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Suprunova, Miliena, and Kseniia Kugai. "Interdisciplinary approach: semiotics and art." Thesis, Яроченко Я. В, 2021. https://er.knutd.edu.ua/handle/123456789/19152.
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The work is devoted to semiotics and art as two sciences guided by symbolism and signs. Semiotics studies symbols, signs and myths, which can explain works of art to ordinary viewers as well as creative people. Thus, artists can be guided in the creation of works of art to accurately convey their ideas and convey the feelings and imagery of their thinking. The interdisciplinarity of these sciences provides an opportunity to better communicate, exchange ideas and research the sciences.<br>Робота присвячена семіотиці та мистецтву як двом наукам, що керуються символікою та знаками. Семіотика вивчає символи, знаки та міфи, що може пояснити мистецькі твори звичайним глядачам, а також творчим людям. Тим самим митці можуть керуватись при створенні художніх творів аби достатньо точно донести свій задум та передати почуття і образність свого мислення. Міждисциплінарність цих наук дає можливість краще комунікувати, обмінюватись думками та досліджувати науки.
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Paraone, Israe. "Urban Voodoo an ambiguity document, seeking to record the disruption of language through imitation : a thesis/dissertation submitted to AUT University in partial fulfilment of the requirements for the degree of a Master of Art and Design, 2007 /." AUT University, 2007. http://hdl.handle.net/10292/135.
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Urban Voodoo mimics semiotic phenomena, which constitute language and functions as a system of signs that intra-act ambiguously within their own system. This project explores the link between the ambiguous signs of the worm, what looks like a mimesis of icons/symbols, and the way in which simulations are caught up in semiotic implications. Urban Voodoo, which followed on from my earlier Project Iroiro, developed language precursors from the study of the marks of the worm, creating different patterns and styles, and generating language-like effects. Using this system of signs, my project explores the idea that humans are part of a system operated by language, and examines the notion that language itself may be disrupted. To explore this, my project is about layers of competing imprints, about 'languages' tagged into spaces occupied by several graffiti artists within a local skate park. Urban Voodoo acts as a new Graffiti system. In mimicry, organisms make themselves resemble others or their environment. Icons 'look like' what they represent; simulation proposes 'to be' what it suggests. These concepts of assimilation and representation will be explored to understand and interrogate the power balance of language systems, starting with a specific local situation, the skate park. Latin; Inter" denotes "among" or "between," so "between symbols" or "among symbols" is a reasonable meaning. "Intra" denotes "within," as "intra muros," meaning "within the walls.". See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn1 Iroiro, the mark of the worm found in nature, under the bark of trees or etched into the surface of seashells. It is these intriguing patterns that are of interest to this research. These marks perform a role in which systems of language surface. See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn2 Graffiti Piece; the terminology used to define larger works of graffiti art as opposed to tagging, a form of territory recognition mark. See also http://arden.aut.ac.nz/moodle/mod/forum/discuss.php?d=3410#_ftn3
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Marner, Anders. "Burkkänslan : surrealism i Christer Strömholms fotografi : en undersökning med semiotisk metod." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-236.
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This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization. In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.
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Rada, Alena. "Writing about art : a linguistic consideration of art history and related genres." Phd thesis, Department of Linguistics, 1989. http://hdl.handle.net/2123/5456.
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Müller, Martina. "A semiotic investigation of the digital : what lies beyond the pixel /." Access via Murdoch University Digital Theses Project, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080717.92700.
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Thesis (Ph.D.)--Murdoch University, 2008.<br>Thesis submitted to the Faculty of Arts and Education. Invitation to exhibition titled: In the eye of the beholder, in back of thesis. Includes bibliographical references (leaves 116-118).
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Nobre, Maria José. "Inner speech as the basis for artistic conceptualization : Soviet psycholinguistics and semiotics of art /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487323583620267.
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Marner, Anders. "Digital media embedded in Swedish art education : a case study." Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-71559.
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In this case study a secondary school and its art education is studied. Pupils and the art teacher are interviewed and observations are made in school and out of school. The study is based on socio-cultural theory, media ecology and semiotics. In this school manual and digital media each share about 50 percent of the time available for art. It is shown that it is the teaching method – the change from a dialogic to a multivoiced method – that enables the embedded use of digital media. Arguments for digital media in art are that they are time-saving, promote aesthetic aspects and will put an end to the process of traditional education where the teacher is reduced to being a conveyor of information. The computer lab is no option for an embedded art education. On monitors and in exhibitions pupils are surrounded by other pupils´ works, which promotes a desire among them to improve their creativity, and a local art culture is developed in a cumulative process.<br>Skolämnesparadigm och undervisningspraktik i skärmkulturen – bild, musik och svenska [“School subject paradigms and teaching practice in the screen culture – art, music and Swedish”].
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Joubert, Nina. "Decoding the notion of a constructed identity within an autobiographical picture narrative." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1015685.
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This study presents an investigation into the process of constructing an autobiographical self within the genre of the autobiographical picture narrative, and explores this process both in terms of a theoretical study of this concept as well as an interpretation of a number of photographs. The interpretation entails a reading of selected autobiographical picture narratives by the artist-photographers Maggie Taylor and Lori Nix by means of a method derived from visual social semiotics. Specifically, the semiotic reading focuses on Taylor and Nix’s photographs Twilight swim (2004) and Ice Storm (1999), respectively, after which the researcher’s own autobiographical photograph entitled Fennel and coriander is read by means of the same methodological approach. The semiotic reading is guided by five salient characteristics of the autobiographical picture narrative, namely fabrication and reality, autobiographical memory, socio-cultural relevance, commonalities in female narration and narrative function. Harrison’s (2003) visual social semiotic framework (which reflects the work of social semioticians Kress and Van Leeuwen, 2002) was augmented in light of the five salient characteristics in order to construct an appropriate methodological framework. A comparative reading of the works by Taylor, Nix and the researcher reveals that although each of the artistphotographers followed a peculiar and unique approach in constructing the autobiographical picture narrative, parallels can be established in terms of various central concepts, as is evident from the semiotic reading. In particular, the role of memory and the interpretation of autobiographical elements emerged as common denominators. The process of constructing an autobiographical memory therefore provides the narrator-photographer with the options of escaping into and not from memory, thus allowing for unique possibilities in terms of interpretation, fantasy and construction.
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au, m. muller@murdoch edu, and Martina Müller. "A Semiotic Investigation of the Digital: What Lies Beyond the Pixel." Murdoch University, 2008. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080717.92700.
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This dissertation explores the implications of new photographic and computer technologies that offer the transduction of modalities. The fundamental argument, here, is that such technologies change the process of sense-making resulting in a new asymmetry that informs the visual language of the creative work.
I argue that the processes of language analysis can assist us in the interpretation of multimodal texts and that a digital illustration can be analysed via the theoretical framework built from the first linguistic concepts such as those to be found in the texts of Plato, Aristotle, Augustine and Locke. A semiotic method applied in the context of digital artwork, and developed from the linguistic-semiotic stand-point, is well suited for an examination of the intermodal relations (the relations between layers in a multi-layered image file). By examining the layered structures of my images I demonstrate the evident similarity between the disconnection of the components of the linguistic sign on the one hand and the visual sign on the other hand. The analysis of a digital image, especially created for this purpose, is expanded by an investigation that offers a partial reading from an insiders point of view that involves an image being analysed on the conceptual level. This involves the examination of the primary internal relations between the layers of the image, and on the level of expression, the examination of the primary external relations between the layers and the narrative of the image.
In its deployment the semiotic method I use investigates the existence and the conditions of a space in which the individual readings from the perspective of outsider and insider might be conceptualized and presents a partial reading derived from an outsiders interpretation of the same image. After comparing both readings I arrive at the conclusion that the different texts modalities have an impact on the degree of the sign components disconnection. My conclusion, then, is that an outsider who cannot view the image in its multimodal form assigns sign components in a higher degree of disconnection than an insider who has access to the intermodal relations of the image file.
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Aspén, Lisa. "Art and Advertising." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12540.
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The thesis examined whether there is a distinct boundary between art and advertising. The collected data showed how art and advertising are linked to each other and also differ from each other, in particular through the latter half of the 1900’s. What was happening in society came to have great impact on what happened in art and advertising. In postwar Germany, capitalism realism evolved from the German pop art where the art was removed from the art gallery and placed on the streets where the people were, in an era that was characterized by a gap between the rich and the poor. Capitalism Realism went on to advertising which at the time was using the techniques of subliminal persuasion and later turned into a post-modern advertising. The study included examples of artists who collaborate with advertising, where advertising has worked artistically and how the artist became a trademark. The study also showed that there are strong objections in the art world to working with advertising, but not vice versa. Advertising seems happy to work with arts.
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Sargeant, Amy. "Semiotics of disillusionment: Protesting and Reframing Australia's political spectacle through détournement." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/206454/1/Amy_Sargeant_Thesis.pdf.
