Those small metal rods are remarkably disorienting. That is likely a good thing when you are making imagery/meaning out of the National Socialist past.
My sight is first pulled to the single syringe on the top and in the middle of the image. I then notice the jumble underneath.
This image has a lot to look at. I was first drawn to the gaping whole in the ground, wondering exactly what it was that I was looking at. Next I noticed the people caught in action, working at this construction site. One can tell that it is a considerable undertaking, but it is not obvious (at least not to me) what exactly is being undertaken.
I am compelled to read the first set of words (in purple) before looking at the rest of the image. Then, I looked at the photo of the nuclear family behind the text. Finally, I read the punch line, written in red at the bottom.
My eye was immediately drawn to the the large bold letters "fuck raw." I then processed the image of the pill and the rest of the advertisement to understand that it was marketing the drug PrEP as a way of preventing the transmission of HIV. I then began to notice the context, how the add plastered onto wooden panels running along a brick wall. I can see the graffiti in the background, the trash and leaves building up in the crease between the panels and the black granite floor. You can also see the edges of other advertisements and get a sense of the series of adds lining what appears to be a sidewalk in a downtown area. It is a small-yet-complicated image with lots to explore. In the end, however, my eyes gravitated back towards the photo's powerful statement of sexual freedom.
Although the explanation centers around the inevitability of lead exposure for the man on the bicycle, I felt that the strength of this image was that the truck seemed to be coming towards me, the viewer. The direction of the oncoming truck seemed to pull me into the image, making me feel the unavoidability of toxicity. Very powerful.
My eye is first drawn to Camila's hand and follows the direction that she is pointing. In the explanation, the filmmaker explains what Camila is pointing out and the image is effective in allowing us to feel a part of the moment, the tour of toxic materials as they enter Camila's barrio. Although a still image, it is easy to feel the movement of the moment that is captured.
My first focus stayed on the rectangular box that says “baby box” -> then the above orange box and its contents-> Finally, my gaze ended up at the two banners on the right pictures. While my eyes moved around these images, I tried to digest how these visualizations captured the toxicity of Shannon’s theme. The images capture a way of contemporary Korean society dealing with illegitimate children, who are with disabilities or unwanted, through religious organizations and adoption agencies.
This is the first image in your dataset that includes human subjects. Given that your other visualizations show data sets and visualizationsn of micro subjects, how does the inclusion of human subjects - or their exclusion - challenge our definition of "ethnography?"
My eyes moved from the top down, eventually focusing on the bottom two images. It was a little more difficult to discern the purpose of the last two images, and thus, I spent more time on them.