viz.

Image Credit: National Oceanic and Atmospheric Administration/Department of Commerce

The National Oceanic and Atmospheric Administration traces its roots back to the oldest scientific agency in the United States: the Survey of the Coast established in 1807. Today's agency has a much broader purview, providing forecasts for the National Weather Service, maintaining orbiting satellites to monitor the Earth's climate, managing the nation's fisheries, and conducting scientific research. The database containing the photographic documentation of these varied activities provides the subject of this week's review.

Image Credit: NASA

With the recent passing of Neil Armstrong, the decommissioning of the space shuttles, and the release of the latest "deep field" image from the Hubble Space Telescope, the rhetoric of space imagery has been on my mind. Except for the occasional "why waste money on this?" argument, astronomical images find wide appreciation, appreciation which I certainly share. However, I also see a certain risk in the arguments made using space imagery that can be lost amidst the optimism and wonder.

In 21st century rhetoric and writing departments, we don't teach geometry.  But like the sciences, we are developing computer games.  Here in the DWRL, graduate student developers have created Rhetorical Peaks, an interactive game, where students practice rhetorical terms and strategies. It's interesting, then, to compare how different fields use different kinds of computer-assisted gaming.  On Thursday, I saw these geometry games, which are visualizations for outer space created by Jeffrey R. Weeks.

Image credit: Screenshot from Geometry Games H/T to Jeffrey Weeks

Following our earlier discussions about the intersection of science, art, and rhetoric, I bring you the o-chem tattoo. I think the tattoo not only promotes science as a field of visual representation but is also among a growing corpus of "geek" tattoos. These tattoos frustrate the long standing assumption that body art and body modification is an unintellectual enterprise, one in which you tear at, pervert or destroy the body. In this way, these tattoos also work against the mind/body split, demonstrating how thought is not separate from but also occurs on and through the body.

Check out the following link to see a group of geek tattoos at ModBlog

The New York Times has posted an interview with Dartmouth’s Hany Farid, the creator of “digital forensics.” Here’s how Dr. Farid describes the field:

It’s a new field. It didn’t exist five years ago. We look at digital media—images, audio and video—and we try to ascertain whether or not they’ve been manipulated. We use mathematical and computational techniques to detect alterations in them.

In society today, we’re now seeing doctored images regularly. If tabloids can’t obtain a photo of Brad Pitt and Angelina Jolie walking together on a beach, they’ll make up a composite from two pictures. Star actually did that. And it’s happening in the courts, politics and scientific journals, too. As a result, we now live in an age when the once-held belief that photographs were the definitive record of events is gone.

Actually, photographic forgeries aren’t new. People have doctored images since the beginning of photography. But the techniques needed to do that during the Civil War, when Mathew Brady made composites, were extremely difficult and time consuming. In today’s world, anyone with a digital camera, a PC, Photoshop and an hour’s worth of time can make fairly compelling digital forgeries.

Dr. Farid makes some other interesting claims as well. Since 1990, the percentage of fraud cases involving photos has risen from 3 percent to 44.1 percent. While the majority of the interview focuses on digital manipulation in scientific research, clearly photographic forgery is becoming a significant problem in all areas of society.

Over the summer I was unfortunate enough to require a reconstruction of my Anterior Cruciate Ligament (ACL). As I was wheeled out of the clinic in an anaesthetic haze, my doctor handed me a series of photos not unlike the ones below.

GLOBAL WARMING!

On the heels of yesterday’s post about the art (and absolute fidelity to reality) of scientific photographs, this story from The Guardian describes how scientists from the National Observatory of Athens are investigating sunset paintings “to work out the amount of natural pollution spewed into the skies by [volcanic] eruptions such as Mount Krakatoa in 1883.” Apparently the method has some validity:

They used a computer to work out the relative amounts of red and green in each picture, along the horizon. Sunlight scattered by airborne particles appears more red than green, so the reddest sunsets indicate the dirtiest skies. The researchers found most pictures with the highest red/green ratios were painted in the three years following a documented eruption.

via Boing Boing

Those of you interested in the rhetoric of science should enjoy The Micropolitan Museum of Microscopic Art Forms, which is supported by the fantastically-named Institute for the Promotion of the Less than One Millimeter. The site boasts some beautiful imagery which, along with the accompanying text, should be able to spark some fantastic discussions about the relationship of visuals and scientific knowledge.