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This practice-led research project explores and expresses my disillusionment with the dysfunctions of the political establishment in Australia. This is achieved by reframing the visual elements of political spectacle through the installation of video, audio and sculpture, deployed in public and gallery settings. The research is enacted through a Rancièrian lens and uses a practice-led methodology, deploying the Situationist method of détournement to de-stabilise points of symbolic reference appropriated from Australian politics.
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Elsley, Judith Helen 1952. "The semiotics of quilting: discourse of the marginalized." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/565534.
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Mooney, James G. "Praxis-ethics-erotics : toward an eroticisation of thought: a matter of praxis." Thesis, Royal College of Art, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339958.
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Siviero, Maria Vitória Laurindo. "O discurso da Performance Art: estudo semiótico dos regimes de manifestação da arte performática." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-07042017-135637/.
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A performance surgiu inicialmente como um meio no qual os vanguardistas testavam as suas ideias e passou a ser aceita como uma manifestação artística independente por volta da década de setenta. Trata-se de uma arte híbrida que mistura elementos de outras linguagens, como a poesia a música, a dança, o tetro e o cinema. Tornou-se conhecida por chocar suas plateias com apresentações espontâneas e transgressoras, colocando em cheque a concepção de arte. Assim como as demais linguagens artísticas, a performance estabelece um modo específico de atuação, o que não torna impossível analisá-la por meio da particularização de seus aspectos. A semiótica estuda os fenômenos culturais como sistemas de signos, e torna-se assim, uma ferramenta que pode fornecer a base para estes estudos, uma vez que relativiza as camadas do significado e permite que se observe os diversos níveis de articulação do sentido em diferentes atos comunicativos. Assim, através da semiótica greimasiana, cujo conceito de signo é estruturado por significante e significado, esta pesquisa pretende verificar possíveis coerções de gênero próprias à arte performática, e por meio delas, podem ser desenvolvidas novas reflexões sobre os contornos deste gênero, aparentemente espontâneo e livre. Provando falsas as aparentes diferenças irreconciliáveis que se apresentam no confronto de obras pertencentes ao gênero. Este trabalho pretende propor um modelo de organização para análise de manifestações performáticas, através do qual se pode verificar a relação entre a ação performática e o espaço onde ela é realizada. Portanto, o objetivo central desse estudo é analisar, não, a relação do performer com sua obra, mas colaborar para a análise da performance como um fenômeno que se desenvolve diante de um público e analisar as relações que comumente se estabelecem entre esse espectador de arte performática e a própria ação, utilizando para tanto, o critério do espaço onde a ação se desenvolve.<br>Performance Art appeared initially as a means wherewith vanguard artists tried their ideas and came to be accepted as an independent form of art in the mid seventies. It is a hybrid art, which mixes elements from other languages, such as poetry, music, dace, theater, and cinema. It became known for shocking its audiences with spontaneous and bold presentations, shaking the very foundations of art. As other artistic languages, performance art establishes a specific way of acting, which does not render impossible to analyze it by particularizing its aspects. Semiotic studies the cultural phenomena as sign systems, and becomes, thus, a tool which can supply us with the base for such studies, given that it relativizes the layers of meaning and allows for the observation of many levels of meaning articulation in different communicative acts. Thus, by applying Greimasian semiotics, whose concept for signs is composed of signified and signifiant, this research aims to verify possible genre specifications specific to performance art, and, though them, one can develop new thoughts on the outlines of the genre, apparently spontaneous and free, proving to be fake the apparent differences which appear when analyzing works of the genre. This research aims to propose an organization model for analyzing performance art works, wherewith the relationship between performatic action and its space can be verified. Thus, the main goal of this study is not to analyze the relationship between performance art and his/her works, but to collaborate to performance art analysis as a phenomenon which develops itself in front of a public and analyzing the relationship commonly established between public and the work itself, using, as an analysis criterion, the space where the action is developed.
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Jeffrey, Robyn (Robyn Alexandra) Carleton University Dissertation Art History. "Intersections: the drawings of John Scott, the semiotics of Charles Peirce, and the autobiographical theory of James Olney." Ottawa, 1999.
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Hollo, Kevin R. "(Re)Framings: A Multimodal Interrogation of Reading as Writing." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1164916147.
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Saukaitė, Monika. "Pasakojimo strategijos Šarūno Saukos tapyboje." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140120_112137-12043.
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Disertacijoje nagrinėjama vaizdo naratyvumo problema. Analizės objektas – žymaus lietuvių dailininko Šarūno Saukos tapyba. Š. Saukos paveikslai atrodo esą siužetiški, pasakojantys istorijas, nors šios numanomos istorijos dažniausiai neturi žodinių provaizdžių, galinčių tapti interpretacijos šaltiniu. Todėl paveikslai tampa atviri pačių suvokėjų kuriamiems pasakojimams: vaizduojamos situacijos, dažnai primenančios nesuprantamus ir nerimą keliančius ritualus, provokuoja juos aiškinti pasitelkiant įsivaizduojamas istorijas. Tačiau ar kuria pasakojimus patys paveikslai? Ar galima rasti naratyvumo ženklus pačiame tekste, pačioje paveikslo struktūroje, neprimetant jam savo pasakojimo? Kokia naratyvumo samprata gali papildyti vizualių tekstų suvokimą, užuot spraudusi juos į siaurus sąvokos rėmus? Kokiu būdu Š. Saukos paveikslai geba pasakoti istorijas? Atsakymo į šiuos klausimus disertacijoje ieškoma pasitelkiant prancūzų semiotiką ir naratologiją. Formuluojamos teorinės ir metodologinės statiško vaizdo naratyvumo analizės gairės, naratyvumą siejant ne tik su gebėjimu pavaizduoti laikinę seką, bet ir su numanomomis transformacijomis, naratyvinės gramatikos dėsniais bei pasakojimo akto dalyvių (pasakotojo ir jo adresato) komunikacija. Analizuojant Š. Saukos darbus, ryškinami pasakojimo kūrimo mechanizmai, atskleidžiamos skirtingos žiūrovo dalyvavimo paveiksle formos, pasakotojo pasirodymo strategijos, horizontalus ir vertikalus tapybos naratyvumo matmenys.<br>The dissertation explores the problem of visual narrativity. The object of the analysis are the works of the famous Lithuanian painter Šarūnas Sauka. Š. Sauka‘s paintings clearly seem to tell stories, although they are rarely based on any verbal stories that could serve as a source for interpretation. Instead, they are open to a wide range of individual interpretations: the viewers are provoked to narrativize the paintings by inventing stories that could explain the depicted scenes, which would otherwise remain mysterious and incomprehensible. But do the paintings themselves tell stories? Is it possible to trace narrativity in the very structure of the paintings? What concept of narrativity may be efficiently employed to analyze and understand visual texts? By what means Š. Sauka’s paintings are able to tell stories? The dissertation examines these questions by employing the French semiotics and narratology. The theoretic and methodological guidelines for the analysis of visual narrativity are formulated, linking it not only to the depiction of temporal sequences, but also to the implied transformations, to the laws of narrative grammar, and to the communication of the participants of the narrating act (the narrator and his addressee). In Š. Sauka’s paintings, the narrative strategies are elaborated by revealing the horizontal and the vertical dimensions of pictorial narrativity, as well as by examining the viewer’s and the narrator’s roles in the paintings.
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Saukaitė, Monika. "Pasakojimo strategijos Šatūno Saukos tapyboje." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140519_094131-66987.
