Visual Learning in Storytelling Images: Emotional Narrative. In: András Benedek, Kristóf Nyíri (eds): Learning and Technology in Historical Perspective. Budapest, Hungarian Academy of Sciences, Budapest University of Technology and Economics, 2019, 55-66.

Gyöngyvér Horváth Visual Learning in Storytelling Images: Emotional Narrative 1. Introduction Since I began to look for art in museums and galleries I had a truthful companion: my own body. Each time I see a powerful work of art, it makes my body shiver. I remember when my admiration turned into physical response seeing flesh in Rubens, eroticism in Caravaggio, tactility in Bernini, compassion in Netherlandish painting, or an astonishing level of suffering in Spanish Baroque art. These sensations and emotions, presented by figures within the storyworld of historical, mythological or religious narratives, help us to empathize with the characters and events in the story. Art theory has addressed the emotional capacity of images since antiquity. Painters were advised to show a wide range of emotions, because it makes art more effective and enjoyable. Leon Battista Alberti thought that there is a law of nature behind our empathy, Leonardo da Vinci suggested painters should study human anatomy to capture the proper movement for the proper emotion. But what does anatomy have to do with emotions? And what is exactly this law of nature? Beyond their didactic and dogmatic function, narrative pictures effect us on a physical, bodily level. Given that empathic responses are mediated by the mirror neuron system, science claims that the human body is indeed a reliable detector of powerful artistic expression. Pope Gregory’s analogy, that pictures serve the illiterate just the way writings the literate, has dominated the study of narrative images for long. This statement has been refined or disproved 55 Gyöngyvér Horváth by many,1 however, the idea of simplicity attached to visual narration is difficult to leave behind. It is indeed hard to underestimate the significance of moral and intellectual teachings as communicated through pictorial narratives. But narrative images do more. They provide a sense of the past, proclaim official or alternative versions of history, show roles in society, keep personal memories, offer solace, give the hope of salvation, and through our bodies, with a wide range of sensations, they teach us to connect with others and navigate in the world. Learning about the emotional aspects of visual narratives in art theory, as I argue, is supported by contemporary psychology and neuroscience. 2. Emotional Narrative in Art Theory Art theory regarded viewer’s engagement, and emotional or psychological responses from the audience as positive feedbacks. Artists were encouraged to make their work more effective by depicting various feelings and emotions and raising empathy. Ancient rhetorical writings used the term enargeia when a historical action was so clearly and vividly described that it allowed the audience to reanimate the event and feel as they would be participants. This dynamic visual effect was brought from the mind of the orator before the listeners’ eyes. Quintilianus wrote that “enargeia ... by which we seem to show what happened rather than to tell it; and this gives rise to the same emotion as if we were present at the event itself.”2 Enargeia was a property looked for not only for epic poetry and speech, but history-writing, oratory and painting.3 For Leon Battista Alberti, who incorporated many ideas of the ancient rhetoricians into his writings, good artworks evoke passion, 1 For a detailed study see Lawrence G. Duggan, “Was Art Really the ‘Book of the Illiterate’?”, Word & Image, vol. 5, no. 3 (1989), pp. 227–251. 2 Quoted by Paolo Alei, “ ‘As if we were present at the event itself’: The Representation of Violence in Raphael and Titian’s Heroic Painting”, Artibus et Historiae, vol. 32, no. 64 (2011), pp. 221–242, the quoted passage on p. 224. 3 Ibid., pp. 221 f. 56 Visual Learning in Storytelling Images raise emotions, and have a positive impact on the viewer. His treatise, Della Pittura, was the first to theorize the genre of narrative painting in the Renaissance. Besides the well-known description of the method of linear perspective, he defined the principles for representing various stories in compositions, and creating an istoria, a narrative scenario. Alberti regarded the movements of the characters as pictorial elements that are able to convey not just actions, or show reactions, but express states of mind and thus enhance empathy. “A ‘historia’ will move spectators when the men painted in the picture outwardly demonstrate their own feelings as clearly as possible. Nature provides – and there is nothing to be found more rapacious of her like than she – that we mourn with the mourners, laugh with those who laugh, and grieve with the grief-stricken.”4 Human feelings and emotions, as he told, were the “movements of the heart”.5 It was Leonardo da Vinci who developed further Alberti’s ideas: he also regarded mental attitudes and states of mind as true expressions of the inner self, in which the viewer’s empathy is grounded: “A picture or rather the figures therein should be represented in such a way that the spectator may easily recognize the purpose in their minds by their attitudes.”6 Both Alberti and Leonardo thought that in narrative painting movements bear the sense of life and the variety of emotions foster learning and empathy. The wide range of emotions they mentioned, some identified by psychology as primary emotions such as joy, love, anger, sadness and fear, and some more extreme, like danger, shame, gratitude, grief, pain, desire, compassion or solicitude, provide a visual encyclopedia of emotions.7 Advantage in studies of anatomy lies not only in drawing realistic body structures, but being more effective in representing pos4 Leon Battista Alberti, On Painting, translated by Cecil Grayson, introduction by Martin Kemp, London: Penguin Classics, 1991, II. 41, p. 76. 