"Using the extended parallel process model (PPM), this research examines whether and how humor functions to influence women’s breast self-examination (BSE) intention. We conducted a 2 (humor: present vs. absent) × 2 (threat: high vs. low) × 2 (efficacy: high vs. low) between-subjects experiment
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in which we measured individual differences in BSE intention. The sample includes 480 Chinese women aged 20–50 years old. Results suggest that the 2-way interaction effect between threat and efficacy was significant, indicating that women who received messages containing high threat and high efficacy had the highest intention of BSE. In addition, the 3-way interaction effect between threat, efficacy, and humor was significant. The results indicate that if women perceive the threat of getting breast cancer as mild and believe that they are incapable of preventing it, messages with humor can significantly enhance their intention to engage in BSE when compared with messages without humor. Theoretical and practical implications of the findings are discussed." (Abstract)
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"Cartooning for Peace is an international network of committed press cartoonists who use humour to fight for respect for cultures and freedoms: 344 cartoonists in 78 countries [...]
Our values. Cartooning for Peace is attached to the respect for pluralism of cultures and opinions. In the events we
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organize, exhibitions, publications and international meetings, we are mindful to show the diversity of cartoonists’ perspectives on a given subject. Cartooning for Peace fights against prejudice and intellectual conformism. Towards extremism, we denounce the excesses, we mock the false certainties, counteract odium and strive to dismount impostures. Cartooning for Peace is respectful in disrespect. We do not seek to humiliate the beliefs and opinions. We circumvent interdicts with humour. Cartooning for Peace takes into account the risk that a cartoon published on the Web can appear out of context, within seconds, in every corner of the globe. Our organization is vigilant to prevent press cartoon from becoming an aggravating factor of conflicts. Cartooning for Peace offers editorial content. Convinced that cartoonists often foretell acutely before everyone, the stirrings of society which will make news tomorrow, we strive to bring forward debates that our societies are not even yet aware of.
Our actions. Cartooning for Peace allows cartoonists to interact with each other and to confront their different ideological opinions. Our network provides visibility and support for those who are unable to work freely or whose freedom is threatened. Cartooning for Peace uses the educational value of press cartoon to denounce intolerances. Our organization gives young people a voice and raises their awareness on major societal problems. Cartooning for Peace brings press cartoon closer to the public. We organize meetings between cartoonists and the public, and set up thematic exhibitions showing a critical look of society. We also publish press cartoons, in paper or digital form. Cartooning for Peace is a tool serving freedom of expression: a forum and a meeting place for all those who challenge intolerance and all forms of dogmatism." (https://www.cartooningforpeace.org/en/presentation)
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"This work has highlighted the biased approaches in the use of imagery by those who hold power in global health. It is crucial to engage with these issues and to identify how we can work to treat individuals featured in global health imagery equitably, regardless of their circumstances, geography, r
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ace, gender, or socioeconomic status. The current narrative depicted within the imagery of infectious diseases reports in global health represents power imbalances driven by race, geography, and gender. This translates to women and children of colour that are based in low and middle income countries (LMICs) being treated with less dignity, respect, and power than those from high income countries (HICs). The absence of evidence of consent for using intrusive and unnecessary images, particularly of children in LMICs and often out of context to the narrative of the reports, is of particular concern." (Conclusions, page 163)
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"Making a visual format accessible for people who can’t see is challenging, but there’s a huge community already invested in working out viable solutions. The tension that remains for them is in receiving a clear mandate for this work from senior leaders within organisations. Accessibility champ
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ions in the data viz community are being left to figure things out and implement solutions on their own. Limited time and resources mean that this isn’t always achievable, and the uneven experience for audiences continues. A second issue: guidelines available for organisations and data viz designers are minimal. The Web Content Accessibility Guidelines (WCAG) framework lays out the bare minimum that should be done for blind people. It doesn’t offer a pathway for making the experience of visual data equitable for blind people. This may come in the next iteration of the WCAG guidelines, but these won’t be published for a few years yet, which leaves a gaping chasm for innovation. There’s a very real opportunity for any organisation that dares to go further than compliance with WCAG and make a meaningful difference in how they present their visual data journalism." (Conclusion)
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"For two decades, the Canadian International Development Agency (CIDA) prepared pedagogical materials for Canadian schools. This article reviews the role of visual media in the hundreds of publications prepared for Development Education. Samples collected by Marc Rockbrune, Distribution Clerk respon
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sible for their expedition in schools, libraries, and homes, and donated in 2016 to Carleton University Archives and Research Collections, are read with the help of the ‘psychopedagogical guides’ prepared by CIDA, and the testimonies of two workers of the agency linked to their preparation and dissemination: Mary Bramley, curator of the International Development Photo Library, and Rockbrune himself. Prepared with a large measure of autonomy by a sizeable team of visual artists, designers, and third world reformers, the program outreach was large, and its popularity strong. The expected and effective roles of visual media in the history of this short-lived institution of Development Education is explored to suggest elements of understanding of their impact on a generation of Canadian children and youth." (Abstract)