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Disertacijoje nagrinėjama vaizdo naratyvumo problema. Analizės objektas – žymaus lietuvių dailininko Šarūno Saukos tapyba. Š. Saukos paveikslai atrodo esą siužetiški, pasakojantys istorijas, nors šios numanomos istorijos dažniausiai neturi žodinių provaizdžių, galinčių tapti interpretacijos šaltiniu. Todėl paveikslai tampa atviri pačių suvokėjų kuriamiems pasakojimams: vaizduojamos situacijos, dažnai primenančios nesuprantamus ir nerimą keliančius ritualus, provokuoja juos aiškinti pasitelkiant įsivaizduojamas istorijas. Tačiau ar kuria pasakojimus patys paveikslai? Ar galima rasti naratyvumo ženklus pačiame tekste, pačioje paveikslo struktūroje, neprimetant jam savo pasakojimo? Kokia naratyvumo samprata gali papildyti vizualių tekstų suvokimą, užuot spraudusi juos į siaurus sąvokos rėmus? Kokiu būdu Š. Saukos paveikslai geba pasakoti istorijas? Atsakymo į šiuos klausimus disertacijoje ieškoma pasitelkiant prancūzų semiotiką ir naratologiją. Formuluojamos teorinės ir metodologinės statiško vaizdo naratyvumo analizės gairės, naratyvumą siejant ne tik su gebėjimu pavaizduoti laikinę seką, bet ir su numanomomis transformacijomis, naratyvinės gramatikos dėsniais bei pasakojimo akto dalyvių (pasakotojo ir jo adresato) komunikacija. Analizuojant Š. Saukos darbus, ryškinami pasakojimo kūrimo mechanizmai, atskleidžiamos skirtingos žiūrovo dalyvavimo paveiksle formos, pasakotojo pasirodymo strategijos, horizontalus ir vertikalus tapybos naratyvumo matmenys.<br>The dissertation explores the problem of visual narrativity. The object of the analysis are the works of the famous Lithuanian painter Šarūnas Sauka. Š. Sauka‘s paintings clearly seem to tell stories, although they are rarely based on any verbal stories that could serve as a source for interpretation. Instead, they are open to a wide range of individual interpretations: the viewers are provoked to narrativize the paintings by inventing stories that could explain the depicted scenes, which would otherwise remain mysterious and incomprehensible. But do the paintings themselves tell stories? Is it possible to trace narrativity in the very structure of the paintings? What concept of narrativity may be efficiently employed to analyze and understand visual texts? By what means Š. Sauka’s paintings are able to tell stories? The dissertation examines these questions by employing the French semiotics and narratology. The theoretic and methodological guidelines for the analysis of visual narrativity are formulated, linking it not only to the depiction of temporal sequences, but also to the implied transformations, to the laws of narrative grammar, and to the communication of the participants of the narrating act (the narrator and his addressee). In Š. Sauka’s paintings, the narrative strategies are elaborated by revealing the horizontal and the vertical dimensions of pictorial narrativity, as well as by examining the viewer’s and the narrator’s roles in the paintings.
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SALVADOR, MAURO. "IN GIOCO E FUORI GIOCO. IL LUDICO NELLA CULTURA E NEI MEDIA CONTEMPORANEI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1993.
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La tesi si propone di indagare il processo di “ludicizzazione del reale”, cui viene dedicata sempre maggiore attenzione negli studi mediali contemporanei. Tale processo si declina in forme diverse, passando indiscriminatamente dall'idea di gamification, legata al marketing e all’affermazione del potere del gioco in senso pervasivo e critico, alla più ampia considerazione dell’universo mediale contemporaneo come ambiente ideale per il realizzarsi di un fare “ludico”. Si procederà dunque a un'osservazione morfologica di stampo sociosemiotico del fenomeno, utilizzando al contempo i contemporanei studi mediologici sulla transmedialità e gli ecosistemi, la semiotica esperienziale e le teorie del gioco tradizionali. Scopo finale sarà quello di distinguere caratteristiche oggettive e soggettive, affordance e utilizzi specifici del gioco: da un lato presentando una serie di nodi che problematizzino la definizione generale di “ludico” attraverso il riconoscimento dei suoi tratti a livello transmediale e storico; dall’altro ipotizzando una possibile descrizione della situazione contemporanea attraverso l'idea di “semi-ludico” e l'analisi di alcuni casi di studio significativi che evidenzino come il processo di “semi-ludicizzazione” rinunci alla natura processuale ed emergente del gioco in favore di rigide strutture formali.<br>Aim of this work is to further observe the process of “ludicization of the real” described by many contemporary media studies. This kind of process takes different forms: from the concept of “gamification”, connected to marketing strategies and to the critical and pervasive power of play, to a broader idea of contemporary mediascape as the ideal context for ludic practices. We propose a morphological observation of socio-semiotics kind, using at the same time works on transmediality and ecosystems, studies of semiotics of experience and traditional game theories. The final objective will be to distinguish different qualities, affordances and specific uses of the “game/play” dichotomy: on the one hand presenting a series of critical nodes that call into question the general definition of “ludic” through the recognition of its traits in a transmedial and historical context; on the other hand hypothesizing a description of the contemporary media environment through the concept of “semi-ludic” and the analysis of twenty meaningful case studies that demonstrate how the “semi-ludicization” process rejects the emergent and processual nature of play in favor of rigid and formal structures.
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SALVADOR, MAURO. "IN GIOCO E FUORI GIOCO. IL LUDICO NELLA CULTURA E NEI MEDIA CONTEMPORANEI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1993.
Full textAbstract:
La tesi si propone di indagare il processo di “ludicizzazione del reale”, cui viene dedicata sempre maggiore attenzione negli studi mediali contemporanei. Tale processo si declina in forme diverse, passando indiscriminatamente dall'idea di gamification, legata al marketing e all’affermazione del potere del gioco in senso pervasivo e critico, alla più ampia considerazione dell’universo mediale contemporaneo come ambiente ideale per il realizzarsi di un fare “ludico”. Si procederà dunque a un'osservazione morfologica di stampo sociosemiotico del fenomeno, utilizzando al contempo i contemporanei studi mediologici sulla transmedialità e gli ecosistemi, la semiotica esperienziale e le teorie del gioco tradizionali. Scopo finale sarà quello di distinguere caratteristiche oggettive e soggettive, affordance e utilizzi specifici del gioco: da un lato presentando una serie di nodi che problematizzino la definizione generale di “ludico” attraverso il riconoscimento dei suoi tratti a livello transmediale e storico; dall’altro ipotizzando una possibile descrizione della situazione contemporanea attraverso l'idea di “semi-ludico” e l'analisi di alcuni casi di studio significativi che evidenzino come il processo di “semi-ludicizzazione” rinunci alla natura processuale ed emergente del gioco in favore di rigide strutture formali.<br>Aim of this work is to further observe the process of “ludicization of the real” described by many contemporary media studies. This kind of process takes different forms: from the concept of “gamification”, connected to marketing strategies and to the critical and pervasive power of play, to a broader idea of contemporary mediascape as the ideal context for ludic practices. We propose a morphological observation of socio-semiotics kind, using at the same time works on transmediality and ecosystems, studies of semiotics of experience and traditional game theories. The final objective will be to distinguish different qualities, affordances and specific uses of the “game/play” dichotomy: on the one hand presenting a series of critical nodes that call into question the general definition of “ludic” through the recognition of its traits in a transmedial and historical context; on the other hand hypothesizing a description of the contemporary media environment through the concept of “semi-ludic” and the analysis of twenty meaningful case studies that demonstrate how the “semi-ludicization” process rejects the emergent and processual nature of play in favor of rigid and formal structures.
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Sousa, Carina Gonzalez. "Ágape: arte como a vida." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-31012014-153941/.
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Partimos neste estudo de uma reflexão que levanta uma hipótese de um diagrama de pensamento da mente do universo que se insere no mundo, fazendo-se cognoscível em uma lógica que estabelece um continuo que pode ser observado pelas categorias presentes na Fenomenologia de Charles Sanders Peirce, onde a Arte reconhece sua gênese nas formas do desenho do mundo que encontra na sua coreografia, os ecos da musica do cosmo, abrigando nessas formas o próprio corpo da escultura da mente inserida, fazendo-se ouvida. Procuramos percorrer uma investigação que parte da totalidade, no sentido de contemplação presente, procurando uma lógica do sentir, na primeiridade, porém compreendido não como, algo que necessita de um desligar-se mais, sim como algo que já existe em latência, que é de fato, a consciência plena dessa totalidade e que tem como propósito a evolução, e ainda nessa categoria procuramos como parte integrante da lógica da criação, nas qualidades, as possibilidades sendo o que germina de uma maneira sem resíduos e também, a necessidade do acaso com seu caráter de liberdade que gera o novo. Entendendo as categorias como uma conjunção de um percurso lógico, onde por vezes se sobrepõem, a segundidade, nos trás a alteridade que se manifesta na forma de um desenho que objeta , que também reage de uma maneira propiciando o entendimento do outro, no presente estudo, onde se faz cognoscível o ritmo do som à dança, onde o desenho conhece a escultura que está fora e dentro dele e como que os objetos pensados pelo universal, se definem, e agem, portanto onde se realiza uma sinestesia dos sentidos da arte, onde o movimento é som que compõe um quadro, onde poderíamos falar das cores sem dizer a elas que a estávamos vendo, apenas sentindo, buscaríamos na experiência não perder o sublime da contemplação, possível através da arte, pois que elas mesmas no mundo, se fazem assim. E buscamos através das qualidades e relações existentes uma conduta, a terceira categoria, onde será possível visualizar um hábito de criação na arte presente no mundo. Quais elementos dessa construção de pensamento permanecem ao longo do tempo, e como que dentro dessa conduta o acaso será o fator que germinará uma mudança capaz de ser realizada não por uma necessidade proveniente do erro, mas por uma finalidade, por um próprio impulso genético de uma mente do universo que busca sempre a evolução.<br>We depart, in this study, from a reflection which raises an hypothesis of a diagram of thought of the Spirit of the universe that embodies itself in the world, thus making itself cognoscible by a logic that establishes a continuum which can be observed through the categories present in the Phenomenology of Charles Sanders Peirce (1839-1914), where Art recognizes its genesis in the form of the design of the world, which finds in its choreography the echoes of the music of the cosmos, harboring in those forms the body of sculpture of the inserted mind, thus making itself heard. We will try to cover an investigation that departs from the whole, in the sense of the contemplation of the present, thus through a logic of feeling, Firstness, yet understood not as something which needs to free itself, but as something that exists in latency, which is, in fact, the full consciousness of this totality, and which has, as its telos, self-evolution; and, still within this category, we will try, as an integral part of the logic of creation, present in the qualities, the possibilities, for they are the ones which germinate in such a way, without residues as well as, the need of chance with its character of freedom, which brings about that which is novel in the world. We will think about the deconstruction of the concept as a way of looking which builds relations that escape the common habits of thought. We will think of the categories as a set of a logic route, where, at times, Secondness overlaps, bringing us otherness, which manifests itself in the manner of a drawing that objects, which also reacts in such a way that it provides us the understanding of the other. In the present study, where the dance makes itself cognoscible from the sound to the rhythm, where the drawing knows the sculpture that is within and without it, as if these objects were thought by the universal, thus defining and acting themselves, therefore, where there is a synesthesia of the senses of Art, where movement is sound that composes a picture, where one can speak of colors without telling them that we were looking at them, only by feeling them, we would seek, in experience, not to lose the sublime of the contemplation, something possible through Art, for they are embodied in the world. And, we will try to show, through the qualities and existing relations in conduct, the Third category, where it will be possible to visualize a habit of creation in the Art present in the world, a one capable of elucidating the understanding of its construction process. Which elements of this construction of thought 8 remain as time goes by, and how, within this conduct, is chance a factor that will germinate (bring about) a change capable of becoming, not by a necessity which comes from a mistake, but by a finality, by a self genetic impulse of the mind of the universe, which always seeks to evolve?
