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Dissertations / Theses on the topic 'Hyperreality'
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Curran, Kerrie Lea. "A tourist's guide to hyperreality destination : Disney." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23199.
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This thesis chronicles an attempt to delve into the murky world of image and semblance, illusion and contrivance. The examination and especially the celebration of image and style--of simulation--throughout recent cultural debate is incisively expressed through the framework of popular culture. Walt Disney World, as a cultural artifact and profit-making commodity, is the consummate model of all the entangled processes of popular culture: a turbulent melange of aesthetic, ethical, and sociological concerns.America is Disney World; borne of fantasy and ubiquitous iconism. Our cultural atlas reverberates with the energy of cinematic, pulsating and seductive imagery; restrained and unfulfilled by the voyeuristic stance of the pseudo-event.
This study registers a pilgrimage into the shadows of our own creative aspirations: how can we engage in exploring new possibilities for architectural making, addressing imaginatively and ethically the rupture of the fabric symbolically connecting the actor and the drama?
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Chohan, Imran Riaz. "Identity, hyperreality and Science fiction : Matrix and Neuromancer." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5779.
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My Bachelor’s thesis is a comparative analysis between humans and machines in a science fiction novel (Neuromancer) and a movie (Matrix). I explored in these works how the machines used technologies to influence on the humans. I used examples of characters from the text and movie along with the references of other writers writing on the same topic to help convey my message. I explored mainly the identity and reality issues among characters. William Gibson in Neuromancer portrays that technology has become a part of human body. While in the Matrix we see how machines are taking control on humans. In my thesis I started with Neuromancer and write about identity and reality issues of characters and artificial intelligences. In the second part of the thesis I write the same with the characters of the movie Matrix but also I compared these characters with characters of Neuromancer. Some other discussions in my thesis are about hyperreality, simulation, simulacra with reference to mostly Baudrillard. Overall this thesis explores the issues of identity and reality to the characters in the works and also to the readers as well. Key Terms: Identity, Reality, Hyperreality, Simulation, Simulacra.
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Edwards, Scott A. Jr. "Televisual Images in Presidential Politics: A Baudrillardian Reading of Bill Clinton's 1992 Presidential Campaign." Thesis, Virginia Tech, 1998. http://hdl.handle.net/10919/36866.
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Television's role in American presidential politics is significant; sixty percent of the American people identify television as their sole soure of news. Thus, a presidential candidate must do his best to appear favorably in the media. Some scholars have suggested that this involves the creation of an "image" which appeals to the electorate, even to the exent of creating the appearance of a "reality" unsupported by known facts.
We continue to explore the creation of these televisual images with the assistance of some insights made by a controversial french social theorist, Jean Baudrillard. Applying his ideas of hyperreality, simulation, "will to spectacle," fate, and power to Bill Clinton's 1992 appearance on 60 Minutes (in which he denys allegations of an affair with Geniffer Flowers) and that year's Democratic National Convention film, The Man from Hope, we corroborate the "image making" aspects of theories purported by Tim Luke and Joanne Morreale. However, we also suggest that the televisual images generated by the presidential campaign satisfy more than the candidate's political aspirations, they also fulfill a social demand for reality's production. Furthermore, we find that difficulties determining an image's meaning suggest that its appeal to the electorate is based more on "sentiment" than its ability to construct a comprehensive, consistent representation of reality. These arguments are then summarily applied to Monica Lewinsky's introduction into political discourse in late January and early February 1998.
Master of Arts
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Dornajafi, Saeed. "9 + 1 Towers." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/79962.
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There is a beauty to the absurdity of the moment at which there is almost no line between the real and the unreal. In such realm, an illusion, and yet the possibility, of a tower acts as a protagonist with which one can begin to let his imagination approve of the absurd, the too ambitious, the unlikely. The first nine towers are the outcome of my attempt to intertwine two arenas of photography and architecture. They investigate the possibility of compressing the reality of a place into a hyperreal image consisting of a photograph of the place, which acts as the site, and a fantastical addition. They also aim to document and express my memories of the places that I visited during my more than 15,000 miles of traveling over the past year. Each tower is an homage to the memory of its respective place.Master of Architecture
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Goodlander, Jeffrey. "'The Times They Are A-Changin' ': Hyperreality and Urban Crisis at Cincinnati's Findlay Market." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1393236378.
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Wolfaardt, Christel. "Disneyland : an aesthetic of postmodern consumer culture, hyperreality and semiotic content in the visual arts." Diss., University of Pretoria, 1996. http://hdl.handle.net/2263/23931.
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In this study Disneyland is analysed as a model for the creation of an aesthetic of Postmodern consumer culture, hyperreality and semiotic content. It explores Postmodern society and its visual art preferences, whilst revealing an ubiquitous aesthetic for Postmodern spectator-consumers as actors on the proverbial Postmodern stage. The various manifestations of 'Disneyfied' consumerism, hyperreality and semiotic content collectively reveal a society saturated with mass media produced imagery and messages. In this milieu, this study explores the responsibilities as well as opportunities that are presented to the artist via a Disneyland aesthetic. These include the awareness of stereotypic information in the mass media, the exercise of responsible choice over complacent spectatorship, the celebration of newly acquired imagery, as well as the discovery of richer semiotic essences that assist a society in redefining itself. The central fear of an Orwellian 'Big Brother' syndrome and entertainment or mass media bombardment, indicates a central problem in Postmodern society. In this connection, spectator-consumers are saturated with American cultural goods via imagery, mass media messages, and fabricated 'hyperrealities' which are regarded as master narratives. The final emphasis is placed on responsible choice and meditated comprehension of personal spectatorship, as well as the manifestation of the latent power of mass media in the Information Revolution era.AFRIKAANS : Hierdie studie ondersoek Disneyland as 'n model vir 'n estetiek van Postmoderne verbruikerskultuur, hiperrealiteit en semiotiese inhoude. Dit stel ondersoek in na die Postmoderne gemeenskap se spesifieke visuele kuns voorkeure, terwyl dit 'n onvermydelike estetika vir die Postmoderne toeskouer-verbruiker as protagonis in die Postmoderne milieu bied. Die onderskeie manifestasies van 'Disneyland-tipe' verbruik, hiperrealiteit en semiotiese inhoude skets 'n gemeenskap wat gelei word deur beeldmateriaal en boodskappe wat in die massa media voorkom. Hierdie arena bied vir die visuele kunstenaar sekere verantwoordelikhede en moontlikhede. Die studie weerspieel die wyse waarop die kunstenaar bewus moet bly van stereotipiese data wat in die massa media tentoongestel word, verantwoordelike keuses in plaas van blote passiewe toeskouerskap moet beoefen en nuwe jukstaplasings van beelde moet aanmoedig sodat waardevolle semiotiese essensies nuutgevonde definisie aan 'n gemeenskap kan gee. Die sentrale vrees vir Amerikaans-georienteerde media en vermaaklikheids oorheersing bly kommerwekkend in die Postmoderne gemeenskap. Toeskouer-verbruikers word deurgaans oorval met Amerikaanse kulturele goedere in die vorm van beelde, massa media boodskappe en nagemaakte hiperrealiteite. Die studie ondersteun die belangrikheid van verantwoordelike keuse en 'n begrip vir die manifestasie van die magsbeheer van die massa media in die era van die Inligtings Omwenteling.
Dissertation (MA)--University of Pretoria, 1996.
Visual Arts
Unrestricted
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Long, Vanessa Abigail. "Winning and losing in the hall of mirrors." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7499.
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Who are we? Why do we do the things we do? These questions are constantly under scrutiny, forever unable to provide us with adequate answers, it seems. Yet, with the continuing rise in popularity of digital media, we are able to situate these questions in a different sphere and see aspects of the self that we were unable to perceive before. Digital media forms have provided us with the capacity to explore whole new worlds, as well as allowing for new and innovative methods of communication. These changes make a huge impact on the daily lives of individuals. This thesis presents a theoretical contribution to both psychoanalytic thinking and to the rapidly expanding field of games studies, with especial reference to avatar-based games. It considers the status of the bond formed between the individual at play (known here as the ‘user’) and the game itself. Furthermore, it presents this as a model which identifies the user’s relation to the game dynamic through an understanding of the key components of a video game, including aspects such as the control mechanism. Elements which cross the boundary between the user/game realities are also considered with relation to hyperreality, thus forming a more complete imagining of this framework. This also allows for an application of this dynamic to what we define as violent (and associated) acts within games. In turn, this allows for a more complete understanding of the game situation, and can be applied to our understanding of the user as well. This thesis provides a standalone framework which can also be utilised in other types of investigation in future.
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Lauro, Reno E. "Beyond the colonization of human imagining and everyday life : crafting mythopoeic lifeworlds as a theological response to hyperreality." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3207.
