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The purpose of this paper is to evaluate the functionality of the particular epistemological schools with regard to the issues of users with visual impairment, to offer a theoretical answer to the question why these issues are not in the center of the interest of information science, and to try to find an epistemological approach that has ambitions to create the theoretical basis for the analysis of the relationship between information and visually impaired users.

The methodological basis of the paper is determined by the selection of the epistemological approach. In order to think about the concept of information and to put it in relation to issues associated with users with visual impairment, a conceptual analysis is applied.

Most of information science theories are based on empiricism and rationalism; this is the reason for their low interest in the questions of visually impaired users. Users with visual disabilities are out of the interest of rationalistic epistemology because it underestimates sensory perception; empiricism is not interested in them paradoxically because it overestimates sensory perception. Realism which fairly reflects such issues is an approach which allows the providing of information to persons with visual disabilities to be dealt with properly.

The paper has a speculative character. Its findings should be supported by empirical research in the future.

Theoretical questions solved in the paper come from the practice of providing information to visually impaired users. Because practice has an influence on theory and vice versa, the author hopes that the findings included in the paper can serve to improve practice in the field.

The paper provides theoretical anchoring of the issues which are related to the inclusion of people with disabilities into society and its findings have a potential to support such efforts.

This is first study linking questions of users with visual disabilities to highly abstract issues connected to the concept of information.

In order to discuss visual truth both from the epistemological and ethical perspective, this essay focuses on the nature of photographic image and its complex relationship with human perception and ethics in Western culture. It argues that this relationship is similarly complex to that of history and reality it represents and points out that the ethical approach to truth is most constructive for society. By looking at the most politically, ethically, and ideologically engaged category: war photography, the author analyzes how images are constructed and used in various contexts. The text provides a background of history of war iconography but focuses on the examples from the twentieth and twenty-first century: the Vietnam War, the Balkan conflict, the war in the Persian Gulf, the war in Iraq, and the war in Syria.

The purpose of this paper is to discuss whether artists create research outcomes in a revolving (or spiraling) process? This can be a catch-22 where their work is responding to and forecasting change, while the artist’s voice is often seen as too qualitative to provide research impact for university societies or to be compared with the quantitative data that scientists use.

Where will research methods, qualitative and quantitative overlap? The author knows that both methods are important for ongoing observations about creative arts practice. The qualitative is part of Holmes’ (2011/2012) query about how “knowledge involved in artistic thinking should […] include the issue of how mental images are given creative form, but this is a process that remains obscure in current art research” (p. 2).

For Holmes, “the knowledge product of art research cannot be considered separate from the researcher’s psychic processes; and the currently obscure relationship between artistic production and subjectivity might lead to one of the unique contributions to be made by art research” (Holmes, 2011/2012, p. 2). Holmes’ suggestion provides a strategic link to the way arts and sciences might overlap. “How do artists and scientists find a way to match issues, ideas and theories?” This may be especially so in relation to the integral use of image to empower a message.

This paper offers an original look at how artists empower with image.

The purpose of this paper is to report on video making in two different contexts within the Community Arts Zone research project, an international research project concerned with the connections between arts, literacy and the community.

At one project site, researchers and parents from the community filmed their children making dens with an artist. At another site, a professional film crew filmed young people engaged in arts practice in school settings.

In both cases, researchers, artists and community participants collaborated to do research and make video. This paper discusses the ways that this work was differently positioned at the two sites. These different positionings had implications for the meaning ascribed to video making from the point of view of the participants, researchers and artists involved.

By drawing on perspectives of researchers and artists, the paper explores implications for video making processes within ethnographic research. These include a need for awareness of the diversity and fragmentation of the fields of both visual research and visual arts practice. In addition, the relationship between research and the visual is unfolding in a context in which the digital is increasingly ubiquitous in everyday life. Therefore the authors argue for the need for researchers and artists to explore their epistemological assumptions with regards to video and film, and to consider the role of the digital in the lives of their participants. The coming together of these positions and experiences is what constructs the meaning of the digital and visual in the field.

The purpose of this paper is to advance document ontology and epistemology by proposing a framework for analysing documents from multiple perspectives of research and practice.

Understanding is positioned as an epistemic aim of documents, which can be approached through phenomenology.

A phenomenological framework for document analysis is articulated. Key concepts in this framework are include intrinsic information, extrinsic information, abtrinsic information, and adtrinsic information. Information and meaning are distinguished. Finally, documents are positioned as part of a structural framework, which includes individual documents, parts of documents (docemes and docs), and systems of documents.