5 Ibid., II. 42, p. 77. 6 Leonardo da Vinci, Notebooks, edited and introduction by Thereza Wells, preface by Martin Kemp, Oxford and New York: Oxford University Press, 2008, p. 169. 7 Alberti, op. cit., II. 41–43, pp. 76–79; Leonardo, op. cit., p. 168. 57 Gyöngyvér Horváth tures and facial expressions in humans that carry a suitable emotion for the story. Leonardo’s talent in capturing emotions through gestures was unique, as Thereza Wells formulated, “Leonardo was taking the devotional subject and giving it an emotional narrative”.8 3. Emotional Narrative in Painting Alberti’s theory was born in Florence in the early 1430s as a reaction to a new type of painting brought to life by Masaccio and Brunelleschi. Medieval art, at its best, had produced complex narrative structures, such as the Bayeux tapestry or the stained glass windows of Chartres, in which individual characters were identifiable but rather schematic, and the gestures were denotative. Grand mural decorations for storytelling purposes were still commissioned in Renaissance Italy, but the era of humanism put more emphasis on individual narrative scenes in which the characters were presented as being conscious of their feelings and intentions. Illustrating the epic poetry of Homer, Virgil or Ovid came into fashion, and this also brought a more detailed and vivid storytelling. Alberti’s sentence, that we mourn with the mourners and grieve with the grievers is reflected in Piero di Cosimo’s composition, Satyr mourning over a Nymph (about 1495, Figure 1), that depicts both physical and emotional pain: a wounded body, and sadness over the death of a loved one. The theme comes from the Ovidian story of Cephalus and Procris, and shows the culmination of a series of misunderstood situations between two lovers, similar to what happens in the Shakespearean drama of Romeo and Juliet. The original audience must have known the story. Piero di Cosimo’s spalliera, a panel for a furniture, probably decorated a wealthy Florentine family’s home, and was calling attention to the fragility of love and life. 8 Leonardo, op. cit., introduction by Wells, p. xxvii. 58 Visual Learning in Storytelling Images Figure 1: Piero di Cosimo, A Satyr mourning over a Nymph, about 1495, oil on poplar, 65.4 x 184.2 cm. London, The National Gallery. © The National Gallery, London. The message was still strong when Piero’s works arrived in British collections around the mid-19th century – so strong, actually, that the turbulence they caused in the Londonian artworld deserved a new term, centaurophilia.9 The sadness of the painting is palpable; Piero’s extraordinary vision is kept today on permanent display in the National Gallery where visitors feel sympathy toward the work even though very few of them have ever heard of the Ovidian verse. Northern art developed a special type of devotional image that purposefully counted on the emotional participation of the viewer. The so called Andachtsbilder were small pictures used for private contemplation; they often drew their subject from the suffering of Christ or Virgin Mary. These images moved people to tears. Based on personal accounts, James Elkins described the process of this intensive empathic response: “You would look at such an image steadily, sometimes for hours or days on end, burrowing deeper and deeper into the mind of the Savior or the Virgin. Finally you would come to feel what they had felt, and you would see the world, at least in some 9 Caroline Elam, “Piero di Cosimo and Centaurophilia in Edwardian London”, The Burlington Magazine, vol. 151, no. 1278 (2009), pp. 607–615. 59 Gyöngyvér Horváth small part, through their eyes. At that point their tears would be your tears.”10 Matthias Grünewald’s Isenheim Altarpiece (1512–16, Figure 11 2) follows the tradition of the Andachtsbild and is undoubtedly the most striking depiction of a distorted body in the history of Western painting. The central panel of the winged altarpiece represents Christ Figure 2: Matthias Grünewald, The Small Crucifixion, about 1511–1520, oil on panel, 61.3x46 cm. Washington, Samuel H. Kress Collection. © The National Gallery of Art, Washington. 10 James Elkins, Pictures & Tears: A History of People Who Have Cried in Front of Paintings, New York and London: Routledge, 2001, p. 128. 11 A small version of the main panel is reproduced here. 60 Visual Learning in Storytelling Images on the Cross with his closest companions in grief: the fainting Mary supported by Saint John the Evangelist, the kneeling Mary Magdalen, and Saint John the Baptist. The Crucifixion is a frequent topic in Christian religious painting; however, Christ’s agony had never been more shocking: there are wounds all over the surface of his body, nails stabbing through his skin, and the greenish colour shows an already deteriorating flesh. It was intended for a special audience, the ill treated in the hospital of the Antonite monks in the monastery of Isenheim. Their disease had no cure at a time. We know that the altarpiece played a vital role in the daily life of the community, and was incorporated into their treatment plan. Probably it helped the ordinary sick people to place their own personal life story into a bigger perspective, to have something common with Christ who provided