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Gowan, Gerry. "A journey into no-man's land." Thesis, Queensland University of Technology, 1997.
Find full textAbstract:
This research examines two years of original writing and
performance in stand-up comedy and performance art. The
researcher/artist has attempted to realize in performance
what has been conceptualized as the silenced imaginary of
the Other. Accepting notions of a Symbolic Order which
governs culture, of which woman is not the subject, and in
which woman has no voice, it was proposed that in the ritual
of theatre this Symbolic Order might be refused and the
researcher/performer might find it possible to express her
own imaginary. The experimentation was done within two
theatrical forms which have a history of transgressive
performance and performances were created and performed over
a two year period, first in Australia and then in Britain.
The research is based on postmodern feminist philosophical
notions about the nature of culture and possible resistance
of that culture by those who find its narrative wanting. It
is an attempt to generate an understanding of what is
possible when in the simulated reality of the theatre a
woman rejects inherited visions of herself and seeks to
allow the flow of her own imaginary, her own desire. This
paper documents a rigorous search to develop a new voice in
performance.
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Nesbit, Marissa Beth. "Dance Curriculum Through Lived Experience: A Semiotic Analysis." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1373892460.
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Conceição, Simone Rocha da. "De “O Incrível Mundo de Gumball” à Glitch Art : competências e estratégias para apreensão de produções audiovisuais em contextos educativos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/183158.
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A pesquisa aborda o desenvolvimento de competências e estratégias necessárias à apreensão crítica de produções audiovisuais contemporâneas em contextos escolares. Dados divulgados por pesquisas do IBOPE e da TIC KIDS ONLINE confirmam que crianças e adolescentes com idades entre 9 e 17 anos passam muito tempo em frente à televisão e/ou navegando na internet, através de diferentes dispositivos, assistindo vídeos, programas, filmes ou séries online. Considerar e contemplar no contexto escolar, parte das produções audiovisuais que essa parcela da população consome, explorando-as através de atividades pedagogicamente elaboradas, pode contribuir com a formação visual e audiovisual deste público. Nesta perspectiva, a da leitura e interpretação dessas produções, que se ampliaram, enquanto desafios contemporâneos do ensino de artes visuais, as abordagens envolvendo não apenas as produções de arte, mas toda e qualquer produção visual e audiovisual. Desta forma, a pergunta de pesquisa que norteia este estudo visa perceber e analisar como os professores de artes visuais podem proporcionar aos seus estudantes o desenvolvimento de competências que os tornem aptos para apreender produções visuais e audiovisuais contemporâneas de uma forma crítica Para tanto, os objetivos buscaram fomentar reflexões acerca do desenvolvimento de competências e estratégias para a apreensão de produtos audiovisuais; problematizar a apreensão visual e audiovisual no ensino da arte através da abordagem teórica e metodológica da semiótica discursiva greimasiana ampliada pelos estudos sociossemióticos de Landowski. Também, analisar os efeitos de sentido decorrentes da inter-relação entre uma produção cultural, o episódio O Sinal, da animação O Incrível Mundo de Gumball, e uma produção artística contemporânea, a videoinstalação Cinema Lascado, de Giselle Beiguelman e compreender os regimes de interação envolvidos. Observamos que, no âmbito do regime do acidente, as oscilações entre apreensão e suspensão da produção de efeitos de sentido relacionam-se com os conceitos de fraturas e as escapatórias desenvolvidos por Greimas. Por fim, entende-se que transitar entre diferentes regimes contribui para tornar a apreensão de sentidos mais sofisticada.<br>This study deals with the development of necessary competencies and strategies to develop critical apprehension of contemporary audiovisual productions in school contexts. Data released by IBOPE and TIC KIDS ONLINE surveys confirm that children and adolescents between the ages of 9 and 17 spend a lot of time watching TV and/or surfing the net through different devices, watching videos, programs, movies or online series. Considering and contemplating school context, part of the audiovisual productions which population consumes, can be explored through pedagogically elaborated activities, and may contribute to visual and audiovisual concepts of this public. In this perspective, reading and interpreting these productions, which have expanded throughout the years, seem to be contemporary challenges of visual arts teaching. Not only involving art productions, but any visual and audiovisual production. Thus, the research question that guides this study aims to perceive and analyze how visual arts teachers can provide their students the development of competencies that enable them to apprehend contemporary visual and audiovisual productions in a critical way To this end, the objectives sought to foster reflection on the competencies and strategies development for audiovisual products understanding; to problematize visual and audiovisual apprehension in the teaching of arts through the theoretical and methodological approach discursive semiotics of A. J. Greimas, enlarged by the sociossemiotics studies of E. Landowski. Also, to analyze the sense effects arising from the interrelationship between a cultural production, the episode The Sign, from the animation The Amazing World of Gumball, and a contemporary artistic production, the video installation of Cinema Lascado, by Giselle Beiguelman and to understand the interaction regimes involved. We observe that, in the context of the accident regime, the oscillations between apprehension and suspension in sense effects production are related to the concepts of fractures and the loopholes developed by Greimas. Finally, it is understood that being able to commute between different regimes contributes to make sense apprehension more sophisticated.
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Håkansson, Jens. "Ytans djup : Visuell ikonicitet i den grafiska konstformen lyrik." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35110.
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This thesis revolves around an obvious fact: printed (or otherwise two- or three-dimensional) poetry is always and inevitably visual. By analysing a representative selection of poems, including conspicuously experimental and image-like poems as well as examples of more conventional poetry, the thesis points out that visual iconicity is an equally inevitable consequence of the visuality of printed poetry. The analysis applies terminology relating to iconicity and intermediality (presented by Lars Elleström, whose theoretical basis is the semiotics of Charles Sanders Peirce) to the selected poems, while avoiding making too specific interpretations, in order to maintain a discussion of the ever-present phenomenon of visual iconicity as such, and not just the individual examples. Rather than introducing visual iconicity specifically to confirm more or less specific interpretations of poetic texts, this method of approaching poems as two-dimensional works of art is what this paper mainly aims to propose, as a productive starting point for literary analyses in general; as is concluded in the theoretical framework by Elleström, the actual modal and iconic properties of printed poetry contradict mutually exclusive dichotomies such as verbal/visual and text/image. While indirectly visually iconic poems tend to have a wider range of possible interpretations at the outset, the existence of iconic potential, however, does not depend on any specific interpretation.
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Swami, Kara. "Destabilizing the Sign:The Collage Work of Ellen Gallagher, Wangechi Mutu, and Mickalene Thomas." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367942466.
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Hanby, Gary T. "The Status Is Not Quo: Unraveling Music Videos." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6600.
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The Utah State Standards for media arts are general and therefore give teachers a great deal of freedom in how they present the content for media arts courses. How the teacher engages students and project assignments are left to the teacher as they walk the students through the process of making films. This thesis explores how an art teacher might use music videos to teach filmmaking techniques and engage students in the process of meaning making. My research hypothesis is that, by educating students to understand and interpret the messages they consume through media, I can help them recognize the hidden texts in visual culture. My curriculum provides students with learning activities that foster the development of critical thinking skills and also techniques for analyzing images. An important part of the curriculum for this unit is a critical study of music videos wherein the students examine music videos using semiotics and qualitative film analysis. The students explore filmmaking techniques and the processes needed to create their own messages in a music video.