Scholarship is extended with an eye toward holism; still, it is possible that important aspects of documents are overlooked. This framework serves as a stepping-stone along the continual refinement of methods for understanding documents.

Both scholars and practitioners can consider documents through this framework. This will lead to further co-understanding and collaboration, as well as better education and a deeper understanding of all manner of document experiences.

This paper fills a need for a common way to conceptualise documents that respects the numerous ways in which documents exist and are used and examined. Such coherence is vital for the advancement of document scholarship and is the promotion of document literacy in society, which is becoming increasingly important.

Sexual health promotion aimed at men who have sex with men (MSM) is not achieving its objective of reducing the incidence of new infections of sexually transmitted diseases, notably HIV/AIDS, in the MSM population. The paper aims to raise awareness of possible unintended consequences when using visual culture and advertising techniques in the field of sexual (and other) health promotion and public health messages.

Using critical textual analysis and drawing on visual culture methodology the approach is to critique current practice and suggest alternative ways to approach gay men's sexual health which are not predicated on a “model” gay man.

Men who have sex with men (MSM) are constructed through sexual health promotion (SHP) literature as young, hedonistic and irrational which may serve to distance the very audience it seeks to attract and address. What may at first appear to be a targeted and helpful initiative to raise awareness may inadvertently have the simultaneous and unanticipated effect of “selling” unsafe sex rather than promoting safe sex. This is because, first, the use of sexual imagery designed to attract attention works in unanticipated ways. Second, MSM are constructed through the images and language used in ways that may be at best unhelpful and potentially quite harmful.

There are many different approaches and interventions in this field and the criticisms here may not be applicable to many of the other sources of health promotion awareness campaigns. Future research could certainly be conducted in other fields of health promotion and public health issues such as obesity, drug and alcohol abuse and smoking cessation.

Health promotion practice should beware of depicting their audience in stereotypical ways. MSM could be constructed far more positively as role models to be followed instead of bad examples to be avoided.

The methodology is new to this field and the findings provide an original basis for criticism of advertising techniques which have until now formed the basis of this type of public awareness‐raising.

This chapter explores knowledge practices around the subject of capital punishment. Capital sentencing jurisprudence and certain strands of academic scholarship on the death penalty have certain resonances with recent developments in reflexive cultural anthropology. Using the notion of productive unraveling, this chapter seeks to reinforce relations between these various knowledge practices by conceiving of them as situated on the same ground, already interwoven with one another. This chapter presents itself as both an example of and a call for the development of interconnections between these various kinds of expert knowledges concerning the death penalty.

The competitive luxury market raises higher requirements for luxury brands to effectively involve young generations in creating and endowing meanings to products, services and experiences. Several researchers suggest that art experiences create a fertile source of co-creation practices for cultural customers as they could engage in cognitive, emotional and imaginal activities to endowing meanings to products or services. Hence, bridging art and luxury is of significance for luxury brands to create value and engage their customers. This chapter delivers the essence of value for luxury brands and their customers and focusses on how luxury brands deploy art-based initiatives as a favourable technique in which value co-creation takes place.

This paper aims to contribute to recent debates about financial knowledge by opening the black box of its algorithmization to understand how information systems can address the major challenges related to interactions between algorithmic trading and financial markets.

The paper analyses financial algorithms in three steps. First, the authors introduce the phenomenon of flash crash; second, the authors conduct an epistemological analysis of algorithmization and identify three epistemological regimes – epistemic, operational and authority – which differ in terms of how they deal with financial information. Third, the authors demonstrate that a flash crash emerges when there is a disconnection between these three regimes.

The authors open the black box of financial algorithms to understand why flash crashes occur and how information technology research can address the problem. A flash crash is a very rapid and deep fall in security prices in a very short time due to an algorithmic misunderstanding of the market. Thus, the authors investigate the problem and propose an interdisciplinary approach to clarify the scope of algorithmization of financial markets.

To manage the misalignment of information and potential disconnection between the three regimes, the authors suggest that information technology can embrace the complexity of the algorithmization of financial knowledge by diversifying its implementation through the development of a multi-sensorial platform. The authors propose sonification as a new mechanism for capturing and understanding financial information. This approach is then presented as a new research area that can contribute to the way financial innovations interact with information technology.