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This work takes up urban historian Lewis Mumford's concern for the phenomena of planned and imposed ordering of human life and societies. Mumford (and others) suggests the problem consists in the use of external plans, technologies (and media) to manipulate, dominate, and even coerce forms of life. It is seen at its worst in war, and even forced systems like Nazism and Stalinism. But these phenomena also take more attractive and seemingly enriching forms. We will focus (along with Daniel Boorstin and Umberto Eco in their own way) on forms which have massively developed in 20th and 21st century society: market and consumer saturation, shaped by dominating mass electronic media. This situation is developed imaginatively, and inventively, yet problematically, in Jean Baudrillard's theory of Hyperreality –a critique of the Western hyper-consumer and media saturated world. But his methods and pictures are not followed here. We take up a very different approach and diagnosis; This approach has become increasingly multidisciplinary: phenomenological, praxeological, anthropological, and philological. We build it up in a reading of human lifeworlds in philosophers Martin Heidegger and Ludwig Wittgenstein, and anthropologist Tim Ingold. This work does not go in for a picture of language (and cinema) as a system of signification, but as Ludwig Wittgenstein describes it, as tools always already involved in forms of life. We also offer a unique characterization of corporeal imagining and the imaginative creation of lifeworlds, paving the way for what is described as philological resistance: this resistance is seen in the development of a certain praxeological philology and fully realized in the 20th century author J. R. R. Tolkien's mythopoeic concerns. We focus particularly on what we call the double- transfer: the cyclic structure between human artistry and life-world building, each shaped by the other. We endeavor, along with Mumford and others, to counter colonization and find various less manipulated and un-coerced forms of life, and their informal organizing structures. We examine in detail Tolkien's literary and philological project; and the 20th and 21st century's first art form –cinema. Through the philosophical exploration of cinematic craft in Gilles Deleuze, and in the craft of Terrence Malick we see, and are taken up in, the inextricable relationship between how we make, what we make and how we live everyday life.
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Becker, Mary Claire. "The scenic un•real." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6702.
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Biesboer, Allison Marie. "The process of designing animation and motion graphics as a visual response to surveyed opinions on hyperreality, reality, and film." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405623047.
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Horlacher, Stefan. "Daniel Martin, America, Faith in Fakes / Travels in Hyperreality und das Verschwinden der Realität: Überlegungen zum antizipatorischen Potential von Literatur." Gunter Narr Verlag, 2004. https://tud.qucosa.de/id/qucosa%3A37380.
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‘Caution: Objects in this mirror may be closer than they appear!' liest man nicht nur als Aufkleber auf zahlreichen Rückspiegeln, auch Jean Baudrillard bedient sich dieser Warnung in seiner umstrittenen 'Studie' America. Überträgt man diesen Appell zur Vorsicht auf die Literatur und ganz konkret auf den kontemporären Roman, so könnte dies bedeuten, daß sich lebensweltliche Prozesse - und im vorliegenden Fall: Modernisierungsprozesse - wesentlich schneller literarisch niederschlagen, als gemeinhin angenommen wird. Sollte das schon so häufig totgesagte Medium Buch, sollte der in Zeiten des Internet und der Echtzeitübertragung so unendlich langsam erscheinende seitenstarke Roman, sollte die Literatur sich nun plötzlich selbst als 'schnelles' Medium entpuppen, das ebenso sensibel wie unverzüglich auf außerliterarische Ereignisse reagiert?
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Topínková, Anita. "Noc ve mlýně." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232420.
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Kamis, Ben [Verfasser], Nicole [Gutachter] Deitelhoff, and Christopher [Gutachter] Daase. "Simulating international society: a semiotic reading of international rules from premodern counterfeit to postmodern hyperreality / Ben Kamis ; Gutachter: Nicole Deitelhoff, Christopher Daase." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2018. http://d-nb.info/1164077228/34.
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Kamis, Ben Verfasser], Nicole [Gutachter] [Deitelhoff, and Christopher [Gutachter] Daase. "Simulating international society: a semiotic reading of international rules from premodern counterfeit to postmodern hyperreality / Ben Kamis ; Gutachter: Nicole Deitelhoff, Christopher Daase." Frankfurt am Main : Universitätsbibliothek Johann Christian Senckenberg, 2018. http://d-nb.info/1164077228/34.
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Chladil, Jan. "Nové formy participace při obnově malých a středních měst." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2013. http://www.nusl.cz/ntk/nusl-233247.
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Main goal is analyse of contemporary status in restoration of Low Austria and South Moravia and eduction of results for steps which are leading to successful restoration in future. Confrontation of present method in restoration of country Low Austria and South Moravia and sighting of current trends in restoration on european level can show the way to project, when we want to pass on experience and to indicate the support of restoration and to participace with restoration abroad. Creating of vision is really good satisfaction of the work. Between limit South Moravia and Low Austria we can see historical parallel. I tis famous time of Austria – Hungarian monarchy, but also eco - devastation without plans and agro culture. Small and middle small cities of South Moravia begins in time after revolution with searching of new identity, with searching of new ways how to hold out market rivalry to another cities. Rightly effort to unfold and develop current system after the fashion of friends from Low Austria.
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Akamanti, Jeanie. "An Ontological Explication of Electronic Benefit Transfer as an Institutional Mechanism of Reification and Relations of Ruling." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/dissertations/166.
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This study explicates Electronic Benefit Transfer (EBT) as a textually mediated discursive management tool. EBT is the mandatory method for food benefits and replaces the previous food stamp coupons, but the broad reaching significance is that this program is just a developmental infrastructure. The goal of the U.S. Treasury is for all government transactions, approximately $2.5 trillion a year, to be electronically conducted (National Performance Review 1993). To initiate the process, they set the first target as the 126 government benefit programs, including Social Security, Social Security, Veteran's Administration, Student Loans, Medicaid, Medicaid, Unemployment, even tax refunds. The food stamp program (now called SNAP) was selected to develop the foundational architecture of EBT. It is the forerunner of things to come. With every transaction, EBT collects data not about shopping activities or food purchases, but social and life activities that are used to construct an institutional hyperreality. EBT is to create invisible access to and uninterrupted use of data as hypertext to manufacture and orchestrate a discursive hyperreality and ideologically imagined users. These data are a social hypertext (Smith 1990, 1999). They are connected and arranged, and applied in very specific ways to communicate, activate, and articulate social and institutional relationships. They are used to represent not the lived experience but the institutional view. While they have meaning and use in their original form, hypertexts take on new proportion and significance in terms of social relations. Using institutional ethnography, I begin with the standpoint of the lived experiences of people with disabilities using EBT as the point of entry, then follow EBT's workings to reveal how it is shaping social relations and hegemonic restructuring. Topics covered include disability, age, welfare, privatization, data mining, data warehousing, and socio-technical systems and products. They lead to findings I conceptualize as hyperveillance: the use of data not just for surveillance and control, but to reify social constructs and orchestrate ruling relations. Hyperveillance is how data as hypertext are institutionally managed to invisibly insert and mediate power, mediate interdependent discursive linkages, and orchestrate social relations on both and individual and class level. To achieve this, I analytically explicate a five step Hyperveillance Circuit in terms of a digital dialectic. It begins with the swipe of the EBT card that generates the data (i.e., hypertext) and follows it through collection, analysis, ideological assemblage, and finally, its use to construct events in the institutional lens to reify hyperreality and sociological constructs. Along the hyperveillance circuit, I make analytical departure that informs broader social relations and hegemonic restructuring. This includes analytic indulgence to the fact that data as hypertext are mined, warehoused, and cross-matched with up to 2000 additional databases, and shared with other institutions and agencies for a virtually endless array of applications. At this point, I examine the implications of the ubiquitous and atemporal aspects of these practices of hyperveillance to include how they are changing social relations and how they contemporize foundational sociological concepts, especially objectification, interaction, and reification. Another analytical direction inculpates a hyperveillance industry: the government pays private companies to use the hypertext to manufacture socio-technical products that reify institutional ideology, then the companies further their profits and power by selling the products back to the government. These finding lead me to offer a Dynamic Model of Institutionalization as a research tool to explicate other digital discourses and socio-technical processes. It consists of three primary components - a target population, a dialectic of hypertext, and a legislated policy; ideology is used to unify and operationalize discursive workings. Throughout my work, the supporting analytical framework is digital discourse consisting of hypertext and what I conceptualize as hyperveillance. My research on EBT shows how hyperveillance is weaving itself into our social fabric as a way of life, and into ruling relations as an `improved' discursive approach. EBT has been uncontested and unrecognized as a discursive management tool and insertion of social and ruling relations. My research changes that, but what remains unanswered is the extent to which EBT, digital discourse, will ultimately change our social structure.
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Elley, Benjamin. "The New Gnostics: The Semiotics of the Hipster." Thesis, University of Canterbury. School of Language, Social and Political Sciences, 2014. http://hdl.handle.net/10092/9175.