companionship and gave solace in hard times. Andrée Hayum, who reconstructed the original cultural context of Grünewald’s work, suggested that seeing the altarpiece patients not only realized their own finite existence but could open up to the great mysteries of Christian faith, like transubstantiation, redemption and salvation: “Disease must have been experienced as a composite testing ground of true faith that would have required of these viewers a leap even greater than for the normal worshipper.”12 Nothing seems deeper than our emphatic reaction to other’s suffering, however, the philosophical scepticism of Emil Cioran, who considers life, including his existence as accidental, questions the true effectiveness of religious compassion for modern individuals: Nobody is comforted in his sufferings by the thought that we are all mortals, nor does anybody who suffers really find comfort in the past or present suffering of others. Because in this organically insufficient and fragmentary world, the individual is set to live fully, wishing to make of his own existence an absolute. Each subjective existence is absolute to itself. For this 12 Andrée Hayum, “The Meaning and Function of the Isenheim Altarpiece: The Hospital Context Revisited”, The Art Bulletin, vol. 59, no. 4 (1977), pp. 501–517, the quoted passage on p. 507. 61 Gyöngyvér Horváth reason each man lives as if he were the center of the universe or the center of history. Then how could his suffering fail to be absolute? I cannot understand another’s suffering in order to diminish my own. Comparisons in such cases are irrelevant, because suffering is an interior state, in which nothing external can help.13 4. Emotional Narrative in Narratology and Cognitive Science Images describing physically or emotionally painful stories might not ease suffering, but – and both observation-based art theory and experiment-based science agree on this question – they indeed trigger the human body. Empathic responses are rather unconscious physical reactions. An 18th century art treatise described this phenomenon fairly accurately: “But there is, to be sure, a sympathy for physical pain. When we see that someone is about to receive a blow on his arm or shin, we naturally start and draw back our own arm or leg, and if the blow actually falls, we too feel it in some measure and are hurt by it as well as the sufferer.”14 In research on narratives, the consensus is that perceiving stories is not only an intellectual or spiritual but a physical activity, since the entire human body is involved. We might think about simple things: a stiff neck from reading, tired eyes from watching a movie, laughing at jokes, the feeling of being lost in a novel, walking in a museum in search for an artwork, or standing in front of a painting and trying to make sense of it. Then there are more abstract mental activities that we learn from stories and utilize in everyday problem-solving activities of which five were identified by the narratologist David Herman: structuring our experiences by organizing 13 Emil M. Cioran, On the Heights of Despair, London: Quartet Books, 1995, p. 11. 14 Adam Smith is quoted by Lessing in Gotthold Ephraim Lessing, Laocoön: An Essay on the Limits of Painting and Poetry, translation and introduction by Edward McCormick, Baltimore and London: The Johns Hopkins University Press, 1984, p. 28. 62 Visual Learning in Storytelling Images them into certain manageable sections, creating causal and chronological relations between events, managing problems by finding typical patterns in events, finding templates in the narrative in order to mentally model situations, or certain cognitive processes used in construction and revision of stories.15 Since engagement with stories relies on our memory system and activates sensory and cognitive abilities, Lars-Christer Hydén calls storytelling an embodied activity, a “bodily communicative event”.16 Suzanne Keen proposed a transdisciplinary approach for what she called a narrative empathy theory. Based on novel reading she distinguished between character identification and situational empathy, which would be relevant to images as well.17 Certain experiments in neuropsychology and cognitive sciences are getting us closer to explaining the underlying mechanisms of narrative empathy and the perception of pain. For example, the mirror neuron system in humans might be a key to understanding what exactly happens in the body and the brain when one sees events and emotions in narrative images. The results seem to confirm what art theory has said since Alberti and Leonardo. Two decades ago, researchers discovered a specialized group of neurons in macaques, and later in humans, that mirror actions and behaviour of others. It means that these neurons discharge not only when one carries out a certain action, but when this action is only observed and performed by someone else. Mirror neuron activity is detected in some brain 15 David Herman, “How Stories Make Us Smarter: Narrative Theory and Cognitive Semiotics”, Recherches en communication, no. 19 (2003), pp. 133–154. 16 Lars-Christer Hydén, “Towards an Embodied Theory of Narrative and Storytelling”, in Matti Hyvärinen, Mari Hatavara and Lars-Christer Hydén (eds), The Travelling Concepts of Narrative, Amsterdam and Philadelphia: John Benjamins Publishing Company, 2013, pp. 227–244, the quoted passage on pp. 235–237. 17 Suzanne Keen, “A Theory of Narrative Empathy”, Narrative, vol. 14, no. 3 (2006), pp. 207–236. 