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Trapp, Franziska. "Lectures de cirque contemporain : un modèle d'analyse des représentations circassiennes axé sur des textes et contextes." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30002.
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En 1996, après avoir assisté à la dernière représentation de la septième édition du Centre National des Arts du Cirque, le journal parisien Libération prédit une troisième ère du Cirque : « Après les cirques traditionnels, puis les nouveaux cirques, il faut désormais compter avec le cirque contemporain. » Le pronostic devient réalité : la pièce du metteur en scène Joseph Nadj est considérée, en France comme ailleurs, comme le point de départ d’un nouveau genre dont la définition reste des plus vagues jusqu’à aujourd’hui : « Le cirque contemporain, lui, n’a strictement aucune unité formelle, ou disons, sans craindre le paradoxe, que c’est la diversité de ses formes qui l’unifie. » D’une part, cela s’explique par le fait que, dans le cirque contemporain, l’originalité est un moteur central et, d’autre part, que le genre se situe encore dans une phase de développement. Cela est en outre dû à l’absence jusqu’à aujourd’hui, dans la recherche scientifique, d’une analyse détaillée des représentations du cirque contemporain et qu’en plus on ne dispose pas d’un modèle d’analyse cohérente des représentations du genre. Le discours actuel autour du genre s’intéresse moins de savoir comment les spectacles de cirque contemporain engendrent du sens et quels sont les procédés caractéristiques qui les définissent. Au lieu de cela, on s’interroge sur ce qui devrait caractériser les pièces. Notre thèse tient compte de ce desiderata en développant pour la première fois une méthode pour analyser les représentations de cirque contemporain. En outre, elle explique et interprète résolument le genre au moyen d’une méthode solide, c’est-à-dire d’une description contextualisée de l’objet – à savoir la représentation – dans son contexte historique et culturel et fournit ainsi, au sens lessingien du terme, une dramaturgie du cirque contemporain qui, malgré la diversité des représentations, révèle des caractéristiques généralisables, le procédé fondamental, la structure des pièces et l'effet qu'elles produisent. Le développement du modèle de lecture pour les spectacles de cirque contemporain ainsi que l’évolution consécutive et la spécification du modèle s’appuient sur l'analyse textuelle de la poétique de la culture que justifie l’historien de la littérature Moritz Baßler dans son œuvre La fonction d’une poétique de la culture et l’archive sur la base du New Historicism conçu par Stephen Greenblatt. En outre, le travail présent se situe dans le domaine des théories de lecture relevant de la science du théâtre (Fischer-Lichte) et de la danse (Foster et Brandstetter). Le noyau de l‘argumentation se fonde sur l’hypothèse selon laquelle les représentations de cirque sont lisibles en tant que textes culturels<br>In 1996, the Paris newspaper Libération predicted a third era of circus after visiting the seventh edition of the Centre National des Arts du Cirque: “After traditional and new circus, we now have to account for contemporary circus.” The prognosis became reality: nowadays, in France as elsewhere, the performance of Joseph Nadj is considered as the starting point of a new genre whose definition however remains vague: “The contemporary circus has no formal unity. It is paradoxically the diversity of its forms that unifies the genre.” On the one hand, this is explained by the fact that originality is a central motor in contemporary circus; on the other hand, the genre is still developing . A further reason for the lack of a clear definition lies in the absence of detailed analyses of contemporary circus performances in circus research, and in the desideratum regarding a coherent model for its interpretation. The current discourse dedicated to the genre is less interested in knowing how contemporary circus performances generate meaning and in outlining the characteristic techniques and processes. Instead, one wonders what should characterize the performances. The present thesis takes into account this desideratum by developing for the first time a method to analyse representations of contemporary circus. In addition, it resolutely explains and interprets the genre by means of a contextualized description of the object - namely representation - in its historical and cultural context. In the Lessingian sense of the term, the thesis therefore provides a dramaturgy of contemporary circus which, despite the diversity of representations, reveals generalizable characteristics of the genre, the fundamental techniques and structures of the performances. and the effects they produce. The development of a reading model for contemporary circus performances as well as the consequent evolution and the specification of the model are grounded in the textual analysis of poetics of culture that the literary scholar Moritz Baßler justifies in his work on the basis of the theory of New Historicism designed by Stephen Greenblatt. In addition, the present work situates itself in the field of reading theories pertaining to theatre (Fischer-Lichte ) and dance studies (Foster and Brandstetter ). The core of the argument is based on the assumption that circus performances are readable as cultural texts
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Rhodes, James W. Jr. "An Analysis of Visual and Verbal Appropriates in Mark Tansey's Philosophers Paintings." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/37.
Full textAbstract:
Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.
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Eriksson, Elin. "Museet i en digital värld : En visuell analys av Nationalmuseums digitaliserade verksamheter." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448612.
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Digital technology has changed the nature of how humans live as a society with lives orbiting a digital core of internet, smartphones, social media etc. There is now not only a physical world but a digital one too. This far-reaching transformation also applies to cultural institutions to digitize their activities, a result of responding to the expectations of a contemporary audience. The aim of this study is to examine the digitization of art- and cultural heritage in a digital world. The essay examines the digital activities of the Swedish National Museum of fine art that has developed before, during and as a result of the COVID-19 pandemic. This is done through visual analysis and the theoretic framework of postphenomenology and social semiotics. The study finds that cultural heritage can be digitized in many different ways but that the digitization can’t replace the physical encounter with an artwork. Yet it can constitute new ways and perspectives on how to experience, see and discuss traditional works of art. Digitization of cultural heritage can therefore work to enhance its general interest, disseminate and influence an increase in availability of knowledge about cultural heritage and art history.
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Hey, Jessica L. "A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.
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Skoting, Joel. "Bilder av Sjömän : En studie om queera uttryck och maskulinitet." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78143.
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In this essay I will study three different paintings by the Swedish artists Lars Lerin and Gösta Adrian Nilsson (also known as GAN). All of these pieces incorporate sailors as part of their motives. The aim of the study is to analyse how these pieces differ in how they convey homoerotic themes. Both of these artists refer to their sexuality through their artistry, the sailor being a common motive between the two. I will also examine how the sailor relate to different ideas of masculinity. To do this I will use methods from both the iconologic and semiotic schools of art analysis, before comparing the different pieces, presenting my interpretations of them. The result of this study shows that these artists use varying methods to present their sexual identity. The motives of GAN are more subtle than those of Lars Lerin, relying on symbolic interpration rather than men posing suggestivily. This is not suprising, as homosexuality was still illegal during GANs life. The artists also portray masculinity in different ways.
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Kaiser, Lesley. "Preserve, renew, invent [Light Bytes] an art exploration into disseminating aphorisms : this exegesis is submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Arts (Art and Design) MAArtDes, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/410.
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The expanding potential for the dissemination and archiving of aphorisms is explored in this practice-based research thesis. An aphorism is a short statement that communicates an insight about the world (and can sometimes function as a guide to action). Eric McLuhan, interviewed in Signs of the Times: The History of Writing (Goëss Video, 1996), suggests that the future of the book is the aphoristic statement. Aphoristic knowledge has traditionally been transmitted through texts and through libraries, but this project brings into play various modes of recirculating aphoristic texts using contemporary distribution networks and digital media such as moving image, projection on to urban screens, artists’ books, archival digital photography and glazed ceramics. Texts ‘virally inhabit’ a number of sites and languages in a series of works situated in the interdisciplinary context of contemporary text art and artists’ books. The sayings rejoin the cultural river of ideas in local and international incarnations. Practice-based work (80%) and exegesis (20%)
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Araújo, Marcelo Rodrigues de. "FIFA 2009: o jogo como representação do real." Universidade Federal de Juiz de Fora (UFJF), 2010. https://repositorio.ufjf.br/jspui/handle/ufjf/2691.