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This thesis forms a sociological investigation of the ‘hipster’ subculture that has grown in importance in recent years. Using the methodology of semiotic analysis, it examines the trends and themes shown by the images that hipsters post on the microblogging website Tumblr, as well as analysing hipster journalism, texts and companies. This communication is conceptualised with reference to Jean Baudrillard’s theory of hyperreality in order to show that hipsters communicate in a way that distorts the perception of real space and results in the abstraction of the meaning of ideas like “global” and “local”. It also explores the importance of secret knowledge in a community that manages to be both secretive and extremely open, comparing this example with the historical case of the Beat Generation, who hipsters have adopted as their progenitors, and discusses how their influence drives the hipster to view the world as a literary text to be re-read and re-interpreted.
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Ekman, Nathalie. "Lev med SKAM : En kvalitativ studie om hur transmedialitet kan minimera gränsen mellan fiktion och verklighet." Thesis, Stockholms universitet, Institutionen för mediestudier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143986.
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SKAM (”Shame”) is a Norwegian WebTV-series which portrays several youths during their time in high school. Each season addresses a new main character whom treats or is subjected to the feeling of shame. The WebTV-series is unique in its way of not being shown on the traditional television. Instead the series is shown on the digital play-service NRK and SKAM’s own blog. SKAM is transmedia in its way of using social platforms to expand and give new perspectives and stories to the fictional world. For example, the characters obtain authentic Instagram profiles where the viewers can to comment, like or follow the characters. The aim of this study was thus to explore what kind of relationship between fans establish with the fictional characters of SKAM when using transmedia storytelling and why they interact with the phenomenon’s social platforms. The paper also examines in which way SKAM is using transmedia storytelling. The paper is restricted to the platform Instagram and an audience segment called “fans”. This due to the time restriction for the paper to dictated as well as “fans” being the most exploited to extend a fictional world in form of social and cultural activities. The scientific questions attempt to be answered by interviewing a focus group along with carrying out a semiotic image analysis. The results showed that the way SKAM was using the transmedia storytelling in a realistic manner which created a similar form of hyperreality in which parasocial relationship and emotional realism could be formed. This due to Instagram being already an integrated platform in the fans lifestyles. The integrated platform along with the similar hyperreality allows the fans to interact or have the illusion to interact with the characters in a manner which portrays them as social friends. Creating a social bond from the fans to the characters. The characters Instagram profiles portrays in a realistic manner with text and pictures. Their problems, emotions and lifestyle creates a solid connotation to the audience. Making the fans laugh, cry and feel with the characters and wanting to engage in their life. The transmedia storytelling lets the fans engage with the character and letting new perspective of their realistic lives being portrayed. Creating parasocial and emotional realism.
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Forsberg, Elin, and Amanda Johansson. "Hur synen på kärlek påverkas av digital media." Thesis, Mittuniversitetet, Institutionen för ekonomi, geografi, juridik och turism, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-41687.
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Studiens avsikt har varit att studera en ny, indirekt, inriktning av forskningsfältet upplevelseekonomi (experience economy) som inte tidigare behandlats, till skillnad från fältets klassiska, direkta inriktning. Studien har avgränsats mot dokusåpor, då det idag kan anses vara en del av den “nya”, indirekta upplevelseekonomin i dagens post-moderna samhälle. Fältet har tidigare avsett ett direkt värdeskapande som kommit till följd av produkter och tjänster, men idag avser upplevelser även indirekta sinnesintryck som skapas av andra, exempelvis genom att titta på dokusåpor där vi upplever genom att titta på deltagarnas känslor och miljöer. Studien har försökt att studera hur denna indirekta inriktning kan påverka vår uppfattning av äkthet, det vill säga verklighets-uppfattning, när det gäller att särskilja simulationer från verklighet, även kallat hyperverklighet. Vidare har studien avsett att undersöka millennier, (de som är födda mellan år 2000 och 2010, och har haft tillgång till teknik och sociala medier allt sedan uppväxten), och hur deras uppfattningar och känslor kring kärleksrelationer påverkats av de sinnesintrycken från dokusåpornas innehåll som många gånger fokuserar på drama för att skapa underhållning (exempelvis Paradise Hotel, Love Island, Bonde söker fru, Middag med mitt ex etc.). Den huvudsakliga slutsatsen från studien är att millenniers uppfattning av kärleksrelationen kan påverkas till följd av de sinnesintryck som uppkommer vid konsumtion av dokusåpor. Studien tyder också på att tillit och externa faktorer som ekonomi och politik idag spelar lika stor roll, om inte större roll, i kärleksrelationer, än kärleken i sig.The purpose with this study has been to examine a new, indirect alignment in the field of experience economy. The field has not previously been studied, unlike the more classical, direct approach of the field. The study has been delimited, and thus only reviews the recent phenomenon, reality shows - a phenomenon which in recent times has seemed to increase significantly and is an example of the “new”, indirect experience economy in today’s postmodern society. Previously, the field of research put its main focus on the development of products and services, but as for today experiences are created in new ways, by a different kind of stimuli. such as sensory expressions given by other people in our surroundings. The study examines how this indirect alignment can affect our perception of what is fake and what is original (authenticity), also called hyperreality. Furthermore, the study reviews how millennials’ (those who were born between 2000 – 2010, and furthermore have had access to the digital technology and social media all their life) feelings and perceptions of relationships (of love) are influenced by the consumption of reality shows whose content mostly depicts drama (for example Paradise Hotel, Love Island, Bonde söker fru and Middag med mitt ex). The main conclusion of this study is that millennials’ expectations of relationships (of love) can be affected by the sensory impressions received from other people or from the experiences received by consuming reality shows in a frequent manner. The study also indicates that trust and other external factors, such as economics or politics, as for today play a bigger role in the development of long-lasting relationships (of love). Love (expressed in feelings) itself tends to be secondary and not nearly as important.
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Hancock, Joseph Henry II. "“These Aren’t the Same Pants Your Grandfather Wore!” The evolution of branding cargo pants in 21st century mass fashion." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1174323221.
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King, John. "Soft Focus: The Invisible War For Reality." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1626953472815601.
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Shackell, Cameron. "Finite semiotics: A new theory of semiotics with applications to information technology." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/130796/1/Cameron_Shackell_Thesis.pdf.
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This study presents a new theory of semiotics (the study of signs). The theory, called finite semiotics, proposes that the growing effects and challenges of technology, as well as signs themselves, can be better understood by examining our cognition in finite, quantitative terms. Two illustrative applications of the theory are developed. The first addresses the ethical problem of accountability for technology's effects by introducing a new concept of cognitive externalities. The second derives a computational method for automating opposition analysis, a technique central to applied semiotics.
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Sánchez, Torrents Jordi. "La ciutat emergent: de l'urbanisme a la ciutat hiperrealitzada." Doctoral thesis, Universitat Ramon Llull, 2012. http://hdl.handle.net/10803/98252.
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Aquesta tesi presenta un proposta teòrica per analitzar la ciutat i la seva transformació; d'una ciutat planificada, continguda en els seus murs, de pedra i de maó, lligada al temps i a l'espai a una ciutat desbocada i planetària, en xarxa, fragmentada, sense geografia ni història, infovirtual generada per les TIC.
La tesi es divideix en tres grans blocs. Per una banda, en el primer bloc, es presenta la 'ciutat projectada' que recull la idea fonamental que la ciutat ha estat construïda tant amb els fils de !'instrumental físic com amb el de les idees. D'altra banda, un segon bloc, titulat la 'ciutat realitzada' on s'exposen algunes de les teories d'aproximació a la ciutat moderna i contemporània fent especial èmfasi en les teories de la ciutat lligades a l'espectacle i el consum.
Per últim, el tercer bloc, gira al voltant de la noció de 'ciutat hiperrealitzada'; una ciutat infovirtual que accelera i emfasitza els atributs de la ciutat contemporània. La ciutat queda fragmentada a bocins mentre la línia entre realitat i il•lusió s'aprima. La ciutat hiperrealitzada és el reflex d'una nova manera de pensar.Esta tesis presenta una propuesta teórica para analizar la ciudad y su transformación; de una ciudad planificada, contenida en sus muros, de piedra y de ladrillo, atada al tiempo y al espacio a una ciudad desbocada y planetaria, en red, fragmentada, sin geografía ni historia, infovirtual generada por las TIC. La tesis se divide en tres grandes bloques. Por un lado, en el primer bloque, se presenta la 'ciudad proyectada' que recoge la idea fundamental que la ciudad ha sido construida tanto con los hilos del instrumental físico como con el de las ideas. Por otro lado, un segundo bloque, titulado la 'ciudad realizada' en la cual se exponen algunas de las teorías que nos aproximan a la ciudad moderna y contemporánea remarcando muy especialmente las teorías sobre la ciudad vinculadas al espectáculo y al consumo. Por último, el tercer bloque, gira alrededor de la noción de 'ciudad hiperrealizada'; una ciudad infovirtual que acelera y acentúa los atributos de la ciudad contemporánea. La ciudad queda fragmentada en pedazos y aparece una nueva manera de pensar a tono con el pensamiento contemporáneo que adelgaza la línea entre realidad y la ilusión.
