Birgit Schneider – författare

In science and technology, the images used to depict ideas, data, and reactions can be as striking and explosive as the concepts and processes they embody - both works of art and generative forces in their own right. Drawing on a close dialogue between the histories of art, science, and technology, The Technical Image explores these images not as mere illustrations or examples, but as productive agents and distinctive, multilayered elements of the process of generating knowledge. Using beautifully reproduced visuals, this book not only reveals how scientific images play a constructive role in shaping the findings and insights they illustrate, but also - however mechanical or detached from individual researchers' choices their appearances may be - how they come to embody the styles of a period, a mindset, a research collective, or a device. Opening with a set of key questions about artistic representation in science, technology, and medicine, The Technical Image then investigates historical case studies focusing on specific images, such as James Watson's models of genes, drawings of Darwin's finches, and images of early modern musical automata.These case studies in turn are used to illustrate broad themes ranging from "Digital Images" to "Objectivity and Evidence" and to define and elaborate upon fundamental terms in the field. Taken as a whole, this collection will provide analytical tools for the interpretation and application of scientific and technological imagery.

This book project examines global forest monitoring as a means to understand the promises and problems of global visualization for climate management.Specifically, the book focuses on Global Forest Watch, the most developed and widely available forest-monitoring platform, created in 1997 by the World Resource Institute. Forest maps are always political as they visualize power relations and form the grid within which forests become commodities. This dislocation of the idea of the forest from its literal roots in the ground has generated problems for forest visualization efforts designed to empower local communities. This book takes a critical humanistic approach to this problem, combining methods from the fields of rhetoric and media studies to suggest solutions to these problems for designers and users of platforms like the Global Forest Watch. To explain why global views of forests can be disempowering, the book relies on biopolitical and rhetorical theories of panopticism and how these views unfold a different violence on different regions of the Earth in relation to colonial history. Using this theoretical framework, the book explains the historical process by which forests came to be classified, quantified, and mapped on a global scale. Interviews with end-users of global forest visualization platforms reveal if and how these platforms support local action. Lastly, the book provides rhetorical solutions to articulate global and local views of forests without reducing one view to the other. These solutions involve looking to forests themselves for clues about how to generate more broadly effective and resilient visualizations.This book will be of great interest to students and scholars of forest studies, climate change, science communication, visualization studies, environmental communication, and environmental conservation.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.**Winner of the 2025 National Communication Association’s Tarla Rai Peterson Book Award in Environmental Communication**

This book project examines global forest monitoring as a means to understand the promises and problems of global visualization for climate management.Specifically, the book focuses on Global Forest Watch, the most developed and widely available forest-monitoring platform, created in 1997 by the World Resource Institute. Forest maps are always political as they visualize power relations and form the grid within which forests become commodities. This dislocation of the idea of the forest from its literal roots in the ground has generated problems for forest visualization efforts designed to empower local communities. This book takes a critical humanistic approach to this problem, combining methods from the fields of rhetoric and media studies to suggest solutions to these problems for designers and users of platforms like the Global Forest Watch. To explain why global views of forests can be disempowering, the book relies on biopolitical and rhetorical theories of panopticism and how these views unfold a different violence on different regions of the Earth in relation to colonial history. Using this theoretical framework, the book explains the historical process by which forests came to be classified, quantified, and mapped on a global scale. Interviews with end-users of global forest visualization platforms reveal if and how these platforms support local action. Lastly, the book provides rhetorical solutions to articulate global and local views of forests without reducing one view to the other. These solutions involve looking to forests themselves for clues about how to generate more broadly effective and resilient visualizations.This book will be of great interest to students and scholars of forest studies, climate change, science communication, visualization studies, environmental communication, and environmental conservation.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.**Winner of the 2025 National Communication Association’s Tarla Rai Peterson Book Award in Environmental Communication**

In den letzten Jahren hat das theoretische und praktische Interesse an Diagrammen stark zugenommen. Kultur- und Bildwissenschaft, Philosophie, Medientheorie, Gestaltung und Kognitionsforschung sind gleichermaßen am epistemischen Gebrauch diagrammatischer Bild- und Denkformen interessiert. Bislang gibt es jedoch keine gemeinsame Lektürebasis, die die Diskussionen zu diesem Thema bündelt. In Form einer Anthologie bietet dieser Reader klassische und innovative Schlüsseltexte zur Diagrammatik aus unterschiedlichen Perspektiven an. Diese enthält Texte zu theoretischen, praktischen und historischen Dimensionen des Denkens und Darstellens mit und von Diagrammen seit der griechischen Antike. Ein kommentierter Bildteil veranschaulicht die reiche Geschichte der Diagrammatik anhand konkreter Beispiele.

Scientific research on climate change has given rise to a variety of images picturing climate change. These range from colorful expert graphics, model visualizations, photographs of extreme weather events like floods, droughts or melting ice, symbols like polar bears, to animated and interactive visualizations. Climate change graphics have not only increased knowledge about the subject, they have begun to influence popular awareness of global weather events. The status of climate pictures today is particularly crucial, as global climate change as a long-term process cannot be seen.When images are widely distributed, they are able to shape how the world is thought about and seen. It is this implicit basic assumption of the power of images to influence reality that this book addresses: today's images might become the blueprint for tomorrow's realities.»Image Politics of Climate Change« combines a wide interdisciplinary range of perspectives and questions, treated here in sixteen interdisciplinary case studies. The author's specializations include both visual practice and theory: in the fields of climate sciences, computer graphics, art, curating, art history and visual studies, communication and cultural science, environmental and science & technology studies. The close interlinking of these viewpoints promotes in-depth insights into issues of production and analysis of climate visualization.

The digital transformation is accompanied by two simultaneous processes: digital humanities challenging the humanities, their theories, methodologies and disciplinary identities and pushing computer science to get involved in new fields. But how can qualitative and quantitative methods be usefully combined in one research project? What are the theoretical and methodological principles across all disciplinary digital approaches? This volume focusses on driving innovation and conceptualising the humanities in the 21st century. Building on the results of 10 research projects, it serves as a useful tool for designing cutting-edge research that goes beyond conventional strategies.