: Revisiting the Detroit Geographical Expedition and Institute.” Spatial Histories of Radical Geography: North America and Beyond. Wiley, 2019. 59-86.

Attention is crucial as a fundamental prerequisite for perception. The measurement of attention in viewing and recognizing the images that surround us constitutes an important part of eye movement research, particularly in advertising-effectiveness research. Recording eye and gaze (i.e. eye and head) movements is considered the standard procedure for measuring attention. However, alternative measurement methods have been developed in recent years, one of which is mouse-click attention tracking (mcAT) by means of an on-line based procedure that measures gaze motion via a mouse-click (i.e. a hand and finger positioning maneuver) on a computer screen.Here we compared the validity of mcAT with eye movement attention tracking (emAT). We recorded data in a between subject design via emAT and mcAT and analyzed and compared 20 subjects for correlations. The test stimuli consisted of 64 images that were assigned to eight categories. Our main results demonstrated a highly significant correlation (p<0.001) between mcAT and emAT data. We also found significant differences in correlations between different image categories. For simply structured pictures of humans or animals in particular, mcAT provided highly valid and more consistent results compared to emAT. We concluded that mcAT is a suitable method for measuring the attention we give to the images that surround us, such as photographs, graphics, art or digital and print advertisements.

The digital revolution has been characterized by the overlapping of different media technologies and platforms which reshaped both traditional forms of audiovisual consumption and older conceptions of place and space. John Agnew claims that, traditionally, the notion of place has been associated with two different meanings: ‘the first is a geometric conception of place as a mere part of space and the second is a phenomenological understanding of a place as a distinctive coming together in space’ (317). Both of the dominant meanings have been challenged by the idea that the world itself is increasingly “placeless” as space-spanning connections and flows of information, things, and people undermine the rootedness of a wide range of processes anywhere in particular (Friedman). On the one hand, by obliterating physical distance, new technologies such as the Internet and the cell phone are making places obsolete, on the other hand, the proliferation of media representations favoured by these technologies are making places more relevant than ever. These increasing mediatisation processes, in fact, generate what Urry and Larsen call ‘imaginative geographies’, namely the conflation of representational spaces and physical spaces that substitute and enhance each other in contingent ways (116). The smartphone as a new hybrid media platform that combines different technological features such as digital screens, complex software applications, cameras, tools for online communication and GPS devices, has played a crucial role in the construction of new notions of place. This article examines a specific type of phone applications: mobile, digital mapping tools that allow users to identify film-locations. In doing so it will assess how new media platforms can potentially reconfigure notions of both media consumption, and (physical and imagined) mobility. Furthermore, the analysis of digital movie maps and their mediation of film locations will shed light on the way in which contemporary leisure activities reshape the cultural, social and geographic meaning of place. Digital, Mobile Movie MapsDigital movie maps can be defined as software applications, conceived for smart phones or other mobile devices, which enable users to identify the geographical position of film locations. These applications rely on geotagging which is the process of adding geospatial metadata (usually latitudinal and longitudinal coordinates) to texts or images. From this point of view these phone apps belong to a broader category of media that Tristan Thielmann calls geomedia: converging applications of interactive, digital, mapping tools and mobile and networked media technologies. According to Hjorth, recent studies on mobile media practices show a trend toward “re-enacting the importance of place and home as both a geo-imaginary and socio-cultural precept” (Hjorth 371). In 2008 Google announced that Google Maps and Google Earth will become the basic platform for any information search. Similarly, in 2010 Flickr started georeferencing their complete image stock (Thielmann 8). Based on these current developments media scholars such as Thielmann claim that geomedia will emerge in the future as one of the most pervasive forms of digital technology (8).In my research I identified 44 phone geomedia apps that offered content variously related to film locations. In every case the main functionality of the apps consisted in matching geographic data concerning the locations with visual and written information about the corresponding film production. ‘Scene Seekers’, the first app able to match the title of a film with the GPS map of its locations, was released in 2009. Gradually, subsequent film-location apps incorporated a number of other functions including:Trivia and background information about films and locationsSubmission forms which allow users to share information about their favourite film locatiosLocation photosLinks to film downloadFilm-themed itinerariesAudio guidesOnline discussion groupsCamera/video function which allow users