This thesis presents a theoretical framework for the analysis of the city in its transformation; from a planned city, contained within its walls, made of mortar and stone and settled in time and space, to an unbridled, planet-wide city, networked, fragmented, unbound from geography and history, infovirtual and ICT-generated. The thesis is divided in three sections. The first one introduces the "projected city", reviews the fundamental idea that a city is built with physical tools as much as it is built with ideas. The second section, titled the "realized city", puts forward some theories to approach the modern, contemporary city, making special emphasis in models that deal with the concepts of entertainment and consumerism in the city. The third and last section pertains to the "hyperrealized city"; an infovirtual city that speeds up and brings out all the qualities of the contemporary city. The city itself is shattered, and a new way of thinking about it is born, all while the line between reality and illusion gets ever thinner.
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Špakauskas, Jaunius. "Realybė ir hiperrealybė antrojoje modernybėje: Jungtiniai Arabų Emyratai – šalis, kurios nebuvo." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110609_090432-28901.
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Šis tarpdisciplininis magistro darbas yra konceptuali galios ir realybės (tam tikra prasme ir autentiškumo) studija. Viena nuo kitos sunkiai atsiejamos pastarosios sąvokos yra analizuojamos per tris plačius teorinius pjūvius – hiperrealybę, orientalizmą bei šiuos procesus katalizuojančią ir iš dalies logistinę funkciją atliekančią antrąją modernybę.
Galios ir realybės santykis darbe analizuojamas ne tiek per fizinį silpnesniojo pavergimą, kiek mėginimus modifikuoti tikrovę bei vaizdinių pagalba kurti hiperrealybę, subordinuotą galios subjekto interesams. Atvejo studijai pasirinkta galios implikuota Jungtinių Arabų Emyratų (JAE) hiperrealybė bei sąlygas jos atsiradimui paklojusi antroji modernybė.
Atlikta empirinė ir teorinė analizė atskleidžia, jog įspūdingi Emyratų kultūros objektai, iliustruojami leksinėmis hiperbolėmis ir kvapą gniaužiančiais vaizdais, tėra simuliakras, neatspindintis tikrovės ar vietos kultūros, bet siekiantis pačią tikrovę pakeisti. Be to, JAE yra naujos rūšies simuliakras, kurio esminiu požymiu galima laikyti vertybiškai svetimos kultūros perėmimą bei pavertimą „sava“, siekiant simbolinio pripažinimo.
Šio Emyratų, kaip globalaus pasaulio galios centro, pripažinimo, kuris yra ir šalies modernizacijos katalizatorius, ir nedemokratinio valdančiojo režimo legitimacijos įrankis, siekiama drastiškai aukojant autentiškumą bei kuriant „faraoniškus“ kultūros projektus, kurie šiame darbe laikomi kultūros utopija. Be to, autentiškumo ignoravimas ir Oriento (JAE)... [toliau žr. visą tekstą]This interdisciplinary Master thesis is a conceptual investigation of power and reality (in a sense of authenticity as well). The following concepts which are hardly distinguishable from each other are analyzed via three theoretical layers – hyperreality, orientalism and the late modernity which works both as a catalyst for these processes and as a logistical tool. The relation between power and reality is revealed not through physical subjugation of the weaker but rather through the attempts to modify reality and with the help of images to create hyperreality that is subordinated to self-interests of the mighty. As the case study the power implicated hyperreality of United Arab Emirates (UAE) and the second modernity that conditioned it has been chosen. Empirical and theoretical analysis reveals that spectacular Emirati cultural objects, illustrated by lexical hyperboles and breath-taking images merely is a simulacra that does not reflect reality or local culture but seeks to alter that reality. Furthermore UAE is a new kind of simulacra characterized by accepting and transforming into “their own” the foreign culture that is alien to the one found within local cultural context in order to obtain symbolic recognition. The symbolic recognition of Emirati as one of the hubs of global power is both the catalyst of Emirati modernization and the instrument of legitimacy of the ruling elite. This recognition is pursued by ‘pharaonic’ cultural objects (cultural utopia) and... [to full text]
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Howard, Nicole Marie. "Irrational paratext : manipulated paratext in the gothic postmodern novels house of leaves, the adventuress, and the three incestuous sisters." Thesis, University of Canterbury. English, 2015. http://hdl.handle.net/10092/10092.
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Mark Z. Danielewski's House of Leaves and Audrey Niffenegger's two visual novels The Three Incestuous Sisters and The Adventuress all contain examples of manipulated paratext - paratexts being the devices involved in the presentation of the text such as titles, author names, font, introductions, illustrations, appendices, advertising, and interviews. The emphasis these authors place on these usually inconspicuous devices is an expression of the irrational themes contained within these texts. The irrational is an underlying theme of the Gothic genre and through examining the use of manipulated paratexts this thesis demonstrates how these texts make use of the irrational Gothic elements that are present within the postmodern. While Danielewski and Niffenegger both have these similar themes, the effects they create are extremely different. Niffenegger creates écriture feminine, or feminine writing as described by Hélène Cixous, by prioritising illustrations that feature marginalised bodily expression in order to convey the narrative rather than text. Danielewski, on the other hand, produces a text that is a pure pastiche of Gothic and postmodern devices in order to emulate the postmodern media in its creation of hyperreality and to reproduce the sensation of a media that possesses and changes its consumers. House of Leaves is the instigator for a number of similar texts that have been published since the turn of the millennium which will be considered an emerging literary movement.
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Gheirart, Oziel. "O desassossego da permanência pós-moderna: subjetividade, cenas midiáticas e cultura do consumo." Escola Superior de Propaganda e Marketing, 2009. http://tede2.espm.br/handle/tede/219.
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The digital project has been implemented in the Post-Modernity as something discontinuously decisive. With the help of the mediatic polyphony, which promotes this transposition to the imateriality, the subject disconnect to invisible fields. The reality is violently altered by virtuality. Life becomes eternal and present through new spacial categories, time and speed. The old model of the subject shatters when it is confronted to a new mobile culture, which starts getting a form. The experience is brutally altered in its re-enchantment, in the process of estheticizing life, in the inverted logic of consume and is reflected in the constitution of culture. The latter needs new forms to inteerpret the new reality. Thus, the concretion of exteriority and of the ephemeral become autonomous in a still misty horizon. In a world whose mark is the ephemeral, how can one still think of an individual who can still feel enchantment for society? How can the perspective of the human being as a transforming-agent be possible in a society dominated by individualism, the lack of social compromise and even eye-to-eye contact among people? The routine of our "modern times" has been devoured by the technological voracity and by the ferocity of capital. Those seem to divide and make any chance of re-grouping, of fellowship, of "alive and kicking" humanity, of utopia. Thus, what intertwines the actions is an uncanny feeling, a unquietness. How can the subject be thought amongst that all? Such reflexions have emerged in this work, which aims to not only a diagnostic of our present situation - a world in which so many technological communication resources make us go beyond our real condition to escape from our own reality - but also to new possibilities.
O projeto digital foi implementado na pós-modernidade como algo descontinuamente decisivo. Com a ajuda da polifonia midiática, que promove essa transposição para a imaterialidade, o sujeito se descola para as terras invisíveis. Com a virtualidade, altera-se violentamente o real – a vida se eterniza e presentifica pelas novas categorias de espaço, tempo e velocidade. O modelo antigo de sujeito se estilhaça, frente a uma nova cultura móvel que vai se incorporando. A experiência se altera brutalmente no seu reencanto, na estetização da vida, na lógica invertida do consumo e reflete na constituição da cultura – que necessita de novas formas para interpretar esse novo real. Com isso, a concretização da exterioridade e da eferemidade se autonomizam, num horizonte ainda nebuloso. Num mundo em que o efêmero é uma marca, como pensar num individuo que possa ainda se reencantar pela sociedade? Numa sociedade em que o individualismo, a falta de compromisso social e até mesmo de contato “olho no olho” entre as pessoas predomina, como ainda ter perspectivas com o ser humano enquanto agente de transformação? O cotidiano dos nossos “tempos modernos” foi devorado pela voracidade tecnológica e pela ferocidade do capital que divide e parece tornar impossível qualquer chance de re-aglutinamento, de companheirismo, de humanidade “ao vivo e em cores”, de utopia. Então, o que permeia as ações é um desconforto, um desassossego. Como pensar o sujeito em meio a tudo isso? São reflexões como essas que são suscitadas por esse trabalho, que, mais que busca fazer um diagnóstico sobre a situação como nos encontramos hoje – num mundo em que tantos recursos comunicacionais e tecnológicos nos fazem mais extrapolar nossa condição real para fugir da nossa própria realidade –, indica novas possibilidades.
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Bäck, Mikaela, and Jesper Johansson. "Minimalism kontra hyperrealism i skräckmedias ljuddesign." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20523.