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Previous issue date: 2010-12-16<br>A tese de mestrado intitulada “FIFA 2009: o jogo como representação do real” se baseia na relação entre o jogo de videogame FIFA SOCCER 2009, da Eletronic Arts, a arte em alguns períodos da história, a comunicação e informação inerentes ao objeto artístico e a semiótica. Procuramos estabelecer ligações entre estes elementos e características que os unem na confecção e fruição do jogo. Para proceder a uma análise destas características, “desconstruímos” o jogo a partir de elementos importantes na sua criação e apreciação por parte de designers e jogadores virtuais. Estes elementos são a cor, a forma e o espaço. Eles são dispostos na ligação que possuem com a visualização do jogo, os elementos tecnológicos, históricos e estéticos inerentes a esta forma atual de entretenimento. Consideramos o jogo eletrônico para além do lazer e do aspecto lúdico simplesmente, respeitando-o como uma obra representativa da arte contemporânea. Para isso, contextualizamos o ambiente pós-moderno e a noção de que a conceitualização da arte de hoje expandiu mais do que nunca os limites de interpretação e aceitação do que ela representa. Verificamos na história da arte e filosofia que toda arte é representativa de seu tempo e os elementos componentes de um videogame corroboram esta assertiva, pois possuem características comuns a qualquer obra de arte, como criação, engenho, valor econômico e social, além da técnica e do conhecimento teórico. A possibilidade de leitura de obras de arte através da Semiótica não é uma novidade, mas procuramos mostrar que, se o jogo eletrônico pode ser considerado uma obra de arte, sua interpretação também pode se dar através de pressupostos semióticos.<br>The a master‟s thesis entitled "FIFA 2009: the game as a representation of the real" is based on the relationship between the game of video games FIFA SOCCER 2009, by Electronic Arts, the art in some periods of history, the communication and information inherent to the object artistic and Semiotics. We establish links between these elements and characteristics wich unite them in confection and fruition of the game. To carry out an analysis of these characteristics, we "desconstructed" the game from important elements in its creation and assessment on the part of designers and players virtual. These elements are the color, shape and space. They are arranged in liaison with the visualization of the game, the elements technological, historical and aesthetic inherent in this current form of entertainment. We believe the video game is beyond the leisure and appearance ludic simply, respecting him as a representative work of contemporary art. To do this, contextualized the post-modern environment and the notion that the conceptualization of art expanded today more than ever the limits of interpretation and acceptance of it represents. In the history of art and philosophy that all artwork is representative of their time and the elements components of videogames corroborate this assertion, because they have characteristics common to any work of art, such as creating, ingenuity, social and economic value, in addition to the technical and theoretical knowledge. The possibility of reading of works of art through Semiotics is not a novelty, but we sought to show that, if the game can be considered a work of art, its interpretation may also be given through assumptions semiotic.
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Sanoki, Ricardo Akira. "Análise semiótica da videoarte: um estudo da obra de Bill Viola." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-17112015-124611/.
Full textAbstract:
O objetivo desta dissertação é aplicar as teorias da semiótica de linha francesa, inicialmente desenvolvida por A. J. Greimas, para analisar os efeitos de sentido e significação em três trabalhos de video arte realizados pelo artista americano Bill Viola:The space between the teeth (1976), The reflecting pool (1979) e The passing (1991). A linguagem da video arte é muito presente na arte contemporânea, porém os estudos e pesquisas dessa área artística são escassos. Entre os estudos semióticos que pesquisam as linguagens das Artes Visuais, encontramos análises de filmes de cinema, video clipes de músicas, comerciais de televisão, animações, porém não encontramos nenhuma pesquisa relacionada a trabalhos de video arte. Por essa razão nossa pesquisa não teve nenhuma base de referência para a utilização da teoria semiótica na análise de trabalhos de vídeo arte, partindo inicialmente do estudo de análises semióticas de histórias em quadrinhos. Um resumo da história da video arte é apresentado no primeiro capítulo. As teorias que utilizamos são resumidamente explicadas no capítulo 2, no qual damos ênfase para o percurso narrativo do sentido, as relações semi-simbólicas nas línguagens visuais e os novos estudos da semiótica tensiva, proposta por Claude Zilberberg, dela utilizamos o fazer missivo para analisar a estrutura e o fluxo narrativo dos vídeos. No capítulo 3 são realizadas as análises.<br>The purpose of this work is to use the Semiotic Theory, desenvolved by A.J. Greimas, to analyze three videos of the american artist, Bill Viola: The space between the teeth (1976), The reflecting pool (1979) and The passing (1991). The presence of the video art in the contemporary art is very strong, but the studies and researches in this artistic field is very low. Therefore, our work began with no references of other works that had already analyzed or studied the video art, só we started with some semiotics studies of comic books. In the first chapter we introduce a resume of the history of video art. In the second chapter we explain the theories we are using, mainly the course generate of meaning, the semi-simbolics relations in the visual languages and the news studies of the tensive semiotic, proposed by Claude Zilberberg, from this theory we use the missivity to analyze the structure and the flux of the narrativity in the videos. In the third chapter we presents the analyzes.
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Gershon, Dena J. "Embodying Fiber: Artful Adornment." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302790339.
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Pettersson, Jimmy. "Analys av meningsskapandet i Hannah Höchs fotomontage Schnitt mit dem küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3178.
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This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.
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Bekker, Ané. "'n Vergelykende ondersoek na die uitbeelding van identiteit in gekose dokumentasie van die Performance art-werke van Cindy Sherman en Berni Searle / A. Bekker." Thesis, North-West University, 2008. http://hdl.handle.net/10394/2310.
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Norman, Amandreas. "Att göra bildkonst av teater : En semiotisk analys av Uppsala stadsteaters visuella retorik under 2018." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448608.
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The purpose of this essay is to examine nine posters from 2018 made by the Uppsala City Theater to determine how the posters communicate with the beholder. The questions asked are: How does each poster work to persuade its beholder that the play it refers to is of interest to the beholder? What strategies are used? And how do the posters correlate to each other? Are there any common or reoccurring themes? The theoretical framework consists of previous research about both movie and theater posters, semiotics, aesthetics and visual communication. A semiotic analysis shows that the posters favor the plays’ aesthetics over information about the production and that the Uppsala City Theater’s visual marketing is adhering to their brand, leading to the posters having a coherent style. Differences between how movie posters and theater posters are designed and the use of nudity in theater marketing are also discussed.
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Ferreira, Rikus. "'n Ondersoek na en dekonstruksie van die taal (beeld en teks) vervat in die visuele narratief met spesiale verwysing na die komiekstripmedium." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52963.
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Thesis (MA)--Stellenbosch University , 2002.<br>ENGLISH ABSTRACT: This thesis is concerned with a study of the two basic elements of communication,
namely image and text. How these basic communication tools function in the genre of
the visual narrative with regard to their roles in the comic strip and the artist's book,
will be examined. Both genres, the comic book and the artist's book, consist of
complex structures regarding their workings in the framework of the visual narrative,
and this work explores these complexities by analysing how image and text function in
the visual narrative.
The area of semiotics is used as a basis on which the arguments in this thesis are built.
The principles contained in semiotics act as useful guidelines in the reading and
understanding of communication in general, but in this study these principles give
focus and structure to the research of especially the comic strip and the artist's book.
Concepts that are discussed in depth include the interesting interactions which occur
between image and text when they are used together. Signs, icons, symbols and how
they function with (or without) text, are also examined. Text can also function as
image, and this visualisation of text is explored. The role of concepts like
interpretation, perception, the study of images and image-association, are all very
important in the visual communicator's eventual success with his/her communication.
How these concepts influence the creation and forming of one's visual intelligence and
visual literacy, and the eventual effect it has on the process of communication, make
up a very important part of this study. These arguments lead to a discussion of the
dynamics contained in the visual narrative when looked at from a semiotic perspective.
Central to the discussion on the visual narrative in this thesis, is the differentiation
between two similar genres:
1) Firstly, a discussion of the functioning of the comic strip medium. Important
aspects of this subject are the interactions of image and text, and how the comic medium consists of a unique set of symbols, which influence the specific
communication in this genre.
2) Secondly, the genre of the artist's book, and how the medium of the book functions
as a unique phenomenon in communication. The systems of meaning contained in
the medium of the book are looked at against the light of a semiotic analysis of text
and image.
This research supports the importance of a semiotic approach as a helpful aid in the
interpretation of any piece of communication, but especially that of the comic strip
medium and the artist's book. The theories of Charles Peirce, Ferdinand de Saussure,
Roman Jakobson, Maurice Merleau-Ponty and Umberto Eco are used as basis of the
arguments in this thesis and serve as valuable ground for a useful discourse. The
implementation of above mentioned theories lead to an indication of the complexities
involved in the special visual language of the comic strip and the artist's book.<br>AFRIKAANSE OPSOMMING: Hierdie studie is gemoeid met 'n ondersoek na die twee basismiddele of "taal"
van kommunikasie, naamlik beeld en teks. Hoe hierdie basiese
kommunikasiegereedskap funksioneer in die visuele narratief, met verwysing na
veral die komiekstrip en die kunstenaarsboek, word ondersoek. Beide van
laasgenoemde genres beskik oor komplekse strukture in hul bestaan binne die
raamwerk van die visuele narratief, en hierdie navorsing ondersoek hierdie
kompleksiteite deur die funksionering van beeld en teks in die visuele narratief te ontleed. Die area van semiotiek word as basis gebruik waarop die argumente in die tesis
gebaseer is. Die beginsels vervat in die rigting van semiotiek tree op as 'n
handige hulpmiddel in die lees en verstaan van enige vorm van kommunikasie,
maar in hierdie studie verleen dit veral fokus en struktuur aan die navorsing
binne die raamwerk van die komiekstrip en kunstenaarsboek.