to take photos of the locations and share them on social mediaFilm stills and film clipsAfter identifying the movie map apps, I focused on the examination of the secondary functions they offered and categorized the applications based on both their main purpose and their main target users (as explicitly described in the app store). Four different categories of smart phone applications emerged. Apps conceived for:Business (for location scouts and producers)Entertainment (for trivia and quiz buffs)Education (for students and film history lovers)Travel (for tourists)‘Screen New South Wales Film Location Scout’, an app designed for location scouts requiring location contact information across the state of New South Wales, is an example of the first category. The app provides lists, maps and images of locations used in films shot in the region as well as contact details for local government offices. Most of these types of apps are available for free download and are commissioned by local authorities in the hope of attracting major film productions, which in turn might bring social and economic benefits to the region.A small number of the apps examined target movie fans and quiz buffs. ‘James Bond and Friends’, for example, focuses on real life locations where spy/thriller movies have been shot in London. Interactive maps and photos of the locations show their geographical position. The app also offers a wealth of trivia on spy/thriller movies and tests users’ knowledge of James Bond films with quizzes about the locations. While some of these apps provide information on how to reach particular film locations, the emphasis is on trivia and quizzes rather than travel itself.Some of the apps are explicitly conceived for educational purposes and target film students, film scholars and users interested in the history of film more broadly. The Italian Ministry for Cultural Affairs, for example, developed a number of smartphone apps designed to promote knowledge about Italian Cinema. Each application focuses on one Italian city, and was designed for users wishing to acquire more information about the movie industry in that urban area. The ‘Cinema Roma’ app, for example, contains a selection of geo-referenced film sets from a number of famous films shot in Rome. The film spots are presented via a rich collection of historical images and texts from the Italian National Photographic Archive.Finally, the majority of the apps analysed (around 60%) explicitly targets tourists. One of the most popular film-tourist applications is the ‘British Film Locations’ app with over 100,000 downloads since its launch in 2011. ‘British Film Locations’ was commissioned by VisitBritain, the British tourism agency. Visit Britain has attempted to capitalize on tourists’ enthusiasm around film blockbusters since the early 2000s as their research indicated that 40% of potential visitors would be very likely to visit the place they had seen in films or on TV (VisitBritain). British Film Locations enables users to discover and photograph the most iconic British film locations in cinematic history. Film tourists can search by film title, each film is accompanied by a detailed synopsis and list of locations so users can plan an entire British film tour. The app also allows users to take photos of the location and automatically share them on social networks such as Facebook or Twitter.Movie Maps and Film-TourismAs already mentioned, the majority of the film-location phone apps are designed for travel purposes and include functionalities that cater for the needs of the so called ‘post-tourists’. Maxine Feifer employed this term to describe the new type of tourist arising out of the shift from mass to post-Fordist consumption. The post-tourist crosses physical and virtual boundaries and shifts between experiences of everyday life, either through the actual or the simulated mobility allowed by the omnipresence of signs and electronic images in the contemporary age (Leotta). According to Campbell the post-tourist constructs his or her own tourist experience and destination, combining these into a package of overlapping and disjunctive elements: the imagined (dreams and screen cultures), the real (actual travels and guides) and the virtual (myths and internet) (203). More recently a number of scholars (Guttentag, Huang et al., Neuhofer et al.) have engaged with the application and implications of virtual reality on the planning, management and marketing of post-tourist experiences. Film-induced tourism is an expression of post-tourism. Since the mid-1990s a growing number of scholars (Riley and Van Doren, Tooke and Baker, Hudson and Ritchie, Leotta) have engaged with the study of this phenomenon, which Sue Beeton defined as “visitation to sites where movies and TV programmes have been filmed as well as to tours to production studios, including film-related theme parks” (11). Tourists’ fascination with film sets and locations is a perfect example of Baudrillard’s theory of hyperreality. Such places are simulacra which embody the blurred boundaries between reality and representation in a world in which unmediated access to reality is impossible (Baudrillard).Some scholars have focused on the role of mediated discourse in preparing both the site and the traveller for the process of tourist consumption (Friedberg, Crouch et al.). In particular, John Urry highlights the interdependence between tourism and the media with the concept of the ‘tourist gaze’. Urry argues that the gaze dominates tourism, which is primarily concerned with the commodification of images and visual consumption. According to Urry, movies