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Notes on external images: External images might be under copyright. If you do not get permission to use it, you may be in violation of copyright laws. In addition, you cannot control external images; they can suddenly be removed or changed.

The following is a listing of pictures electronically placed on the phonograph records which are carried onboard the Voyager 1 and 2 spacecraft. The contents of the record were selected for NASA by a committee chaired by Carl Sagan of Cornell University, et. al. Dr. Sagan and his associates assembled 115 images and a variety of natural sounds, such as those made by surf, wind and thunder, birds, whales, and other animals. To this they added musical selections from different cultures and eras, and spoken greetings from Earth-people in fifty-five languages, and printed messages from President Carter and U.N. Secretary General Waldheim. Each record is encased in a protective aluminum jacket, together with a cartridge and a needle. Instructions, in symbolic language, explain the origin of the spacecraft and indicate how the record is to be played. The 115 images are encoded in analog form. The remainder of the record is in audio, designed to be played at 16-2/3 revolutions per minute. It contains the spoken greetings, beginning with Akkadian, which was spoken in Sumer about six thousand years ago, and ending with Wu, a modern Chinese dialect. Following the section on the sounds of Earth, there is an eclectic 90-minute selection of music, including both Eastern and Western classics and a variety of ethnic music. Once the Voyager spacecraft leave the solar system, they will find themselves in empty space. It will be forty thousand years before they make a close approach to any other planetary system.

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Credit: National Astronomy and Ionosphere Center, Cornell University (NAIC)

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The diagram of male and female image is one of the pictures electronically placed on the phonograph records which are carried onboard the Voyager 1 and 2 spacecraft.Credit: Jon Lomberg

Please note that these images are copyright protected. Reproduction without permission of the copyright holder is prohibited.

Images must have text alternatives that describe the information or function represented by them. This ensures that images can be used by people with various disabilities. This tutorial demonstrates how to provide appropriate text alternatives based on the purpose of the image:

Informative images: Images that graphically represent concepts and information, typically pictures, photos, and illustrations. The text alternative should be at least a short description conveying the essential information presented by the image.

Decorative images: Provide a null text alternative (alt="") when the only purpose of an image is to add visual decoration to the page, rather than to convey information that is important to understanding the page.

Functional images: The text alternative of an image used as a link or as a button should describe the functionality of the link or button rather than the visual image. Examples of such images are a printer icon to represent the print function or a button to submit a form.

Images of text: Readable text is sometimes presented within an image. If the image is not a logo, avoid text in images. However, if images of text are used, the text alternative should contain the same words as in the image.

Complex images such as graphs and diagrams: To convey data or detailed information, provide a complete text equivalent of the data or information provided in the image as the text alternative.

Aside from sculpture and other physical activities that can create three-dimensional images from solid material, some modern techniques, such as holography, can create three-dimensional images that are reproducible but intangible to human touch. Some photographic processes can now render the illusion of depth in an otherwise "flat" image, but "3-D photography" (stereoscopy) or "3-D film" are optical illusions that require special devices such as eyeglasses to create that illusion of depth.

Copies of 3-dimensional images have traditionally had to be crafted one at a time, usually by an individual or team of artisans. In the modern age, the development of plastics and other technologies made it possible to create multiple copies of a 3-dimensional object with less effort; the advent and development of "3-D printing" have expanded that capability.

The word 'image' is also used in the broader sense of any two-dimensional figure such as a map, graph, pie chart, painting, or banner.[clarification needed] In this wider sense, images can also be rendered manually, such as by drawing, the art of painting, or the graphic arts (such as lithography or etching), rendered automatically by printing or computer graphics technology, or developed by a combination of methods.

On the other hand, some processes can be used to create visual representations of objects that are otherwise inaccessible to the human visual system. These include microscopy for the magnification of minute objects, telescopes that can observe objects at great distances, X-rays that can visually represent interior structures of the human body (among other objects), magnetic resonance imaging (MRI), positron emission tomography (PET scans), and others. Such processes often rely on the detection of electromagnetic radiation that occurs beyond the light spectrum visible to the human eye, converting such signals into recognizable images.

"Moving" two-dimensional images are actually illusions of movement perceived when still images are displayed in sequence, each image lasting less, and sometimes much less, than a fraction of a second. The traditional standard for the display of individual frames by a motion picture projector has been 24 frames per second (FPS) since at least the commercial introduction of "talking pictures" in the late 1920s, which necessitated a standard for the synchronization of images and sounds.[citation needed] Even in electronic formats such as television and digital image displays, the apparent "motion" is actually the result of many individual lines giving the impression of continuous movement.

The nature of images, whether three-dimensional or two-dimensional, created for a specific purpose or only for aesthetic pleasure, has continued to provoke questions and even condemnation at different times and places. In his dialogue The Republic, the Greek philosopher Plato described our apparent reality as a copy of a higher order of universal forms. As copies of a higher reality, the things we perceive in the world, tangible or abstract, are inevitably imperfect. Book 7 of The Republic offers Plato's "Allegory of the Cave," where ordinary human life is compared to being a prisoner in a darkened cave who believes that shadows projected onto the cave's wall comprise actual reality.[citation needed] Since art is itself an imitation, it is a copy of that copy and all the more imperfect. Artistic images, then, not only misdirect human reason away from understanding the higher forms of true reality, but in imitating the bad behaviors of humans in depictions of the gods, they can corrupt individuals and society.[according to whom?]

Echoes of such criticism have persisted across time, accelerating as image-making technologies have developed and expanded immensely since the invention of the daguerreotype and other photographic processes in the mid-19th century. By the late 20th century, works like John Berger's Ways of Seeing and Susan Sontag's On Photography questioned the hidden assumptions of power, race, sex, and class encoded in even realistic images and how those assumptions and how such images may implicate the viewer in the voyeuristic position of a (usually) male viewer. The documentary film scholar Bill Nichols has also studied how apparently "objective" photographs and films still encode assumptions about their subjects.

What makes them so powerful is that they circumvent the faculties of the conscious mind but, instead, directly target the subconscious and affective, thus evading direct inquiry through contemplative reasoning. By doing so such axiomatic images let us know what we shall desire (liberalism, in a snapshot: the crunchy honey-flavored cereals and the freshly-pressed orange juice in the back of a suburban one-family home) and from what we shall obstain (communism, in a snapshot: lifeless crowds of men and machinery marching towards certain perdition accompanied by the tunes of Soviet Russian songs). What makes those images so powerful is that it is only of relative minor relevance for the stabilization of such images whether they actually capture and correspond with the multiple layers of reality, or not. 006ab0faaa