Konsepte wat in diepte bespreek word met die oog op hul uiteindelike
funksionering binne die visuele narratief, sluit die interessante interaksies wat
ontstaan tussen beeld en teks wanneer hulle saam gebruik word, in. Konsepte soos tekens, ikone en simbole, asook hul werking saam met teks (en afsonderlik
daarvan), word bespreek. Teks kan in werklikheid ook as visuele beeld
funksioneer, en hierdie "ikonifisering" of "beeldwording" van teks word
ondersoek. Die rol van konsepte soos interpretasie, persepsie, beeldherkenning
en assosiasie, wat uit hierdie proses van visuele kommunikasie voortspruit, is
baie belangrik in die visuele kommunikeerder se uiteindelike sukses met sy/haar
poging tot kommunikasie. Hoe hierdie konsepte aanleiding gee tot die skep van
'n persoon se "visuele intelligensie" en "visuele geletterdheid", en die
uiteindelike effek wat dit op die proses van kommunikasie het, maak 'n
belangrike deel van hierdie navorsing uit. Hierdie konsepte lei tot 'n bespreking van die dinamika van die visuele narratief wanneer daar vanuit 'n semiotiese
oogpunt daarna gekyk word.
Sentraal tot die bespreking van die visuele narratief in hierdie tesis, kan daar
tussen twee ooreenkomstige genres onderskei word:
1) Eerstens is daar 'n bespreking van die funksionering van die
komiekstripmedium. Belangrike aspekte van hierdie onderwerp is die
funksionering van en interaksies tussen beeld en teks binne die medium, en hoe
die stripmedium bestaan uit 'n unieke stel simbole wat die kommunikasie van
die werk beïnvloed.
2) Tweedens die genre van die kunstenaarsboek, en hoe die boek as unieke
medium funksioneer, word bespreek en ontleed. Die sisteme van betekenis
vervat in die visuele narratief betrokke in die boekmedium, word beskou teen
die lig van 'n semiotiese ondersoek na die interaksies van die basismiddele beeld en teks.
Hierdie navorsing steun die belangrikheid van semiotiek as hulpmiddel in die
interpretasie van enige stuk kommunikasie, maar veral in die stripmedium en
die kunstenaarsboek. Die studie maak veral gebruik van die teorieë van Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty en Umberto Eco. Die toepassing van bogenoemde teorieë in hierdie studie, lei tot
'n aanduiding van die kompleksiteite vervat in die spesiale "visuele taal" van veral die komiekstrip en die kunstenaarsboek.
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Amaral, Raquel Domingues do. "A interpretação dos enunciados do art. 231 caput e parágrafos 1º, 2º, 6º e Art. 20, Inciso XI, todos da CF/88 à luz do constructivismo lógico semântico." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/6997.
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Previous issue date: 2016-02-18<br>Based on the epistemological premise of the Logical Semantic Constructivism (CARVALHO,
2010), the present study proposes to reflect about the incidence of the constitutional rule
which restrain the demarcation of indigenous lands. It seeks for the meaning of the signs:
Indian, Indigenous Community and Indigenous Lands, in the statements of art. 231 caput, §§§
1, 2 and 3 and art. 20, XI, from the Federal Constitution, considering the connotation of these
signs in the social, cultural and historical context of Indians. The study also handles the matter
of demarcation of indigenous lands in the current state of the art, being strongly influenced by
the theory of John Mendes Jr. (1912) on indigenato, as well as making a counterpoint with
Ferraz Jr. s (2007; 2012) discussion, which contemplates indigenato as a title that explains the
Indians originating status of the right to permanent possession, although not limited to this. It
discusses the relevance of the legal precedent of the Supreme Court, as a pragmatic dimension
of linguistic semiosis on the fixed rules of the statements in art. 231 caput, §§§ 1, 2 and 3 and
art. 20 XI, in the Federal Constitution, that is, as a text not written in the physical support of
prescriptive statements, but that cannot have its meaning ignored as real technical legitimacy.
From the perspective of the epistemology proposed by Paulo de Barros Carvalho (2010) on
the incidence of general and abstract tax norm, it proposes a hermeneutics of the incidence of
the rule, which is constructed through the interpretation of the statements of the art. 231
caput, §§§ 1, 2 and 3 and art. 20 XI, from the Federal Constitution. The demarcation of
indigenous lands is denoted in the present research as a procedure and as a sole and specific
rule that enables the incidence of general and abstract rule laid down in art. 231 caput, §§§ 1,
2 and 3 and art. 20 XI, from the Federal Constitution. One may conclude that the individual
and solid rule that documents the demarcation has a legal effect on subjective and originating
rights of the Indians of permanent possession of the lands they traditionally occupy. It has
been defined The existence of two legal systems in relation to the land known as traditionally
occupied by demarcation: the regulatory legal framework of the legal relationship between
"non-Indians", which precedes the advent of sole and specific rule documented in the
demarcation, and the legal regime subsequent to the formation of subjective originating rights
of "Indians", in the subsequent individual and solid rule. Individual and solid rules that make
up the property right of "non-Indians" are repealed before the advent of individual and solid
rules documented in the demarcation, therefore, the extinction of these legal relations has ex
nunc effects and shall be harmonized with the rules of items XXII, XXIV of art. 5 of the
Federal Constitution. After the advent of individual and solid rule of demarcation, the legal
framework is set out in § 6 of art. 231 of the Federal Constitution, as a means of protecting
the Indians original right to possession<br>Propõe-se uma reflexão sobre a incidência da norma constitucional que disciplina a
demarcação de terras indígenas, com base na premissa epistemológica do Constructivismo
Lógico Semântico de Paulo de Barros Carvalho. Buscamos o sentido dos signos índio,
comunidade indígena e terras indígenas nos enunciados do art. 231 caput, §§§ 1º, 2º e 3º e art.
20, XI, da CF, levando em consideração o sentido destes signos no contexto social, cultural e
histórico do índio. Abordamos a problemática da demarcação de terras indígenas no estado
atual da arte, fortemente influenciado pela teoria do indigenato de João Mendes Jr., fazendo
um contraponto com o entendimento esposado por Tércio Sampaio Ferraz Jr., que
compreende o indigenato como um título que explica o caráter originário do direito à posse
permanente dos índios, mas que não se reduz a este. Discorremos sobre a relevância do
precedente jurisprudencial do Supremo Tribunal Federal, como dimensão pragmática da
semiose linguística da norma construída a partir dos enunciados do art. 231 caput, §§§ 1º, 2º e
3º e art. 20 XI da CF, ou seja, como texto não escrito no suporte físico dos enunciados
prescritivos, mas que não pode ser ignorado, na busca de sentido, como verdadeira técnica de
legitimação. Propomos uma hermenêutica sobre a incidência da norma, que se constrói pela
interpretação dos enunciados do art. 231 caput, §§§ 1º, 2º e 3º e art. 20 XI da CF, sob a
perspectiva da epistemologia proposta por Paulo de Barros Carvalho para a incidência da
norma geral e abstrata tributária. Abordamos a demarcação de terras indígenas, como
procedimento e como norma individual e concreta que viabiliza a incidência da norma geral e
abstrata prevista no art. 231 caput, §§§ 1º, 2º e 3º e art. 20 XI da CF. Concluímos que a norma
individual e concreta que documenta a demarcação tem o efeito constitutivo do direito
subjetivo originário dos índios à posse permanente das terras que tradicionalmente ocupam.
Delimitamos a existência de dois regimes jurídicos em relação às terras que são reconhecidas
como ocupação tradicional pela demarcação: o regime jurídico regulador das relações
jurídicas, entre não índios , anteriores ao advento da norma individual e concreta
documentada na demarcação e o regime jurídico posterior à constituição do direito subjetivo
originário dos índios no consequente da norma individual e concreta. Anteriormente ao
advento da norma individual e concreta documentada na demarcação, as normas individuais e
concretas que constituem o direito de propriedade de não índios são revogadas, de modo
que a extinção dessas relações jurídicas tem efeitos ex nunc e devem ser harmonizadas com as
normas dos incisos XXII, XXIV do art. 5º, da CF.Após o advento da norma individual e
concreta da demarcação, o regime jurídico a incidir é o previsto no § 6º, do art. 231, da CF,
como um meio de proteger o direito originário à posse dos índios
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Corrêa, Thiago Moreira. "Inscrições urbanas: abordagem semiótica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-02122016-134016/.
