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The chapter introduces a methodological approach to analyzing visual material based on Erving Goffman's frame analysis. Building on the definition of dominant frames in a set of visual material, and the analysis of keying within these frames, the approach provides a tangible tool to analyze contextualized visual material sociologically. To illustrate the approach, the chapter analyzes visual representations of social movement contention in two local contexts, the cities of Lyon, France, and Helsinki, Finland. The material was collected during ethnographic fieldwork and consists of 505 images from local activist websites. The analysis asks how femininity, masculinity, and gender/sex ambiguity key visual representations of different aspects of contentious action, such as mass gatherings, violence, protest policing, and performativity. Strong converging features are found in the contents of the frames in the two contexts, yet differences also abound, in particular in the ways femininity keys different frames of contention in visual representations. The results show, first, that the visual frame analysis approach is a functioning tool for analyzing large sets of visual material with a qualitative emphasis, and second, that a comparison of local activism through visual representations calls into question many general assumptions of political cultures, repertoires of contention, and cultural gender systems, and highlights the importance for sociologists of looking closely enough for both differences and similarities.

This paper aims to study the cross-modal correspondence between a visual stimulus (i.e. glossiness), haptic perception and consumers’ reactions (internal responses and behavioral intentions).

Using an experimental design, three experimental studies have been conducted to test the effect of a glossy (versus matte) packaging upon the perception of haptic features of a packaging (roughness, thickness and lightness), internal reactions (perceived product quality and product attractiveness) and behavioral intentions (purchase intention and willingness to pay).

This paper evidences the significant impact that glossiness bears on the haptic perception of a packaging material as well as upon internal reactions and behavioral intentions. A new conceptual framework combining the SOR model and the cross-modal correspondences is validated.

The results encourage further research to explore the wide range of potential cross-modal correspondences between visual stimuli and haptic perception.

The results highlight the critical influence of visual cues for managers, especially for online shopping or advertising. Even if consumers cannot touch the product, it is possible to induce haptic perception through visual cues and to influence the internal reactions and behavioral intentions.

This research demonstrates that the packaging texture and weight can be visually induced through glossiness.

Globalization, the ever-increasing worldwide flow of ideas, practices, and material objects resulting in increasing interdependency between people and nations across the globe, has numerous interrelated economic, political, cultural, ideological, environmental, and technological facets.

In an effort to make the elusive and multifaceted concept of globalization more tangible and measurable, different instruments have been developed, usually in the form of “indexes” based on quantitative data. These indexes mainly result in rankings of individual cities as well as whole countries with respect to their supposed level of globalization. Some items of the existing indexes to measure the level of globalization of nation states or cities refer to phenomena that are to some extent visually observable, but many aspects and manifestations of globalization escape these rather crude operationalizations.

Visual approaches to globalization help to enrich and complement the more abstract and mainly quantitatively supported discourses around this multifaceted phenomenon. They may provide valid and unobtrusive ways to assess and understand the impact of culture and cultural exchange in the daily lives of inhabitants of cities around the world and add a unique “localized,” cross-cultural empirical perspective to the many divergent views and discussions about the presumed beneficial or detrimental nature of these processes. An ‘in situ’ visual approach to globalization may help to uncover the “real life” impact and the specific contexts of these processes at different locations. This chapter discusses different options for researching globalization and cultural change in cities.

Information makes an important contribution to the promotion of the creativity of visual artists. This work aims to explore relevant research through a systematic review of the literature and discuss the impact of information on visual artists' creativity.

A systematic literature review was conducted through Preferred Reporting Items for Systematic reviews and Meta-Analyses method. The authors searched and retrieved 1,320 papers from which, after evaluation, 41 papers have been analyzed.

Two thematic categories were identified for visual artists' information needs: (1) the need for professional development and (2) the need for creative techniques and materials. In terms of information sources visual artists employ, the authors have also identified seven broad categories: (1) conventional resources (galleries, museums, etc.), (2) professional scholar sources, (3) digital art websites, (4) informal information online and colleagues, (5) libraries, (6) personal collections and (7) professional scholar social networks. In addition, the study proceeded to classify the obstacles faced by visual artists in their search for visual information into two general categories: (1) environmental barriers and (2) digital literacy barriers.

Although the investigation of the information needs satisfaction of visual artists as well as the evaluation of their information behavior patterns and information literacy competences is essential, it is understudied. This paper summarizes the relevant literature in a concrete and systematic way providing evidences to be considered in a variety of situations, i.e. developing lifelong learning programs, managing visual art library collections, library services development for artists, etc.

Visuals are a crucial part of strategizing, whether it be through the use of body gesture, the crafting of strategy presentations, or the use of new media technologies from videoconferencing through to data visualization. Yet studying these aspects of the strategy process is methodologically challenging and requires careful attention to how the data is collected and what questions the data analysis can address. In this chapter, we lay out choices for scholars and the opportunities these afford to new and promising agendas in strategy and management research.