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"Through a combination of scientific and community activity, our environment is increasingly registered and documented as data. Given the expanding breadth of this digital domain, it is crucial that scholars consider the problems it presents as well as its affirmative potential. This article, arisin
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g from collaboration between a practitioner and theorist in digital design and a film and screen scholar with expertise in documentary and environmental studies, critically examines biodiversity data through an ecocritical reading of public-facing databases, citizen science platforms and data visualizations. We examine the 'Atlas of Living Australia'; 'Canberra Nature Map'; the City of Melbourne’s 'Insects'; and the experimental visualization 'Local Kin'. Integrating perspectives from screen studies, design and the environmental humanities, including multispecies studies approaches in anthropology, we examine how digital representations reflect the way biodiversity data is produced and structured. Critically analysing design choices – what is shown, and how it is shown – we argue that biodiversity data on-screen provides specific affordances: allowing, encouraging or discouraging certain insights and possibilities that condition our knowledge of and engagement with living things. An interdisciplinary approach allows us to ask new questions about how users might experience multispecies worlds in digital form, and how biodiversity data might convey the complexities of an entangled biosphere, amplifying understanding, connection and attention amongst interested publics. We examine the visual rhetorics of digital biodiversity in order to better understand how these forms operate as environmental media: designed representations of the living world." (Abstract)
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"This handbook provides guidelines on the practice and ethics of participatory visual methods (PVM) with emphasis on their use in low and middle income countries (LMIC) for community and public engagement in health and health science. The guidelines are drawn from the hands-on experience of the auth
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ors and the insights they have gained as PVM practitioners working with these methodologies in LMIC for 10 years or more. The handbook has been developed for use by engagement practitioners who are relatively new to the field of PVM and want to learn more about what they are and how to work with them. It also aims to support health science researchers who wish to include visual methods when engaging local communities and wider publics in their work. The handbook does not explore the theory behind PVM or provide an in-depth review of the literature. For each method that is described the pioneering work in the field is cited, along with other suggested reading, should you wish to learn more." (Foreword)
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"This Is Not an Atlas gathers more than 40 counter-cartographies from all over the world. This collection shows how maps are created and transformed as a part of political struggle, for critical research or in art and education: from indigenous territories in the Amazon to the anti-eviction movement
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in San Francisco; from defending commons in Mexico to mapping refugee camps with balloons in Lebanon; from slums in Nairobi to squats in Berlin; from supporting communities in the Philippines to reporting sexual harassment in Cairo. This Is Not an Atlas seeks to inspire, to document the underrepresented, and to be a useful companion when becoming a counter-cartographer yourself." (Publisher description)
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"Visualizing thought processes can help break down complex problems. It empowers teams and staff to build on one another's ideas, fosters collaboration, jump-starts co-creation and boosts innovation. This book will help brush aside misconceptions that may have prevented you using these techniques in
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your workplace. You don't need Van Gogh's artistic talent or Einstein's intelligence to harness the power of visual thinking and make your company more successful. With the right mindset and the simple skills this book provides you the skills to develop your own signature and style and start generating change by integrating visual communication into your business setting." (Back cover)
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"This article discusses the trial of visual research methods in a socio-economic research and development project with women subsistence farmers and their families in two regions of Papua New Guinea. It reports on the benefits and challenges of three visual research methods (drawing, participatory p
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hotography, and picture elicitation) to explore the agricultural practice of women subsistence farmers and their families. The paper discusses the potential of these methods for enhancing community engagement, reducing the power imbalance between researchers and participants, and promoting dialogue and reflection to better understand the needs and practices of subsistence farmers." (Abstract)
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"The specific objectives of this paper are to review and evaluate the print material used by the GIZ [in Karnataka] and examine if it can be read, understood and related to by the participants; to provide a channel for clear and understandable communication that supports and incorporates the visual
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language of the participants; to suggest effective ways for a branding and communication strategy and provide recommendations for further actions." (Objectives)
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"The manual has been designed as a resource for teachers or educators interested in using visual images to promote interactive discussion and critical thinking amongst young people about racism and discrimination. The resource can be used within diverse educational settings and is most appropriate f
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or use with young people above the age of twelve. Each poster is accompanied by key learning points as well as several interesting facts or pieces of information which are intended to be used to provoke further discussion. Related human rights touched upon by each poster are also provided from the Universal Declaration of Human Rights. Wherever possible we have included a short interactive activity that can be carried out with students or a series of suggested questions to ask, in order to introduce the topic of each poster." (Introduction)
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