63 Gyöngyvér Horváth areas and can be tested by visual imaging technologies, such as fMRI.18 Mirroring mechanisms are responsible for immediate and automatic responses given upon seeing other’s emotional state; they have greater importance in visual learning and action recognition. There are differences among humans: some of us are more sympathetic, others resonate to a lesser extent, but neuroscience suggests that our body produces fast empathic reactions and does it unintentionally. An experiment about the perception of pain used a series of photographs of painful situations from everyday life, like cutting a finger. The study demonstrates that seeing pain in others activated some of those areas in the brain that otherwise play a significant role in processing one’s own actual pain.19 Another experiment examined brain reactions related to facial expressions of pain in self and others and came to similar conclusions of overlapping neural activations.20 It seems that some areas of our brain are not capable of distinguishing between the pain we receive and the pain we see. In recent decades, art history has began to confront the materiality of the body and this has led to interesting transdisciplinary approaches. Some scholars recognized quickly the relevance of the mirror neuron system in the visual perception of art. David Freedberg and John Onians think that art is not just a historical, cultural or social construction, but it is influenced by biological factors as well, simply because we humans, who produce and perceive it, are first of all biological beings. Findings of science, therefore, should be taken into consideration in examination of art, especially brain science re- 18 Giovanni Buccino, Ferdinand Binkofski, and Lucia Riggio, “The Mirror Neuron System and Action Recognition”, Brain and Language, vol. 89 (2004), pp. 370–376. 19 Philip L. Jackson, Andrew N. Meltzoff, and Jean Deceity, “How Do We Perceive the Pain of Others? A Window into the Neural Processes Involved in Empathy”, NeuroImage, vol. 24 (2005), pp. 771–779. 20 Francesca Benuzzi, Fausta Lui, et al., “Pain Mirrors: Neural Correlates of Observing Self or Others’ Facial Expressions of Pain”, Frontiers in Psychology, vol. 9, article 1825 (2018), pp. 1–12. 64 Visual Learning in Storytelling Images search related to mental activities triggered by visual impulses.21 There is a point from which these recent investigations look so important that some already call it a neuroscientific turn in art history.22 The areas where these approaches would certainly be fruitful include artists’ experiences and intentions, viewers’ engagement, and the nature of art in general. 5. Conclusion Images bring unmediated sensuality. They have an instant, physical effect, and perhaps this is the most fundamental difference between written and visual modes of expression. Storytelling pictures touch us on elementary, visceral level, and it is beyond any literary content. One does not necessarily need to comprehend every small detail of a depicted episode to establish emotional connections and learn about feelings. The environment that once surrounded Piero di Cosimo’s Mourning Satyr and Grünewald’s Crucifixion has radically changed: from home to a museum, from private to public. However, changes in the cultural milieu do not make these works less attractive or less comprehensible. Their popularity is due to their emotional power. What the theorists of the Renaissance said about spontaneous matching feelings is still relevant to us today: we definitely learn about others while we watch them. The activation of the mirror neuron system 21 See for example David Freedberg, “Empathy, Motion and Emotion”, in Klaus Herding and Antje Krause Wahl (eds.), Wie sich Gefühle Ausdruck verschaffen: Emotionen in Nahsicht, Berlin: Driesen, 2007, pp. 17–51; David Freedberg and Vittorio Gallese, “Motion, Emotion and Empathy in Esthetic Experience”, Trends in Cognitive Sciences, vol. 11, no. 5 (2007), pp. 197–203; John Onians, Neuroarthistory: From Aristotle and Pliny to Baxandall and Zeki, New Haven and London: The Yale University Press, 2007. Emotional responses to pain in the art of Caravaggio and Artemisia Gentileschi was discussed by Kajsa Berg, Caravaggio and a Neuroarthistory of Engagement, PhD thesis, Norwich, University of East Anglia, 2009. 22 Kate Mondloch, “Wave of the Future? Reconsidering the Neuroscientific Turn in Art History”, Leonardo, vol. 49, no. 1 (2006), pp 25–31, especially pp. 25–27. 65 Gyöngyvér Horváth creates the link between the image and the viewer. Alberti’s law of nature might include the neural mechanisms behind empathy. Old masters like Leonardo studied anatomy to create strong empathetic experiences. Maybe contemporary artists should learn more about the mirroring system to win back that affectionate relationship viewers once had toward images. 66 Learning and Technology in Historical Perspective Perspectives on Visual Learning Edited by András Benedek and Kristóf Nyíri Volume 2 Hungarian Academy of Sciences Budapest University of Technology and Economics András Benedek / Kristóf Nyíri (eds.) Learning and Technology in Historical Perspective Hungarian Academy of Sciences Budapest University of Technology and Economics András Benedek / Kristóf Nyíri (eds.) Learning and Technology in Historical Perspective Budapest: Hungarian Academy of Sciences / Budapest University of Technology and Economics 2019 © MTA–BME Open Content Development Research Group, 2019 © The authors, 2019 The papers here collected have been accepted after a strict double-blind peer-review process. Cover design: István Ocztos ISBN 978-963-313-306-4 Contents András Benedek Preface ......................................................................................................vii VISUAL LEARNING István Bessenyei Curriculum Innovation and Visual Learning ........................................ 