viz.

Image Credit: Harry Ransom Center Photo by Anthony Maddaloni

Near the sorth-eastern quadrant of the Harry Ransom Center is a series of images of a jockey throttling a racehorse: Eadweard Muybridge's "Horse in Motion." While these images may seem inconspicuous juxtaposed to Dorothea Lange's eminently recognizable photographs, their ability to bear witness to a horse's motion was both evidence of an event and a monumental event in itself. The product of two men's obsessions, "Horse in Motion" is both a fascinating example of a visual argument and a foundational episode in the history of motion pictures.

Image Credit: Screenshot from YouTube

I was delighted to hear that the Washington State Senate passed a bill Wednesday legalizing same-sex marriage in the state. The Seattle alt-weekly The Stranger has been closely following the bill’s progress for several weeks, not only liveblogging the debate but also posting numerous excellent speeches on behalf of the bill.  Eli Sanders highlighted Republican Senator Cheryl Pflug’s speech as the best of the night, which she ended with the following words:

“And so I commend this bill to you today because it is part of our struggle to recognize that everybody, whether they look like us or believe like us, has an opportunity—should have an opportunity to enjoy those personal freedoms we hold dear.”

Image Credit: Adriana Cervantes, created as final presentation for my RHE 306 class

Particularly in technology-based classrooms like we have here in the DWRL, instructors are always looking for new ways to teach students non-traditional forms of writing. A few weeks back, Ashley wrote a viz. post about the on-line animation program, Xtranormal, whose motto is “if you can type, you can make movies.”  Her post inspired/challenged me to give it a try with my students. It's extremely user-friendly, and we were able to create animations in a single class period. Users enter text, and the program animates the dialogue for them. Above and after the jump are examples of my students' work, and I'll talk more about pedagogical value of the program.

Image Credit:  DJ Spooky, "Manifesto for a People's Republic of Antarctica," 2008

Via Robert Miller Gallery  H/T Sean McCarthy

Last year, at about this time, I was writing my very first viz. blog post.  In 2009, the series of photographs that had caught my attention were about ice fishing in the northern United States.  The ice of the northern lakes, it seemed, had begun to diminish. New York-based photographer Maureen Drennan had been featured in the Times DotEarth Blog for the work of photos she called Thin Ice. I loved Maureen's shots of the fishing shacks and the people there, because they seemed potentially transformative, depicting the intimate textures of human life affected by climate change.  My first post this year again returns to imagery of ice.   Over dinner this weekend, one of my friends described DJ Spooky's latest performances on Antarctica, replete, he said, with stunning images. (The penguins above do have a point, after all.  See after the break).

Image Credit:  Screenshot from The Atlantic

Every time I sit down to write a blog post for viz, I struggle not only to think up exciting titles but to find striking visuals to decorate my posts.  As we all know, the picture that illustrates the story plays a role in helping to draw meaning from the text.  The above picture from The Atlantic shows a good relationship between the two:  the sign in the foreground looms ominously over the house to stress the anxious idea implied by the headline “Foreclosure Sales Trap.”  However, there are times when the visuals work to imply something that the text doesn’t warrant.

Image Credit:  Screenshot from The Grub Street Project

While I wrote in my last blog here that I would use this week’s blog to discuss my upcoming conference paper for MMLA, I was led astray this weekend by an excellent panel I attended at CSECS that I thought the viz. audience might enjoy.  (Sorry, Gossip Girl fans.  Tune in next week!)

After deciding to attend the panel entitled “Mapping Culture:  Topographies of London,” I was delighted to discover it featured not only a paper on Boswell’s enchanting London Journal, but also an excellent discussion about using mapping strategies to teach and research eighteenth-century texts.  What united the various papers on the panel, which discussed such disparate texts as John Gay’s “Trivia,” the Mohock Club, Boswell’s aforementioned Journal, and Thomas De Quincey’s Confessions of an English Opium-Eater, was that each paper was based on material provided by The Grub Street Project, a website that unites topographical data with literary texts like Pope’s Dunciad.

Image Credit:  The New Yorker

H/T:  Texas Performing Arts

This video is an interview with Francoise Mouly, art director of The New Yorker, speaking about the multi-part cover of the Money Issue from this month, October 12, 2009.  The 3-part cover begins with Dan Clowes, who created the image of a wealthy woman ordering a hamburger, which inspired Zohar Lazar's illustration of the woman carrying the fast food to her chaffeur-driven car, and then, finally, Mark Ulriksen's idea of depicting a poodle being fed the burger.  Ulriksen notes that by his ending image, "You realize that some things never change for certain people." 

Credit:  New York Times

H/T:  Jezebel

I found an interesting article posted on Jezebel today about a New York Times story, with an accompanying video report, about anti-abortion protestors rallying together after the death of an anti-abortion activist, James Pouillon, in Michigan last month.  The article specifically discusses the ethics of using such images within the debate, which is a particularly vexed question.

Image Credit:  Vice Magazine

I couldn’t resist covering this piece that Tim brought to my attention.  NPR did a segment covering the evolving phenomenon of “ruin porn” by interviewing a writer, Thomas Morton, who wrote an attack on this phenomenon for Vice Magazine.  Morton argues against these images because he says they mislead audiences about the actual economic state of Detroit.

How does the space in which protest art appears affect the ways in which people respond to it? Or, even, if they see it as a protest at all?


In my class the other day, we talked about protest art. Among other things (Shepard Fairey), we looked at anti-war peace protester Brian Haw. Haw has lived in a peace camp in Parliament Square in Britain since June 2, 2001, remaining at the site full time, leaving only for court appearances.