and television play a crucial role in shaping the tourist gaze as the tourist compares what is gazed at with the familiar image of the object of the gaze. The tourist tries to reproduce his or her own expectations, which have been “constructed and sustained through a variety of non-tourist practices, such as film, TV, literature, records, and videos” (Urry 3). The inclusion of the camera functionality in digital movie maps such as ‘British Film Locations’ fulfils the need to actually reproduce the film images that the tourist has seen at home.Film and MapsThe convergence between film and (virtual) travel is also apparent in the prominent role that cartography plays in movies. Films often allude to maps in their opening sequences to situate their stories in time and space. In turn, the presence of detailed geographical descriptions of space at the narrative level often contributes to establish a stronger connection between film and viewers (Conley). Tom Conley notes that a number of British novels and their cinematic adaptations including Tolkien’s The Lord of the Rings (LOTR) and Stevenson’s Treasure Island belong to the so called ‘cartographic fiction’ genre. In these stories, maps are deployed to undo the narrative thread and inspire alternative itineraries to the extent of legitimising an interactive relation between text and reader or viewer (Conley 225).The popularity of LOTR locations as film-tourist destinations within New Zealand may be, in part, explained by the prominence of maps as both aesthetic and narrative devices (Leotta). The authenticity of the LOTR geography (both the novel and the film trilogy) is reinforced, in fact, by the reoccurring presence of the map. Tolkien designed very detailed maps of Middle Earth that were usually published in the first pages of the books. These maps play a crucial role in the immersion into the imaginary geography of Middle Earth, which represents one of the most important pleasures of reading LOTR (Simmons). The map also features extensively in the cinematic versions of both LOTR and The Hobbit. The Fellowship of the Ring opens with several shots of a map of Middle Earth, anticipating the narrative of displacement that characterizes LOTR. Throughout the trilogy the physical dimensions of the protagonists’ journey are emphasized by the foregrounding of the landscape as a map.The prominence of maps and geographical exploration as a narrative trope in ‘cartographic fiction’ such as LOTR may be responsible for activating the ‘tourist imagination’ of film viewers (Crouch et al.). The ‘tourist imagination’ is a construct that explains the sense of global mobility engendered by the daily consumption of the media, as well as actual travel. As Crouch, Jackson and Thompson put it, “the activity of tourism itself makes sense only as an imaginative process which involves a certain comprehension of the world and enthuses a distinctive emotional engagement with it” (Crouch et al. 1).The use of movie maps, the quest for film locations in real life may reproduce some of the cognitive and emotional pleasures that were activated while watching the movie, particularly if maps, travel and geographic exploration are prominent narrative elements. Several scholars (Couldry, Hills, Beeton) consider film-induced tourism as a contemporary form of pilgrimage and movie maps are becoming an inextricable part of this media ritual. Hudson and Ritchie note that maps produced by local stakeholders to promote the locations of films such as Sideways and LOTR proved to be extremely popular among tourists (391-392). In their study about the impact of paper movie maps on tourist behaviour in the UK, O’Connor and Pratt found that movie maps are an essential component in the marketing mix of a film location. For example, the map of Pride and Prejudice Country developed by the Derbyshire and Lincolnshire tourist boards significantly helped converting potential visitors into tourists as almost two in five visitors stated it ‘definitely’ turned a possible visit into a certainty (O’Connor and Pratt).Media Consumption and PlaceDigital movie maps have the potential to further reconfigure traditional understandings of media consumption and place. According to Nana Verhoeff digital mapping tools encourage a performative cartographic practice in the sense that the dynamic map emerges and changes during the users’ journey. The various functionalities of digital movie maps favour the hybridization between film reception and space navigation as by clicking on the movie map the user could potentially watch a clip of the film, read about both the film and the location, produce his/her own images and comments of the location and share it with other fans online.Furthermore, digital movie maps facilitate and enhance what Nick Couldry, drawing upon Claude Levi Strauss, calls “parcelling out”: the marking out as significant of differences in ritual space (83). According to Couldry, media pilgrimages, the visitation of TV or film locations are rituals that are based from the outset on an act of comparison between the cinematic depiction of place and its physical counterpart. Digital movie maps have the potential to facilitate this comparison by immediately retrieving images of the location as portrayed in the film. Media locations are rife with the marking of differences between the media world and the real locations as according to Couldry some film tourists seek precisely these differences (83).The development of smart phone movie maps, may also contribute to redefine the notion of audiovisual consumption. According to Nanna Verhoeff, mobile screens of navigation