3 Andrea Kárpáti Art Education of Youth Subcultures From Child Art to the Visual Language of Adolescents: Changing Concepts of Creativity in Art Education.............................23 Orsolya Endrődy-Nagy Picture Analysis: Creating a History of Childhood ............................ 35 Colleen Fitzpatrick Crowther on Drawing and Painting: Implications for Education .................................................................... 45 Gyöngyvér Horváth Visual Learning in Storytelling Images: Emotional Narrative ............................................................................... 55 IMAGE AND SYMBOL: AN EARLY HISTORY OF DIAGRAMS Lorenz Demey The Role of Aristotelian Diagrams in Scientific Communication .................................................................69 Anna Somfai Déjà Vu? Visual Thinking in Medieval Manuscripts and Imaging the Unimaginable ............................................................. 79 François Loget Shaping Operations like Images: Operation Diagrams in Ramus’s Algebra (1560) ............................... 91 LEARNING IN THE DIGITAL AGE Kinga Biró New Dimensions of Learning ..............................................................105 István Danka Gamification: Old Wine in New Bottles ........................................... 119 János Horváth Cz. Microcontents Visual Content Management in a Networked World .......................129 TOWARDS A VISUAL FUTURE Dóra Horváth – Attila Cosovan – Zita Komár #Visual #Communication #Development: Designcommunication Projects Integrated into the Education of Future Economists .........139 Rita Lisa Vella – Anna Chiara Sabatino The New Body of Medial Images in The Urban Space: Audio-Visual Narratives, Virtual and Augmented Reality ..............149 Theo Hug Visualizing Archivals and Discursive Structures Towards Enhanced Perspectives Using the Example of the Ernst-von-Glasersfeld-Archive ................................................ 161 Notes on Contributors ..........................................................................173 Index ........................................................................................................181 Notes on Contributors BENEDEK, András, born 1950, is Professor of Education at the Department of Technical Education, Budapest University of Technology and Economics, and DSc of the Hungarian Academy of Sciences. From 1976 to 1979 he studied systems analysis and acquired a PhD at the Academy of Pedagogical Sciences on a scholarship in Moscow. His research activities recently focus on Visual Learning and Open Content Development (OCD), introducing new conceptual elements within the framework of a pedagogical-methodological project at Hungarian Academy of Sciences. András Benedek was the co-founder of the Visual Learning Lab (www.vll.bme.hu) at Budapest University of Technology and Economics in 2009. To date he has published approximately 150 papers on human resource development, including the essays “New Vistas of Learning in the Mobile Age” (in Kristóf Nyíri, ed., Mobile Understanding: The Epistemology of Ubiquitous Communication. Vienna: Passagen Verlag, 2006), “Mobile Learning: New Horizons and Unstable Summits” (in Kristóf Nyíri, ed., Engagement and Exposure: Mobile Communication and the Ethics of Social Networking, Vienna: Passagen Verlag, 2009), and “Visual Education: Old and New Dilemmas” (in Benedek–Nyíri, eds. The Power of the Image, Frankfurt/M.: Peter Lang, 2014). E-mail: benedek.a@eik.bme.hu. BESSENYEI, István (b. 1943), has a PhD in educational sociology. He was senior researcher at the National Institute for Public Education in Budapest. His areas of research include the relationship between the economic and educational system, the theory and role of e-learning, the impact of informatization and globalization on the world of schools. He has been teaching at several universities, among others in Germany and in Austria. E-mail: istvanbess@gmail.com. BIRÓ, Kinga, born 1985, is Assistant Research Fellow and PhD student at the Department of Environmental Economics at Budapest 173 Notes on Contributors University of Technology and Economics. Her research interests include the theory and practice of modern mobile ICT tools supported by virtual and augmented learning environments. E-mail: biro@ eik.bme.hu. COSOVAN, Attila, DLA, is full professor at Corvinus University of Budapest, MMDC. He is a designer artist, with his company Co&Co holds several international design awards such as Red Dot (http:// coandco.cc/eredmenyeink). Attila Cosovan is first author of designcommunication, DIS.CO (https://issuu.com/cosovan/docs/ca_disco_ web), a complex creative design methodology. As an artist, he contributes to the multidisciplinary education of future economists, by implementing design and artistic approaches into teaching. His areas of research include designcommunication, integration of design methods in education, leadership and scientific research. E-mail: attila. cosovan@uni-corvinus.hu. DANKA, István, born 1978, is Assistant Professor at Budapest University of Technology and Economics, and Associate Professor at John von Neumann University. He earned his MA in Philosophy at the University of Pécs, Hungary, and his PhD at the University of Leeds, UK. A former junior fellow at the Research Institute for Philosophy, Hungarian Academy of Sciences, he held various positions at the LMU Munich; Wittgenstein Archives, Bergen; and the University of Vienna. Philosophical problems with online education were in the focus of his PhD thesis, and have been an active research topic