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Två olika ljudläggningar, en hyperrealistisk och en minimalistisk, skapades till ett videoklipp av en spindel i ett datorspel för att undersöka och jämföra upplevelsen av dessa olika ljuddesignskoncept i relation till varandra. Frågan som besvarats lyder;“Hur upplevs minimalistisk kontra hyperrealistisk ljuddesign i kontext av skräckmedia?”. Arbetet har inspirerats av spindlars verkliga läten samt filmer och datorspel som innehåller jättelika spindlar eller insekter, vilket har kombineras med författarnas uppfattning och definitioner av minimalistisk och hyperrealistisk ljuddesign. Ljud har spelats in och signalbehandlats för att ljudlägga videoklippen. Denna artefakt testades med hjälp av åtta deltagare som fick se de två olika versionerna av videoklippen och sedan svara på relaterade frågor i en enkät. Den hyperrealistiska ljudläggningen var den föredragna av majoriteten av deltagare på grund av att den upplevdes mer obehaglig och för att den minimalistiska ljudläggningen uppfattades som ofullständig. Dock föredrog vissa deltagare den minimalistiska ljudläggningen då ljuden upplevdes tydligare och därmed mer obehagliga.Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.
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Ogungbemi, Funke Jaiyeola nee. "Collaborative Virtual Environments : Identity Construction in Online Environments with a Focus on Facebook." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-3844.
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Abstract My essay focuses on the construction of identity in virtual spaces but with an emphasis on Facebook. The purpose of my thesis is to analyze the construction of identities online and the characteristics attributable to online identities. Also, I attempt to draw a comparison between the modernist and postmodernist concept of self presentation and how they operate. With my essay, I demonstrate that the modernists view of self presentation online is arguably faulty by showing that contrary to their views identities are not stable nor fixed bur are fluid and constantly changing through the availability of technologically advanced computer languages and again by outlining the availability of tools that enable users create, and/or distort their identities Also, with my essay, I explain how these identities are maintained through a process called “impression management”. I analyze identity construction through the eyes of theorists like Erving Goffman, who proposes that we actors performing our identities, Sherry Turkle, who evaluates identity construction in the age of the internet and other theorists like Judith Butler, Joanne Finkelstein, Peggy A Thoits, Annette N Markham, Zizi Papacharissi among others. Digital Artifact: creation of a website that adopts a performative nature to depict the unstable locus of identity on Facebook. In order to achieve this, I would work on HTML, Flash, Photoshop to create a constantly changing array of texts and images using actual images from selected Facebook users’ accounts and actual status updates. Keyterms: Identity, Medium/Media, Nomenclature, Hyperreality, Representation, Culture and Performance.0704083287
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Sjödin, Jenny, and Ksenia Barazi. "Instagram – vår tids hyperverklighet : En studie om hur små symbolförändringar påverkar konsumentens uppfattning av den hyperverklighet som marknadsförare försöker framställa i sociala medier." Thesis, Högskolan i Gävle, Avdelningen för ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-21831.
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Syfte: Vårt syfte med denna studie är att förstå hur små symbolförändringar påverkar konsumentens uppfattning av den hyperverklighet som marknadsförare försöker framställa på Instagram. Metod: I denna studie har en kvantitativ undersökning genomförts. Vår empiri har samlats in genom en enkätundersökning och därefter analyserats i statistikprogrammet SPSS. I programmet utfördes en korrelationsanalys, faktoranalys samt en klusteranalys. Resultat & slutsats: Resultatet visar att små symbolförändringar i en bostadsannons påverkar konsumentens uppfattning av den hyperverklighet som marknadsförare försöker framställa på Instagram. Av symbolerna exteriör, interiör, trendig inredning, naturligt ljus och gröna växter som finns i bostadsannonser är trendig inredning den symbol som har störst påverkan på konsumenternas uppfattning av den hyperverklighet som presenteras. Vår slutsats är att fastighetsmäklare och marknadsförare därför främst bör fokusera på att bostadsannonsen innehåller trendig inredning. Förslag till fortsatt forskning: Att genomföra denna studie med hjälp av en ögonskanner som mäter vad ögat tittar på i en bostadsannons. Detta skulle ge en djupare förståelse för vilka symboler som ögat dras till. Uppsatsens bidrag: Bostadsannonser som publiceras av marknadsförare på Instagram är idag väldigt likartade. Vår studie visar att det är de små subtila symbolförändringarna som har en påverkan på konsumentens uppfattning av den hyperverklighet som marknadsförare presenterar.Aim: Our aim with this study is to understand how small symbolic alterations affect the consumer's perception of the hyperreality that marketers are trying to portray on Instagram. Method: In this study, a quantitative survey was carried out. Our empirical data were collected through a questionnaire and then analyzed in the statistical program SPSS. The program conducted a correlation analysis, factor analysis and a cluster analysis. Result & Conclusion: The results show that small symbol alterations in a real estate ad affect consumers' perception of the hyperreality that marketers are trying to portray on Instagram. Of the symbols exterior, interior, trendy decor, natural light and green plants found in real estate ads are trendy decor the symbol that has the greatest impact on consumers' perception of the hyperreality presented. Our conclusion is that real estate agents and marketers, therefore, should primarily focus on residential image contains trendy decor. Suggestions for further research: To carry out this study, using an eye scanner that measures what the eye is watching in a image that represents a real estate ad. This would provide a deeper understanding of the symbols that appear in a real estate ad that the eye is drawn to. Contribution of the thesis: Today real estate ads posted by marketers on Instagram is very similar. Our study shows that it´s the small symbolic alterations that have an impact on the consumer's perception of the hyperreality presented.
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Moore, Douglas C. "Fahrenheit 451: Tempreture Rising." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1282686419.
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Westerlund, Anna-Vira. "En simulerad yrkesroll? : Baudrillard, hyperrealitet och examensordningen." Thesis, Linnéuniversitetet, Institutionen för pedagogik och lärande (PEL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-98936.
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Studien har undersökt huruvida den specialpedagogiska diskursen så som den presenteras i examensordningen kan sägas generera en hyperreell specialpedagogisk yrkesroll. Det empiriska materialet bestående av examensordningarna för specialpedagogutbildningen (1993-2017) har analyserats med diskursteoretisk metod för att sedan placeras i relation till Jean Baudrillards teorier om det postmoderna samhällets simulerade verklighet. Studiens resultat visar att om examensordningens specialpedagogiska diskurs placeras inom ramen för en Baudrillariansk analys så finns det gemensamma nämnare som kan tolkas som genererande en hyperreell yrkesroll. Dessa gemensamma nämnare diskuteras med hjälp av tidigare forskning, diskursteori och Baudrillards teoretiserande av fenomen inom ramen för det postmoderna samhället. De specialpedagogiska implikationer som skulle kunna bli konsekvensen av ett hyperreellt yrkesutövande utreds också och placeras i en mer konkret, elevnära kontext.
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Lachat, Amélie. "Comment la qualité technique de l’image médiatisée par un écran ultra haute définition modifie-t-elle le traitement cognitif de l’information, la qualité d’expérience, et le rapport à la réalité ?" Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLED015/document.
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L’écran est une interface omniprésente utilisée quotidiennement. Sur-sollicité par les écrans, l’individu ne peut pas percevoir l’intégralité des informations. La compréhension de l’attention portée aux contenus médiatisés est un enjeu crucial dans la stratégie marketing. Un paramètre n’a pas été pris en compte dans les précédentes études: la qualité technique de l’image médiatisée. Elle peut être définie comme l’ensemble des paramètres suivants : la définition, la fréquence image, la luminosité et la couleur. Pour mesurer la perception de l’amélioration de ces paramètres, une phase exploratoire a été menée comprenant un test de qualité perçue, un focus group et des entretiens. Une phase empirique confirmatoire a suivi pour étudier l’attention visuelle et la mémorisation de l’information médiatisée grâce à deux expérimentations. Une série d’entretien et un focus group ont permis d’étudier l’hyperréalité dans l’image médiatisée et son impact sur l’immersion et la qualité d’expérienceThe screen is a ubiquitous interface daily used. Overextended by screens, the individual cannot perceive all the information. Understanding the visual attention to media content is a crucial issue in the marketing strategy. A parameter of the mediated image has not been taken into account in the studies conducted so far: the technical quality of the image. It can be defined as the set of parameters that objectively compose an image: the definition, the image frequency, the brightness dynamics and the color. To measure the perception of the improvement of these parameters, an exploratory phase was conducted including a perceived quality test, a focus group and interviews. A confirmatory empirical phase followed to study the visual attention and memorization of mediated information through two experiments. A series of interviews and a focus group explored hyperreality in the mediated image and its impact on immersion and quality of experience
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Artrip, Ryan Edward. "Virulence and Digital Culture." Diss., Virginia Tech, 2016. http://hdl.handle.net/10919/80512.