fundamentally revise the spatial coordinates of previously dominant, fixed and distancing cinematic screens. One of the main differences between mobile digital screens and larger, cinematic screens is that rather than being surfaces of projection or transmission, they are interfaces of software applications that combine different technological properties of the hybrid screen device: a camera, an interface for online communication, a GPS device (Verhoeff). Because of these characteristics of hybridity and intimate closeness, mobile screens involve practices of mobile and haptic engagement that turn the classical screen as distanced window on the world, into an interactive, hybrid navigation device that repositions the viewer as central within the media world (Verhoeff).In their discussion of the relocation of cinema into the iPhone, Francesco Casetti and Sara Sampietro reached similar conclusions as they define the iPhone as both a visual device and an interactive interface that mobilizes the eye as well as the hand (Casetti and Sampietro 23). The iPhone constructs an ‘existential bubble’ in which the spectator can find refuge while remaining exposed to the surrounding environment. When the surrounding environment is the real life film location, the consumption or re-consumption of the film text allowed by the digital movie map is informed by multi-sensorial and cognitive stimuli that are drastically different from traditional viewing experiences.The increasing popularity of digital movie maps is a phenomenon that could be read in conjunction with the emergence of innovative locative media such as the Google glasses and other applications of Augmented Reality (A.R.). Current smart phones available in the market are already capable to support A.R. applications and it appears likely that this will become a standard feature of movie apps within the next few years (Sakr). Augmented reality refers to the use of data overlays on real-time camera view of a location which make possible to show virtual objects within their spatial context. The camera eye on the device registers physical objects on location, and transmits these images in real time on the screen. On-screen this image is combined with different layers of data: still image, text and moving image.In a film-tourism application of augmented reality tourists would be able to point their phone camera at the location. As the camera identifies the location images from the film will overlay the image of the ‘real location’. The user, therefore, will be able to simultaneously see and walk in both the real location and the virtual film set. The notion of A.R. is related to the haptic aspect of engagement which in turn brings together the doing, the seeing and the feeling (Verhoeff). In film theory the idea of the haptic has come to stand for an engaged look that involves, and is aware of, the body – primarily that of the viewer (Marx, Sobchack). The future convergence between cinematic and mobile technologies is likely to redefine both perspectives on haptic perception of cinema and theories of film spectatorship.The application of A.R. to digital, mobile maps of film-locations will, in part, fulfill the prophecies of René Barjavel. In 1944, before Bazin’s seminal essay on the myth of total cinema, French critic Barjavel, asserted in his book Le Cinema Total that the technological evolution of the cinematic apparatus will eventually result in the total enveloppement (envelopment or immersion) of the film-viewer. This enveloppement will be characterised by the multi-sensorial experience and the full interactivity of the spectator within the movie itself. More recently, Thielmann has claimed that geomedia such as movie maps constitute a first step toward the vision that one day it might be possible to establish 3-D spaces as a medial interface (Thielmann).Film-Tourism, Augmented Reality and digital movie maps will produce a complex immersive and inter-textual media system which is at odds with Walter Benjamin’s famous thesis on the loss of ‘aura’ in the age of mechanical reproduction (Benjamin), as one of the pleasures of film-tourism is precisely the interaction with the auratic place, the actual film location or movie set. According to Nick Couldry, film tourists are interested in the aura of the place and filming itself. The notion of aura is associated here with both the material history of the location and the authentic experience of it (104).Film locations, as mediated by digital movie maps, are places in which people have a complex sensorial, emotional, cognitive and imaginative involvement. The intricate process of remediation of the film-locations can be understood as a symptom of what Lash and Urry have called the ‘re-subjectification of space’ in which ‘locality’ is re-weighted with a more subjective and affective charge of place (56). According to Lash and Urry the aesthetic-expressive dimensions of the experience of place have become as important as the cognitive ones. By providing new layers of cultural meaning and alternative modes of affective engagement, digital movie maps will contribute to redefine both the notion of tourist destination and the construction of place identity. These processes can potentially be highly problematic as within this context the identity and meanings of place are shaped and controlled by the capital forces that finance and distribute the digital movie maps. Future critical investigations of digital cartography will need to address the way in which issues of power and control are deeply enmeshed within new tourist practices. 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