of his since then. E-mail: danka.istvan@gmail.hu. DEMEY, Lorenz, works at the Institute of Philosophy, KU Leuven (Belgium), and holds a Postdoctoral Research Fellowship from the Research Foundation – Flanders (FWO). He teaches courses on logic, argumentation theory and epistemology in the bachelor’s and master’s programs in philosophy and in law. His research interests are mainly situated in philosophical logic, with a special focus on logical geometry, i.e. the interdisciplinary study of Aristotelian diagrams. He has published extensively on the logical and visual-diagrammatic 174 Notes on Contributors properties of these diagrams, on their historical and contemporary applications across various disciplines, and on their epistemological and heuristic roles in scientific practice. E-mail: lorenz.demey@ kuleuven.be. ENDRŐDY-NAGY, Orsolya, PhD, is an Associate Professor at Eötvös Loránd University, Budapest, Hungary, at the Department of Education / Faculty of Primary and Pre-school Education. Her research interest are Iconography, Childhood Studies and Cross-cultural comparative analysis. In 2016 she became Associate Editor of International Journal of Image, vol. 7. Won Doctoral Scholarships of ELTE University (2010–2013), HIF (USA) Fellowship (2014), Scholarship of the President of Eötvös University (2016). Her first monograph was published in 2015 by Eötvös Publishing, Conceptions of Childhood in the Renaissance – an Iconographic Analysis. Her latest publication was about Images and Iconography in Cross-Cultural Context, focussing on Japanese ukiyo-e prints. E-mail: endrodyorsolya @gmail.com FITZPATRICK, Colleen, obtained her PhD from the Department of Philosophy at NUI Galway, with the focus of her dissertation on mindfulness and painting in relation to the philosophy of Mikel Dufrenne. Her research focuses on philosophical aesthetics and phenomenology, particularly in relation to Eastern philosophies and painting. She also holds a BA and an MA in psychology from University College Dublin and a BA in Fine Art from the Galway-Mayo Institute of Technology, Co Mayo. Colleen is also a practising visual artist and an instructor of yoga. E-mail: collfitz3t@yahoo.com. HORVÁTH Cz., János, born 1975, is assistant lecturer at the Department of Technical Education, Budapest University of Technology and Economics. He has MSc degrees as Electrical Engineer (2000), Certified Engineer-teacher (2002), Economic-Engineer (2009). His research interests are focused on the role of knowledge networks in education; web and educational technology; microcontents and knowledge assets from the pedagogical point of view. Further in- 175 Notes on Contributors formation: www.horvathczjanos.hu. E-mail: horvath.cz.j@eik.bme .hu. HORVÁTH, Dóra, PhD, is associate professor at Corvinus University of Budapest, Institute of Marketing and Media, head of the Department of Marketing, Media- and Designcommunication. Her areas of research include diffusion of new technology in personal communication, designcommunication, co-creation, projective research techniques. Her areas of education involve: strategic and creative planning of marketing communication, design management, advertizing management. Participant and WP leader in the FP7 Cre8tv.eu project. E-mail: dora.horvath@uni-corvinus.hu. HORVÁTH, Gyöngyvér, PhD, is an art historian and curator, currently working as an independent researcher. She obtained her doctorate degree in 2011 at the School of World Art Studies and Museology, University of East Anglia, UK. She was as an Assistant Professor of art history and visual arts at the Moholy-Nagy University of Art and Design, Budapest, and also taught courses at Eötvös Loránd University and Pázmány Péter Catholic University. Her main research focuses on the phenomenon of visual narration and pictorial storytelling in painting and visual arts. She has also published on various topics related to the historiography and methodology of art history, Renaissance and early modern painting and illustration, contemporary art, and Hungarian modernism. Currently, she is working on a book Narrative Art History, which examines the historiography and methodology of the research on visual narration within art history, narratology, semiotics and neuroscience. This project was supported by postdoctoral research grants of Dumbarton Oaks, Harvard University, Princeton University, the Collegium Hungaricum, Wien, and the Hungarian National Cultural Foundation. E-mail: horvathgyongyver@gmail.com. HUG, Theo, Dr. phil., is professor of educational sciences at the University of Innsbruck (Austria) and coordinator of the Innsbruck Media Studies research forum. His areas of interest include media edu- 176 Notes on Contributors cation and philosophy of education, mobile learning and microlearning, research methodology and theory of knowledge, medialization and philosophy of science. He is the author and/or editor of several books on various aspects of media, communication, and education. Together with Josef Mitterer he is literary executor of the Ernst von Glasersfeld archive (see http://evg-archive.net). Since 2015 he is member of the European Academy of Sciences and Arts (EASA). Weblink: http://hug-web.at. E-mail: theo.hug@uibk.ac.at. KÁRPÁTI, Andrea, PhD, DSc, is Professor at the Institute of Behavioural Science and Communication Theory, at the Faculty of Social Sciences and International Theory at Corvinus University of Budapest. She graduated as an art historian and teacher of English language and literature. She is head of the Visual Culture Research Group of the Hungarian Academy of Sciences and ELTE University. Her current project is