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This dissertation is a theoretical study of the role of virality/virulence as a predominant technological term in the reproduction of social and cultural information in the digital age. I argue that viral media are not new phenomena, only the name is new. Media have always behaved as viruses; it is only when they become hyper-intensified in digital technology that their virulent function surfaces in language and culture. The project examines processes of self-replication and evolution undergone by various new media phenomena as they relate back to the global profusion of social networks, data centers, and cybernetic practices. Drawing from several contributions in media theory, political and social theory, and critical media studies, I argue that digital media have a hyper-intensifying effect on whatever objects, subjects, or realities they mediate or represent; thus networked societies are virulently swarmed by their own signs and images in information. Through an examination of three primary categories of digital proliferation—language, visuality, and sexuality—I situate digital culture in a framework of virulence, arguing that the digital may be best understood as an effect of cultural hyper-saturation and implosion. I argue that virulent media networking processes come to constitute a powerful cybernetic system, which renders the human subject a mere function in its global operations. Lastly, I begin to develop a political critique of cybernetics, claiming that the proliferation of information, digital media, and communicative/representational technologies in the contemporary world emerges through an intensified ideological, economic, social, cultural, and metaphysical framework of productivism. This intensification engenders a system, or series of communicational circuits, whereby all techno-subjective activities are strategically stimulated, networked, recorded, and algorithmically appropriated to strengthen and reproduce 1) a global productivist system of cybernetics; 2) The material and ideological conditions for such a system to exist and thrive; 3) limitless virtual and digital production.Ph. D.
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Moody, Kyle Andrew. ""Why so serious?" comics, film and politics, or the comic book film as the answer to the question of identity and narrative in a post-9/11 world /." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1249507295.
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Zanini, Claudio Vescia. "The orgy is over : phantasies, fake realities and the loss of boundaries in Chuck Palahniuk's Haunted." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36013.
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Este trabalho tem por objetivo apresentar o romance Assombro, de Chuck Palahniuk, como retrato e sintoma do comportamento da sociedade pós-moderna ocidental, cujos valores correspondem, de acordo com palavras do próprio autor, ao “inverso do sonho americano”. A principal característica de tal sociedade é a dificuldade dos indivíduos em lidar com as exigências e constantes mudanças nos âmbitos individual, social e psicológico, o que se configura na obra do escritor estadunidense através de personagens marginais em busca (na maioria das vezes, aparentemente inconsciente) de autoaceitação ou adaptação social. A leitura desenvolvida aqui se baseia principalmente nos escritos do teórico francês Jean Baudrillard, que apresenta o pressuposto de que o mundo contemporâneo encontra-se num estado de “pós-orgia”, assombrado por três fantasmas que o teórico chama de câncer, travesti e terrorismo, os quais simbolizam questões sociais contemporâneas relacionadas à política, sexualidade, comunicação e relacionamentos humanos, entre outros aspectos. Os conceitos de Baudrillard que norteiam a análise são: 'estado de pós-orgia', 'hiperrealidade', 'simulação', 'virulência' e 'sedução' e 'fantasmas'. O trabalho também apresenta as características da literatura de Chuck Palahniuk e sua recém-iniciada fortuna crítica, apontando os principais aspectos da sociedade pós-moderna presentes em suas obras e culminando em um cotejo de Assombro com o gótico e sua vertente pós-moderna, além de uma comparação entre a dinâmica estabelecida entre as personagens do romance e aquela percebida nos reality shows e falsos documentários (mock-documentaries). A conclusão retoma aspectos na estrutura, imaginário e conteúdo do romance, que permitem defini-lo como retrato e sintoma de uma nova configuração social, resultado das inevitáveis mudanças por que o mundo passa.This dissertation aims at presenting Chuck Palahniuk‟s novel Haunted as a portrait and symptom of the behavior perceived in the postmodern Western society, whose values, according to the author himself, correspond to “the opposite of the American Dream”. The main characteristic of such society is the individuals‟ difficulty in dealing with demands and constant changes in the individual, social and psychological spheres, a fact observed in the work of this American writer through the presence of marginal characters in a more often than not apparently unconscious search of self-acceptance or social adaptation. The reading proposed is mainly based on the writings of French theoretician Jean Baudrillard, who presents the assumption that the contemporary world is in a “post-orgy” state, haunted by three phantasies he denominates cancer, transvestitism and terrorism, which symbolize contemporary social issues related to politics, sexuality, communication and human relationships, among other aspects. The concepts by Baudrillard that underlie the analysis are: 'post-orgy state', 'hyperreality', 'simulation', 'virulence', 'seduction' and 'phantasies'. The work also presents the features of the literature produced by Chuck Palahniuk and its newly-started critical fortune, highlighting the main aspects of postmodern society present in his works, culminating with an approximation of Haunted to the postmodern variation of Gothic literature, besides a comparison between the dynamics established among the characters in the novel to the one perceived in reality shows and mock-documentaries. The conclusion strengthens aspects in the structure, imaginary and content of the novel that enable the definition of Haunted as portrait and symptom of a new social organization, resulting from the inevitable changes the world goes through.
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Berthelot, Martin R. "Spectacle and Resistance in the Modern and Postmodern Eras." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24272.
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The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252
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Järpeskog, Timo M. "Hyperrealitet, perceptionsfenomenologi och relationsinramning : Prövandet av en teoretisk förklaringsmodell med utgångspunkt från en kritisk undersökning av forskning om naturens läkande egenskaper." Thesis, Högskolan i Gävle, Religionsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-27284.
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Denna masteruppsats diskuterar naturens läkande effekt på människan genom att analysera nuvarande forskningsläge i både svenskt och internationellt perspektiv. Analysen förstås genom en teoretisk modell som baserar sig på ekologisk perceptionsfenomenologi, hyperrealitet och relationsinramning. Uppsatsens slutsats är att naturens läkande effekt kan förklaras med en perceptiv relation mellan människan och den mer-än-mänskliga världen, men också, att mer forskning behövs.This master thesis discusses the healing properties of nature on the human being through an analysis of current Swedish and international research. The analysis is made by using a theoretical model based on ecological perception phenomenology, hyperreality and relational frame theory. The conclusion of the thesis is that the healing properties of nature may be explained by the perceptive relation between the human being and the more-than-human world, but also that more research is needed.
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Bergfeldt, André Frans. "Från abstraktion till hyperrealism : En historisk exposé av stridsvagnsanimationer i elektroniska spel." Thesis, University of Skövde, School of Humanities and Informatics, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-3059.
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Denna uppsats presenterar en historisk exposé kring den visuella och tekniska utvecklingen av stridsvagnsanimationer. Detta med fokus på perception och kognition utifrån definitionerna abstraktion, realism och hyperrealism. Uppsatsen ämnar förklara i bild, text och rörlig media hur utvecklingen sett ut och hur långt den har nått. För att åstadkomma detta har en analysmatris tagits fram, ur vilken valda beståndsdelar i spelen Battlezone, Battle Tank och Battlefield 1942 dissekeras. För att ytterligare påvisa kontrasten i utvecklingskurvan, har jag haft Craft Animations och deras verktyg till min hjälp. Verktyget och resultaten detta genererar, analyseras med hjälp av samma analysmatris som för spelen.
Resultatet visar en tydlig kontrast i utvecklingen, där Craft Animations verktyg representerar vad vi idag kan kalla för hyperrealism.
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Andersson, Madeleine. "Upplevd realism i dokusåpans verklighet : En studie om hyperrealitet i Expedition: Robinson." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-22170.
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Denna uppsats studerar dokusåpan Expedition: Robinson som exempel på en hyperrealitet. Syftet är att förtydliga betydelsen av hyperrealitet som teoretiskt begrepp på ett svenskt sammanhang. Uppsatsen börjar därför med en introduktion av Jean Baudrillards teori om hyperrealitet och därefter en fördjupning i dokusåpagenrens historia, innan dokusåpans bemötande i pressen analyseras. Uppsatsen argumenterar för att det finns ett nära samband mellan dokusåpan som medialt fenomen och hyperrealiteten som teoretiskt begrepp, då båda är fiktioner som utger sig för att vara verkligheter: hyperrealitet är ett slags overklighet som ger intryck av förhöjd verklighet och dokusåpa är ett programkoncept som påstås visa verkligheten men egentligen konstruerar den. Uppsatsen undersöker hur och vad produktionen av dokusåpan betonar som ”verklighet”, dvs. vilka faktorer framhävs som verklighetstrogna. Som den första svenska, och tidigt kontroversiella, dokusåpan ligger uppsatsens fokus på Expedition: Robinson; som ett tävlingsprogram utspelad i en exotisk miljö, inspirerad av en litterär förlaga, är effekten av realism särskilt intressant i detta fall. Analysen av Expedition: Robinson koncentreras till produktionen och mediareceptionen främst av säsongerna 1 och 7, som resulterar i en diskussion kring mediebevakningens förändring och huruvida man kan uppfatta ett skifte i hyperrealitet i samband med den utvecklingen.
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Roberts, Michael David. "Imaging the face : an investigation into hyperrealist depictions of the human facial surface." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/12b6e5ff-b1be-4c16-96f3-e96913a35da4.