Communicating a clear, precise, interpretable and unambiguous visual message usually relies on a cross-disciplinary team of professionals. Their complementary visions can uncover which information matter and how it could be visually displayed to inform, sensitize and encourage people to act toward sustainability. While design studies generally claim that this team has to come to a shared vision, the authors question this assumption, which seems to contradict the benefits of cross-disciplinarity. The purpose of this study is to reveal how simple visual representations displayed in a PowerPoint actively participate in the expression of various and sometimes divergent visions. Recognizing the agency of visuals also leads this study to propose the notion of (un)shared professional vision, which shows that the richness of visual representations can only reveal itself through the capacity of professional visions to maintain their differences while confronting each other.

Over a 20-month ethnography, this study documented its own cross-disciplinary reflective design process, which aimed to design collectively an experimental environmental label, focusing on interactions occurring between professionals and visuals displayed on five key PowerPoint slides.

This study first demonstrates how, in practice, a cross-disciplinary reflective design conversation with visuals concretely unfolds through boundary-objects. This study shows how these visuals manage to ex-press themselves through the multiple visions represented in the discussions, revealing their complexity. Second, this study introduces the notion of (un)shared professional vision which underlines that unsharing a vision nurtures the team’s collective capacity to express the complexity of a design situation, while sharing a vision is also necessary to confront these respective expressions to allow the professional uncovering of what should be visually communicated.

The Communication as Constitutive of Organization lens the authors chose to understand the reflective design conversation illustrates that, even though each collaborator’s vision was “(un)shared,” their many voices expand the understanding of the situation and lead them to develop an unexpected and creative environmental information ecosystem that can positively transform society through visuals.

For robots to more actively interact with the surrounding environment in object manipulation tasks or walking, they must understand the physical attributes of objects and surface materials they encounter. Dynamic tactile sensing can effectively capture rich information about material properties. Hence, methods that convey and interpret this tactile information to the user can improve the quality of human–machine interaction. This paper aims to propose a visual-tactile cross-modal retrieval framework to convey tactile information of surface material for perceptual estimation.

The tactile information of a new unknown surface material can be used to retrieve perceptually similar surface from an available surface visual sample set by associating tactile information to visual information of material surfaces. For the proposed framework, the authors propose an online low-rank similarity learning method, which can effectively and efficiently capture the cross-modal relative similarity between visual and tactile modalities.

Experimental results conducted on the Technischen Universität München Haptic Texture Database demonstrate the effectiveness of the proposed framework and the method.

This paper provides a visual-tactile cross-modal perception method for recognizing material surface. By the method, a robot can communicate and interpret the conveyed information about the surface material properties to the user; it will further improve the quality of robot interaction.

City identity is a distinct form of collective identity based on the perceived uniqueness and meanings of place, rather than group category and membership. A city’s identity is constructed over time through architecture, which involves three sign systems – material, visual, and rhetorical – and multiple institutional actors to communicate the city’s distinctiveness and identity. We compare Barcelona and Boston to examine the identity and meaning created and communicated by different groups of professionals, such as architects, city planners, international guide book writers, and local cultural critics, who perform the semiotic work of ­constructing city identity.

The purpose of this paper is to present videography as a rising method available for academics. Visuals are increasingly omnipresent in the modern society. As they become easy to create and use, videos are no longer only for ethnographers and specialist researchers.

In the society of “user-content generation,” visual data are incredibly important, original, and powerful sources providing researchers with opportunities to inventively make their results more resonant and more broadly accessible.

Moreover, videography offers the opportunity for researchers to become a kind of artist since they become visual producers.

This paper offers concrete advices for researchers who want to to become visual producers.

Researchers have to make their results more resonant and more broadly accessable.

Videography is a new way (an artistic one) to present results of research.

The aim of this study is to investigate how the information needs satisfaction of visual art teachers affects their creativity. Visual art teachers’ information seeking behaviour and specifically the association of information needs satisfaction with creativity has been an understudied area, despite competent information seeking being considered essential for high quality practices of art teachers.

A questionnaire survey was developed addressing the information seeking behaviour of art teachers, informed by Wilson’s model (1981), including visual art teachers’ information needs, information resources, obstacles faced while seeking information and the perceived impact of information needs satisfaction on visual art teachers’ creativity.

The study included 298 visual art teachers in Greece. The results demonstrated that the key information needs of art teachers were mainly related to materials’ properties, techniques for creating artwork and artwork promotion methods. Online information sources were the preferred sources of art information, followed by colleagues, personal collections and visits to galleries and museums. Our study identified lack of time, lack of specialized libraries and copyright, as the main barriers to information seeking.

Information about art plays a substantial role in visual art education, while visual art teachers’ information needs satisfaction positively influences their creative endeavours. There is a need to further explore the digital information needs of visual art teachers.