Moholy-Nagy Modules – teaching the visual language of the 21th century, a curriculum design and assessment project with five higher education institutions and 25 schools. Andrea served as Vice President of InSEA, Executive Board member of EARLI (European Association for Research on Learning and Instruction) and is member of the European Network of Visual Literacy. Her research foci: sociocultural study of traditional / digital visual expression of children and youth (sub)cultures, assessment of visuospatial skills and abilities. E-mail: andrea.karpati@ttk.elte.hu. KOMÁR, Zita, is Assistant Lecturer at the Marketing-, Media- and Designcommunication Department, Marketing and Media Institute, Corvinus University of Budapest, and also a guest lecturer at BCE Institute of Behavioural Sciences and Communication Theory, Metropolitan University and ELTE. She is a doctoral candidate, her doctoral thesis and research focuses on investigating the shared segments of Rhetoric, Gender Studies and Marketingcommunication, introducing the innovative discipline of Feminine Rhetoric. Research fields and interests: rhetoric; visual culture and rhetoric; gender studies; marketingcommunication; cultural studies. E-mail: zita.komar@ uni-corvinus.hu. 177 Notes on Contributors LOGET, François, is currently lecturer in history of science at the University of Limoges and a member of the Centre d'études supérieures de la Renaissance, University of Tours (CNRS UMR 7323). As an historian of mathematics, he focuses on Renaissance mathematics and recently studied some French treatises of algebra in the 16th century. E-mail: francois.loget@unilim.fr. NYÍRI, Kristóf, born 1944, is member of the Hungarian Academy of Sciences. He has held professorships at various universities in Hungary and abroad. He was Leibniz Professor of the University of Leipzig for the winter term 2006/07. His main fields of research are the history of philosophy in the 19th and 20th centuries, the impact of communication technologies on the organization of ideas and on society, the philosophy of images, and the philosophy of time. Some main publications: Tradition and Individuality, 1992; “Electronic Networking and the Unity of Knowledge”, in Kenna and Ross (eds.), Networking in the Humanities, 1995; “The Picture Theory of Reason”, in Brogaard and Smith (eds.), Rationality and Irrationality, 2001; Vernetztes Wissen: Philosophie im Zeitalter des Internets, 2004; “Time and Communication”, in F. Stadler and M. Stöltzner (eds.), Time and History, 2006; “Film, Metaphor, and the Reality of Time”, New Review of Film and Television Studies, 2009; Zeit und Bild, 2012; Meaning and Motoricity: Essays on Image and Time, 2014. For further information see: www.hunfi.hu/nyiri, https://bme.academia.edu/ KristofNyiri, https://www.facebook.com/kristof.nyiri. E-mail: nyirik @gmail.com. SOMFAI, Anna, teaches history and philosophy of science, medieval codicology and Latin palaeography at CEU and taught cognitive science at BME. Her research concerns visual thinking and the use of diagrams and diagrammatic images in medieval manuscripts of ancient and medieval philosophical and scientific texts. Her PhD dissertation (University of Cambridge) dealt with Plato’s Timaeus and its commentary which made use of mathematical diagrams as an explicatory tool. Her research has since focused on the nature and role of visualizing philosophical and scientific concepts (University of 178 Notes on Contributors Cambridge, Wellcome Institute, Warburg Institute, Max Planck Institute for the History of Science, Collegium Budapest). E-mail: Somfaia@ceu.edu. SABATINO, Anna Chiara, is a PhD student in Communication Science at University of Salerno. She has participated as a speaker at national and international conferences with works on participatory cultures and documentary practices. Her research interests include audiovisual storytelling techniques and video narrative therapies. She is subject expert in Aesthetics and Images Theory at University of Salerno, where she held seminars and workshops on audiovisual narratives and currently teaches Directing Techniques and Video Editing and Compositing at IUDAV, Valletta Higher Education Institute. Email: asabatino@unisa.it. VELLA, Rita Lisa, PhD in Communication Science (University of Salerno). She is currently a teaching assistant for the “Marketing Communication and New Media Languages” course at LUISS Guido Carli University (Rome, Italy), where she also collaborates with X.ite Research Center. She participated in national and international workshops and conferences with works on the issues of urban practices, big data and information design. Research fields and interests: digital devices, smart objects, urban practices, online and offline communities, visual culture. E-mail: rvella@unisa.it. 179 Index abstract logic as an abstract discipline, 71 abstract-logical properties, 69 f. abstract mental activities / abstract logical thinking, 62, 72 abstraction, 11, 75 Alberti, Leon Battista, 55–58, 63, 66 anthropology cultural, 27 visual, 38 archiving, xii, 15, 161 f., 164, 166–171 Ariès, Philippe, 37 Aristotelian diagrams, ix, 69– 77 Aristotle, 65, 69, 74, 85, 97 art education, vii f., 23–27, 29, 31, 33, 140 Augustine, 37 Bauhaus movement, 31 f. Benedek, András, vii, 9, 25, 36, 131, 170, 173 Bessenyei, István, vii, 3, 173 Biró, Kinga, x, xi, 105, 117, 173 f. Böhme, Jeanette, 3–6, 12 f. book printing, vii, x, 4, 6, 20, 92, 98 ff. Brueghel, Pieter, the Elder, 38 f., 42 Budapest University of Technology and Economics, vii, 173 ff. Budapest Visual Learning Lab (VLL), vii Calcidius, 85 f., 88 ff. Cézanne, Paul, 52 child art, vii, 23, 25 Childhood