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This thesis details a practice-led investigation into the potential for a hyperrealist rendering of the human face through painting. The primary objective of this practice is to ascertain the best means of conveying sensation and evoking experiences incurred when conducting a sustained visual analysis of the facial features. Traditional portrait imagery utilises the face as the most immediate means of identification in depicting the identity and personality of the human subject. This thesis examines the ways in which our familiarity of portrait conventions impacts on the way in which facial images, in general, are interpreted. Therefore, the conceptual framework underpinning the practical element of this project, aims to reduce the significance of the individual and the potential for physiognomic interpretations within the facial image. This study is informed by philosophical notions surrounding the way in which images function as communicative devices, in order to find possibilities for facial imaging that avoid the signification of individuality. This study presents an exposition of ideas examining the ways in which a lack of a prescribed meaning within a painting can accentuate the ability of a painting to generate sensations. The physical implementation of the conceptual framework combines hyperrealist methods with realist methods and techniques to achieve a visual approximation of the facial surface in order to recollect bodily experience of sight and touch within the viewer. An account of the techniques and methods used to implement this conceptual framework are detailed. In producing these facial images, my original contribution to the field of portraiture is to demonstrate that a reduction of individualisation in the process of imaging the face, in conjunction with an increase of surface information, promotes sensations within the viewer that connect to bodily experience of vision, touch and memories of flesh and skin.
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Coetsee, Jarryd. "Separate and warring selves : identity crises in Africa in Shiva Naipaul's "North of South: an African journey"." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2016.
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Thesis (MA (English Studies))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: This project seeks to analyze the representation of identities in Shiva Naipaul's travel narrative North of South: An African Journey (1978) as encoded in the binaries of primitive / traditional; civilized / modern; settler / native; civic / tribal and neo-colonial / liberated. By analyzing this select series of identities, this project aims to explore the fractured nature of identity as constructed in the post-colony. It will argue that the identities are rendered unstable by the ungrounded nature of the post-colonial space in which they are located. Naipaul concludes his travel narrative by qualifying the postcolonial situation as an abortion of Western civilization in the trope of Conrad's Kurtz. Naipaul implies that any identity in Africa is a simulacrum, a phantom double, a copy of something that was not there to begin with. He attempts to articulate the diverse cultures that he encounters as though he were apart from them without recognizing that he is essentially and inextricably a part of the various cultural articulations themselves. It is easy to criticize Naipaul, therefore, as a non-starter. With the advantages of hindsight, however, it is possible for the contemporary reader to recognize these instabilities as evidence of the post-modern phenomenon in which reality is not an absolute. As a modernist writer, Naipaul's efforts to understand these instabilities of identity as an articulation of culture are circumvented by a Sisyphean struggle wherein he attempts to establish a sense of ontological alterity in the narrative yet implicates himself, as well as his invocation of archival literature and hence his ultimate position of disillusionment, hopelessness and doom.
AFRIKAANSE OPSOMMING: Hierdie projek poog om die verteenwoordiging van identiteite in Shiva Naipaul se reisverhaal, North of South: An African Journey (1978), gekodeerd met die binere van die primitiewe / tradisionele ; beskaafde / moderne; setlaars / inheemse; staats / etniese; en neo-kolonialisme / vryheid, te analiseer. Deur die analise van die gekose reeks identiteite, neig die studie om die gebroke aard van identiteit in In post-koloniale omgewing te ondersoek, en te redeneer dat die identiteite bemoeilik word deur die ongegronde natuur van die postkoloniale ruimte waarin hulle voorkom. Naipaul omvat North of South om die post-kolonialistiese situasie te kwalifiseer as In aborsie van die Westerse beskawing in die metafoor van Conrad se Kurtz. Naipaul impliseer dat enige identiteit in Afrika In simulacrum is, In spookbeeld, 'n kopie van iets wat nooit was nie. Hy poog om die menigte kulture wat hy ondervind te omskryf asof hy van hulle verwyder is, sonder om te besef dat hy volledig deel uitmaak van die geleding van hierdie kulture, en dit is daarvolgens maklik om Naipaul as 'n mislukking te kritiseer. Met die duidelikheid van In moderne leser se terugblik is dit wei moontlik om hierdie onkonsekwenthede as bewyse te sien van die post-modernistiese verskynsel waarin realiteit nie In absoluut is nie. As In modernistiese skrywer is Naipaul se bemoeienis om hierdie onbestendigheid van identiteit as 'n omskrywing van kultuur te verstaan belemmer deur 'n Sisyphiesestryd waarin hy poog om In sin van die andersheid van die aard van die werklikheid in die storielyn te vestig, maar tog impliseer hy homself asook sy gebruik van argiefmateriaal, en vandaar sy uiteindelike posisie van ontnugtering, hopeloosheid en verwoesting.
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Throesch, Elizabeth Lea. "The Scientific romances of Charles Howard Hinton : the fourth dimension as hyperspace, hyperrealism and protomodernism." Thesis, University of Leeds, 2007. http://etheses.whiterose.ac.uk/371/.
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This thesis examines the epistemological, socio-cultural and aesthetic impact of the hyperspace philosophy of Charles Howard Hinton, as expressed within his two-volume collection of Scientific Romances (1884-1896). Hinton's hyperspace philosophy is founded on the belief that the fourth dimension exists as a transcendental yet material space that is accessible to both the mind and the physical senses. Inspired by Immanuel Kant's discussion of space as an a priori intuition, Hinton's project is one of consciousness expansion: he argues that 'a new era of thought' can be attained through the recognition of the fourth dimension. The thesis demonstrates that, in the Scientific Romances, Hinton seeks to engender the 'reality' of the fourth dimension within the reader's imagination through the collaboration of reader and author. Hinton's hyperspace philosophy is thus concerned with mediation, the ways in which the consciousness thinks and creates with and through the aesthetics of space. In addition to providing the most developed analysis of Hinton's writing to date, this thesis examines the work of Hinton's contemporaries exploring the ways in which the discourse of the fourth dimension can offer new readings of familiar literary texts. A recurring explanatory device throughout hyperspace philosophy is the dimensional analogy, and the thesis illustrates how this trope resonates across the work of contemporary writers including Lewis Carroll, H. G. Wells, HenryJames, Friedrich Nietzsche and William James.
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Bjuggfält, Makz. "Beyond Morality : Alternative Gay Narratives in Mark Ravenhill’s Shopping and Fucking and Dennis Cooper’s The Sluts." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326257.
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The gay male emerged as a visible public consumer during 1990s, when the LGBTQ movement in the United Kingdom and the United States was marked by conflicting commercial and political motives, heightened by the AIDS crisis. The cultural tension surrounding the gay male subject was reflected through various literary expressions. In the United Kingdom Mark Ravenhill’s Shopping and Fucking (1996), as part of the in-yer-face theatre, exploded in the face of the bourgeoisie. In the US America Dennis Cooper’s highly publicised George Miles Cycle (1989-2000), was followed by The Sluts (2004) as part of the transgressive literature, provoking both straight and gay communities. Through an analysis of themes such as capitalism, commerce, hyperreality, internalised fear, desire, and violence in the works, an alternative image of the gay male is distinguished. This is an image of the gay male subject that is complex, multi-faceted, contradictory and polyvalent. The characters relate differently to the hegemonic hyperreal role model, but are exposed to the same social structure that dictates their living conditions and positioning them as objects possible to practice violence on. The works provide a widened and complicated image the public image of the gay male. Their countercultural narratives trace how the gay male subject have been affected by the heteronormative society. When the provided stereotype is too narrow to express the burden and the joy of the contemporary gay male subject, alternatives, like the depictions by Ravenhill and Cooper, may allow the subject to fully possess the gay experiences of pain, sorrow and anger that he has been forced to bear. This research explores how the violence within the texts holds a liberating potential.
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Sasse, Julie Rae. "Blurred Boundaries: A History of Hybrid Beings and the Work of Patricia Piccinini." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/311191.
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Hybrid beings have been a part of the artistic imagination since art was first made on cave walls and rock faces. Yet their visual makeup and symbolic meanings have changed over time from deities, demons, and oddities of nature to unconscious states of being and the socially and culturally marginalized. This dissertation will examine a history of hybrid beings and the work of Australian artist Patricia Piccinini. Her silicone sculptures, photographs, installations, and videos are hyperrealistic representations of composite beings that appear to have blended rather than fragmented characteristics of human and animal, which sets them apart from their historic precedents. Piccinini suggests that her hybrids are products of genetic engineering, ostensibly created to serve human beings as comforters, nurturers, protectors, and surrogates for humans and endangered species alike. I argue that Piccinini's hybrids shed light on the hubris and commercialism inherent in bioscientific advances, yet they also reveal a kind of societal ambivalence regarding the posthuman era. Her works suggest utopian aspirations for the future while mourning the loss of humanity as it has been known. Examining Piccinini's art through the lens of liminality and the body, I will contextualize her hybrids within cultural and art historical models from ancient Egypt and Greece through the Victorian eras. In particular, I will establish common ground with Mary Shelley's Frankenstein (1818), which served as an early inspiration for Piccinini's images and conceptual aims. I will also highlight hybrid imagery in Dada and Surrealism and feminist art to reveal the similarities and differences in their approaches and intent. Piccinini's works operate within Donna J. Haraway's notion of the cyborg; therefore, I will also analyze her art within that theoretical model. In addition, I will compare and contrast Piccinini's art to early hyprerrealist sculptors and contemporary artists working in this manner. Piccinini's hybrids establish that both humans and animals are social constructs, and that society has a responsibility for the life forms it creates. Ultimately, this project demonstrates that Piccinini's hybrids are not cautionary tales of a dystopian future but representations of the biotechnological sublime.
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Lin, Fabia Ling-Yuan. "Doubling the duality : a theoretical and practical investigation into materiality and embodiment of meaning in the integration of live action and animation." Thesis, Loughborough University, 2013. https://dspace.lboro.ac.uk/2134/11877.
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This practice-led Ph.D. is comprised of a body of work (hybrid films) and its contextual analysis. Together they constitute a method that aims to understand and re-interpret the dialogical relationship between live action and animation filmmaking. The research argues that from its beginning the art of moving images has presented a struggle between opposed tendencies such as imprint and construction , machine eye and artist s hand , dissection of time and condensation of time that are found between the unstable duality of live action and animation. While mainstream cinema has focused most of its efforts on taming the collisions that occur within the integration of live action and animation, it has also relied on the interface s instability to animate its being. As the interface becomes more invisible in the digital age, this research reconsiders the interaction between live action and animation in moving-image production and the construction of meaning in filmmaking as it incorporates the digital into its languages. In contextualising the double and fluctuating nature of co-presence in live action and animation, my question is How could the integration of the opposing attributes of live action and animation interrupt perceptual realism and produce a sense of estrangement in a meaningful way? Firstly this involves identifying the constantly mobile tension between live action and animation. Secondly integration is informed by ideas of estrangement and derealisation , and methods of interrupting perceptual coherence within the screened world to reveal insights into the world of social relations. Two underlying themes are addressed: (1) the uncanniness of co-presence, and (2) the expression of subjectivity through this co-presence. Interrogating the constructedness of the hybridised figure as it appears on screen by exposing its inherent conflicts, and exploring the aesthetics of estrangement and the expression of subjectivity in hybrid films led to an inquiry about cinematic time and movement. This revealed another dimension to the difference and interrelationship between live action and animation. Being both the source and outcome of these themes as expressed in the written thesis, the practical component of this project consists of three hybrid films: Nothing to Do with Weather (3 50 ), Animating Animator the Animated (2 47 ), and Flying Tunes (8 27 ). Theoretical findings are identified through the analysis of works by other artists and discussion of their concepts, and my own practice contributes to knowledge by inspiring, assessing and demonstrating my ideas on hybridity. My three practices are, to some extent, an allegory about the alienation a Far-East Asian filmmaker may feel in a world seemingly dominated by Western paradigms. The films chart my Far-Eastern Asian independent filmmaker s research as a journey towards an adaptation of the aesthetics and methods of contemporary filmmaking originating in Western culture and philosophy. As a piece of research, the transformation of the researcher through practice may be considered of significance in the formation of theory.
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Hakami, Natasha, and Cecilia Lindell. "”Man vill ju få lite wow-effekt” : En fokusgruppsstudie om identitet på Instagram." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-119022.
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This thesis examines Instagram users and how they create an identity, and their interaction with other users. The aim of this study is to understand what we do with Instagram and what Instagram does with us in our everyday lives, and what the effects of the medium entails. This thesis is based on theories of identity, hyper- reality and effects of the development of social media. The method used in this study is qualitative focus group interviews with five women and five men, where the answers are transcribed and analyzed to gain an understanding of the effects and the impact of Instagram in their lives. We chose to interview both men and women, and therefore we have also had the gender issue in mind, but it has not been the main focus of this study. The results we reached in this study is that Instagram is mainly used to keep updated and that the medium provides both positive and negative effects. We also discovered that individuals are not one hundred percent themselves on Instagram. The conclusion we can draw is that people play different roles on Instagram of different purposes, and that we live in a hyper- reality that brings both good and bad. We can also conclude that even though people today have the power to present themselves in the way they want to, we see tendencies that gender representation is present in a stereotypical way.
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Sundvall, Denise, and Sara Harila. "Rise of The Robots : En innehållsanalys om representation av virtuella influencers." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-73567.
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I denna studie undersöks representationen av virtuella influencers och interaktionen mellan publiken. Syftet med undersökningen är att få en djupare förståelse för detta nya fenomen som idag växer på sociala medier, och framför allt Instagram. De teoretiska utgångspunkterna som ligger som grund för undersökningen är hyperrealitet, identitet och personas, semiotik och representation. Metoderna som används för att analysera materialet är en kvalitativ innehållsanalys samt en semiotisk analys. I genomförandet av den kvalitativa innehållsanalysen (publikens kommentarer) identifierades följande teman; hyllningar/kritik, politik och realitet. I den semiotiska analysen identifierades tre andra teman, dessa var livsstil, politik och relationer (bilder och bildtexter från de virtuella influencers). Resultatet av undersökningen visade att beroende på influencer, bilder och bildtexter var variationen stor mellan hur publiken tog emot materialet. Det gick också att se en stor skillnad i den semiotiska analysen mellan de olika virtuella influencers som undersöktes.
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Kronsell, Caroline. "Botaniska teckningar och fotografier : En innehållsanalys." Thesis, Malmö universitet, Institutionen för konst, kultur och kommunikation (K3), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-45933.
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Botaniska bilder har varit en viktig del inom medicin och vetenskap sedan antiken och de har fortfarande en etablerad plats i vårt samhälle i form av floror, faunor och annat utbildningsmaterial. Den stora förändringen som skett är övergången från teckningar till fotografier och i denna uppsats tittar jag närmare på hur samtida botaniska bilder är uppbyggda och jämför teckningar och illustrationer ur perspektivet visuell kommunikation. Jag använder en kvalitativ innehållsanalys kodad med nyckelord hämtade från bland annat kognitionsteori och representationsteori. Resultatet tyder på att valet av medieform är mindre avgörande ur ett visuellt kommunikativt perspektiv och att medieformerna delar samma styrkor och svagheter.Botanical images have been an important part of medicine and science since ancient times and they still have an established place in our society in the form of flora, fauna and other educational materials. The big change that has taken place is the transition from drawings to photographs and in this essay I take a closer look at how contemporary botanical images are structured and compare drawings and illustrations from the perspective of visual communication. I use a qualitative content analysis coded with keywords taken from, among other things, cognitive theory and representation theory. The results indicate that the choice of media form is less decisive from a visual communicative perspective and that the media forms share the same strengths and weaknesses.
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Moura, Lidia Zuin de. "Fotografando sombras: um olhar sobre as imagens obscuras de Gottfried Helnwein." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4624.
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Previous issue date: 2014-06-17The objective of this research is to investigate and comprehend the discursive strategies employed in the construction of the images by Gottfried Helnwein, an Austrian photographer and hyperrealist painter. His works reunite the theme of Nazism and violence in a grim aesthetics that dialogues with pop culture characters. The research is divided in three parts: 1. The historic and cultural context lived by Helnwein and the relationship of the public with his images; 2. The cultural universes that influenced Helnwein: Baroque and Tenebrism, Jungian shadow, Viennese Actionism, Pop Art, Hyperrealism; 3. The analysis of the series The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993-1998) and The American Paintings (2000-2003), focusing specially on the motives of the child, pop culture, Nazism and religiosity. The theoretical and methodological framework is constituted by the image theories of Vilém Flusser and Aby Warburg, by the concepts of archetypical image of C. G. Jung and pop culture of Daniel Boorstin and Roland Kelts
Esta pesquisa visa investigar e compreender as estratégias discursivas empregadas nas construções das imagens de Gottfried Helnwein, fotógrafo e pintor hiperrealista austríaco. Suas obras unem o tema do nazismo e da violência numa estética soturna que dialoga com personagens da cultura pop. A pesquisa se divide em três eixos: 1. O contexto histórico e cultural vivido por Helnwein e a relação do público com suas imagens; 2. Os universos culturais que exerceram influência sobre Helnwein: Barroco e Tenebrismo, sombra junguiana, Acionismo Vienense, Pop Art, Hiperrealismo; 3. Análise das séries The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993-1998) e The American Paintings (2000-2003), focando-se especialmente nos motivos da criança, da cultura pop, do nazismo e da religiosidade. O quadro teórico e metodológico constitui-se a partir das teorias da imagem de Vilém Flusser e de Aby Warburg, considerando-se também os conceitos de imagem arquetípica de C. G. Jung e de cultura pop para Daniel Boorstin e Roland Kelts
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Long, Bruce Raymond. "Informationist Science Fiction Theory and Informationist Science Fiction." Thesis, The University of Sydney, 2009. http://hdl.handle.net/2123/5838.
Full textAbstract:
Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.