Studies, viii, 35, 175 childhood, history of, viii, 35 ff. Comenius, Johannes Amos, 130 communicative activities, 13 event, bodily, 63 functions, 164 potential, 5 Cosovan, Attila, xi, 139, 142, 145 ff., 174 creativity, viii, ix, 23 ff., 27, 29 f., 33, 45, 50 f., 53, 79, 139 f., 142, 144 ff., 148, 163, 170, 176 Crowther, Paul, viii, 45–51, 53 f. Danka, István, x, 119, 174 181 Index Deli, Eszter, 170 Demey, Lorenz, ix, 69 f., 174 f. designcommunication, xi, 139, 141 f., 144–147, 174, 176, 177 Dewey, John, 14, 23 diagrammatic reasoning / approach, 170 diagrammatic images, 84, 178 diagrammatic thinking, x, 79, 84, 90 diagrams, ix f., 17, 69–77, 79, 83–90, 91–100, 178 visually complex, 74 digital turn, 165 Dreyfus, Hubert, 124 ff. drawing / drawings / painting, viii, 9, 23–26, 45–54, 57, 72, 89, 108 products of gesture, 46 Drucker, Johanna, 171 Dyson, Freeman, 27 education, vii f., x ff., 3 ff., 8, 12, 19 f., 23–31, 33, 35 f., 45, 49–53, 105 f., 116 f., 119 ff., 123–128, 129, 136, 139–143, 146, 148, 161, 165, 169 ff., 173, 174, 175, 176, 177 in the Western world, vii virtual, xii educational environment, xi, 119, 121 f., 125 educational theory, vii, 3, 19 f., 31, 91, 119, 139 182 Einstein, Albert, 14 Elkins, James, 59 f. embodiment, 45 f., 49 f., 50, 53, 55, 62, 64, 156, 158 emotions, viii, 12, 25, 29, 38, 46, 55–66, 158 influenced by the visual, 55 ff. Endrődy-Nagy, Orsolya, viii, 35 f., 175 Facebook, 153 Feynman diagrams, 77 figurative paintings, dating back to pre-historic times, viii film, 9, 27 f., 33, 36, 105, 108 f., 141, 150, 154, 158, 163, 178 filmic experience, 154 Fitzpatrick, Colleen, viii, 45, 49, 175 Foucault, Michel, 12 Franklin, James, 170 Freedberg, David, 64 f. Freud, Sigmund, 25 gamification, x f., 119–128 Gardner, Howard, 24 Grosvenor, Ian, 36 Grünewald, Matthias, 60 f., 65 Hacking, Ian, 170 Holbein, Ambrosius and Hans, 39 ff. Index Horváth Cz., János, xi, 129, 131, 175 f. Horváth, Dóra, xi, 139, 141 f., 146, 176 Horváth, Gyöngyvér, viii, 55, 176 Hug, Theo, xii, 7, 161, 165 f., 176 f. Hungarian Academy of Sciences, 31, 33, 136, 173, 174, 177, 178 Content Pedagogy Research Program, 33 iconography, viii, 35 ff., 175 ICT, 4, 105, 174 Image and Metaphor in the New Century (Perspectives on Visual Learning, vol. 3), vii images/pictures, passim images mental/visual, 9, 25, 47, 80 and social media, 30 f., 33, 149, 153, 163 still/moving, 158 typographic, 94, 96, 130 images and gestures, viii, 9, 45 ff., 58 imagination, sensous/visual, 45 ff., 83, 88, 155 f., 170 imaging technologies, 32, 64 information, visual, 10, 129 Instagram, 153 Jacquette, Dale, 72, 75 Jenkins, Henry, 8, 150, 155 Kárpáti, Andrea, vii f., 23–27, 33, 177 Katz, James E., 163 Kepes, György, 31 Klee, Paul, 52 Komár, Zita, xi, 139, 177 Kuhn, Thomas S., 170 Langer, Suzanne, 50 learning, informal, viii, 26 Leonardo da Vinci, 57 f., 66 Loget, François, x, 91 f., 178 Lowenfeld, Victor, 25 Luther, Martin, 37 mathematics, history of, x, 91 f. McLuhan, Marshall, 158 media, visual, viii, 26, 171 medial images in urban space, xi f., 149 ff. medieval manuscripts, ix, 79 ff. mental image, 9, 47 from an educational point of view, 9 Merleau-Ponty, Maurice, 45 f., 50 metaphor, vii, 9, 25, 163, 169, 170, 178 metaphor theory, 9 microcontents, xi, 129 ff. microlearning, 177 mirror neuron system, viii, 55, 63 ff. 183 Index m-learning, xii mobile communication, 173 Moholy-Nagy, László, 31, 33, 141, 176, 177 Moktefi, Amirouche, ix, 71 Molnár, György, 105 multimodality, 73, 166 narrative images/pictures, viii, 55 f., 63 bodily impact of, 56, 63 networked learning, vii, xi, 4 f., 129, 131, 171 Neuman, Péter, ix, 77 Neurath, Otto, xi, 129 f. Nyíri, Kristóf, vii, xii, 9, 36, 173, 178 publications on learning and technology, xii Ong, Walter J., 4, 93, 96–100 online education, x, 119, 124 f., 174 motivating learners, x f., 105, 119–123, 128 open and distance learning, xii, 125 Open Content Development Research Group (MTABME), 136, 173 Panofsky, Erwin, 37 ff., 43 Studies in Iconology, 38 participatory culture, viii, 8, 26, 179 184 performativity / performance, 5, 8, 23, 63, 143, 150, 152, 159 photography / photos, 10 f., 15 f., 27, 32, 36, 50, 64, 105, 149, 158 physical gestures, role of in drawing and painting, 46 pictorial / visual turn, vii, 165 pictures/images, passim Plato, 85 f., 88, 178 Platonic cosmology, 86 Pöppel, Ernst, 7 printed books, vii, 10, 19 f., 99 quantum field theory, visual representation of, 77 Quintilian, 56 Ramus, Peter, x, 91–102 Read, Herbert, 24 reality, augmented / virtual, xi, 36, 105, 112, 117, 149 ff. rhetoric, visual, 9, 56, 93 f., 97 Sabatino, Anna Chiara, xi f., 149, 179 scientific communication, ix, 69 f., 171 Simon, Herbert A., 144 Simon, Tünde, 25 Smessaert, Hans, 70, 77 Smets, Margaux, 77 social media, 30 f., 33, 149, Index 153, 163 Somfai, Anna, ix, 79, 85, 178 f. story-telling, verbal and visual, 124 texts, viii f., xi, 5, 7, 10, 12, 35, 42, 73, 79–85, 88, 90, 131 ff., 151, 166, 178 thinking, diagrammatic, x, 79, 84, 90 3D technology, x, 105 ff. Twitter, 153 Van Leeuwen, Theo, 38 Vella, Rita Lisa, xi f., 149, 179 Verhoeff, Nanna, 152, 159 Veszelszki, Ágnes, 36, 131, 170 video games, xi, 108, 119 Vision Fulfilled: The Victory of the Pictorial Turn (Perspectives on Visual Learning, vol. 1), vii visual analysis, viii, 35, 38, 85 education/learning, vii, viii, 3–21, 55, 64, 139 ff., 173 imagination, see imagination, sensous/visual thinker, x, 79, 81, 83 vocabulary, x, 83 f. Visual Culture Research Group of the Hungarian Academy of Sciences and ELTE, 26, 31, 33, 177 VLC8 (8th Budapest Visual Learning Conference), vii Wilczek, Frank, 77 Wittgenstein, Ludwig, 74, 174 youth subcultures, vii, 23 ff. 185