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A diversidade das abordagens em relação às inscrições urbanas reflete a sua complexidade. Cada análise, seja ela sociológica, psicológica, histórica ou artística, constrói o objeto segundo seu ponto de vista (SAUSSURE, 1997), o que limita a investigação da prática. Se considerarmos as inscrições urbanas como uma confluência de movimentos, social e artístico, a articulação desses dois fatores é preponderante, visto que é a ausência dessa relação que tem determinado abordagens enviesadas de sua manifestação. Então, a partir dessas segmentações unilaterais, nossa tese propõe uma ampliação nas tendências de análise, ao considerar a história das inscrições urbanas sob o viés da prática, do texto e do objeto. Dessa forma, busca-se apontar as conservações e as inovações das estruturas de formação do sentido das inscrições urbanas em função de suas mudanças históricas. No nível da prática, um modelo de dinâmica social, baseado nas teorias de Merton (1970) Coseriu (1979) e Klinkenberg (2008, 2010), é estabelecido para explicar a produção dos enunciados, cujas relações entre o plano do conteúdo e o plano da expressão (FIORIN, 2008) e a influência da repetição na formação de algumas modalidades (LEMOS, 2015) desenvolvem nossa abordagem nesse nível de análise. Já o nível do objeto faz a junção com a prática e o texto por meio do suporte, que encontra na proposta de Dondero (2016) e Fontanille (2005, 2015) uma forma pertinente de tratamento de nosso objeto. Ressaltamos que, embora o tratamento histórico tenha uma base interdisciplinar, devido às necessidades do objeto, o processo de produção do sentido na diacronia é nosso objetivo principal e para isso, as teorias da linguagem conduzem todo o desenvolvimento de nossa reflexão, na qual a semiótica tensiva (ZILBERBERG, 2012) possui um especial destaque em razão de suas contribuições a respeito das dinâmicas processuais do sentido. Assim, acreditamos que a complexidade das inscrições urbanas exige novos tipos de abordagem, permitindo à teoria semiótica se desenvolver na apreensão de práticas cujo sentido é formado em uma forte dependência entre os níveis de análise do texto.<br>The diversity of approaches related to urban inscriptions reflects its complexity. Each analysis, whether it is sociological, psychological, historical or artistic, builds the object through its own point of view (SAUSSURE, 1997), which limits research. Considering urban inscriptions as the merger of social and artistic movements, the articulation of these two assets is preponderant, hence it is the absence of this relation that has been determining biased approaches of this manifestation. Therefore, from this unilateral segmentation, our thesis suggests an extension in trends of analysis, when considering the history of urban inscriptions under the viewpoint of practice, text and object. That way, we intend to point out maintenance and innovations of meaning generation structures applied to urban inscriptions according to their historical changes. Considering practice, a social dynamics model based on the theories of Merton (1970), Coseriu (1979) and Klinkenberg (2008,2010), is established to explain the production of enunciates, which relations between the expression and content fields (FIORIN, 2008) and the influence of repetition on the composition of some modalities (LEMOS, 2015) develop our approach in this analysis approach. The object sphere takes part in a link with practice and text through the support, which meets in the proposal of Dondero (2016) and Fontanille (2005, 2015) a pertinent way to deal with our object. We highlight that, although historical approach has an interdisciplinary basis due to the objects needs, the process of meaning generation in the diachrony is our main goal and, for that reason, the theories of language conduct all our reflection development, in which Tensive Semiotics (ZILBERBERG, 2012) plays a special role due to its contributions to the procedural dynamics of meaning. Thus, we believe that the complexity of urban inscriptions demands new approaches that allows development of the Semiotic Theory in the learning of practices which meaning is generated in a strong dependency among the levels of text analysis.
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Maia, Mara Jane Sousa. "Tecendo o estético e o sensível através do bordado na literatura infantil brasileira." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-09032010-094401/.
Full textAbstract:
A literatura infantil desperta um duplo interesse: a história narrada pelo texto verbal e a depreendida das imagens que ilustram as capas e as páginas. Enquanto o texto verbal pode levar o leitor a uma compreensão do mundo e de valores culturais e morais, o texto visual pode despertar os sentidos pela experiência estésica. Do escrito ao tocado, do lido ao experimentado, o aprendizado é feito sob diferentes materialidades e discursos. Este trabalho delimita-se a analisar cinco livros destinados ao público infanto-juvenil com ilustrações feitas pelo grupo mineiro de bordadeiros Matizes-Dumont: Exercícios de ser criança, de Manoel de Barros; A moça tecelã, de Marina Colasanti; Menino do rio doce, de Ziraldo; A bola e o goleiro, de Jorge Amado; A menina, a gaiola e a bicicleta/Céu de passarinho, de Rubem Alves e Carlos Brandão. A fundamentação teórica adotada para a análise desse corpus é a semiótica francesa, abarcando seus desdobramentos recentes, como a semiótica das paixões, a semiótica plástica, a enunciação e a tensividade. Os desdobramentos tensivos, por sinal, caminham livremente em todas as análises como efeito de sentido. A possibilidade de trabalhar com diferentes linhas de análise, demonstra a riqueza desse corpus que ora mostra sua força no texto verbal, ora ganha status de arte ao oferecer ao enunciatário/leitor uma gama de imagens que despertam o estético e o estésico. Temos, portanto, ao longo dos enunciados infanto-juvenis, a presença de diálogos plurilinguísticos e polissensoriais. A figuratividade, tão presente e marcante neste trabalho, segue as propostas de Denis Bertrand. Outro teórico relevante a esta pesquisa é Jean-Marie Floch, com suas linhas de pesquisa a respeito do visual/pictórico, ao inserir novas categorias (constitucionais e relacionais) de análise para o plano da expressão. Pela própria natureza dos objetos analisados, percorre-se o caminho do estético, já que este se manifesta mediante práticas cotidianas. Esse percurso apresenta um marco importante no livro Da Imperfeição, de Algirdas Julien Greimas, que analisa textos-objeto de valor estético, depreendendo seu sentido e seu caráter sensível, em que o plano da expressão passa a ser a força motriz da obra. As descrições do autor sobre alguns textos literários mostram a elasticidade do discurso, que vai além da superfície do texto. Ainda a respeito da questão plástica, outras fontes teóricas estão presentes com o intuito de enriquecer e expandir as análises, procurando sempre manter o intercâmbio entre a semiótica e outras propostas de análise do pictórico. Diante dessas informações técnicas das artes plásticas, que possuem sua linguagem própria, torna-se possível montar uma grade de leitura dos textos-objeto. Embora este trabalho trilhe pelo caminho da semiótica, tratar de textos infantis nos obriga a ter informações consistentes sobre o universo teórico da literatura. Daí o acréscimo de livros sobre este universo, incluindo obras específicas sobre literatura infantil, ilustração e diagramação. Dessa forma, dentro dos objetivos de examinar os mecanismos de construção do sentido em textos de literatura infanto-juvenis, cada livro é analisado de acordo com a teoria da semiótica discursiva ou a da semiótica plástica. Em A moça tecelã trabalha-se com as paixões no texto verbal com o intuito de apreender os efeitos de sentido de qualificações modais, aspectuais e estruturais que modificam o sujeito patemizado. Pela obra sincrética de Manoel de Barros são descritas as estratégias de enunciação, apontando os recursos utilizados para a construção de sentido nos textos verbais e visuais. A intertextualidade pontua o trabalho de Ziraldo ao dialogar com as obras infanto-juvenis do escritor norteamericano Mark Twain, acrescentando-se, na análise, as experiências estéticas relacionadas com as paixões. O último capítulo trata do imagético, fazendo um contraponto entre as capas dos livros A bola e o goleiro e A menina, a gaiola e a bicicleta/Céu de passarinhos, fundamentando-se em Floch e seus sucessores teóricos. Por meio dessas análises busca-se acrescentar aos estudos dos textos literários e plásticos infanto-juvenis possíveis mecanismos de leitura, tendo como ferramenta teórica a semiótica francesa.<br>Childrens literature brings two different concerns: the story told by the verbal text, and the one brought by the images of the book cover and of the book. The visual text can awake the senses by an aesthetic experience while what is written on the book can take the reader to a comprehension of the world and of the cultural and moral values. The learning is made possible by different matters and discourses; from whats written to whats touched, from whats read to whats experienced. This essay was delimited to the analyses of five books made specific to children, with illustrations made by a group of embroideress from Minas Gerais called Matizes-Dumont: Exercícios de ser criança, by Manoel de Barros; A moça tecelã, by Marina Colasanti; Menino do rio doce, by Ziraldo; A bola e o goleiro, by Jorge Amado; A menina, a gaiola e a bicicleta/Céu de passarinho, by Rubem Alves and Carlos Brandão. The theoretical basis used for the analyses of this subject is the French Semiotics, also with its deployments such as the Semiotics of Passion, Semiotics of Arts, the Enunciation, and the Tensile Semiotics. In reality, the Tensile Semiotics one goes freely through all the analyses as a sense, or meaning, effect. The possibility of working with different forms of analyses brought up the importance of the material. It shows the strength of the verbal text, and, also, the importance of the material as a work of art since it offers to the readers a number of images that awakes the esthetic and aesthetic. The dialogues are plurilinguistic and polisensorial. The figuratively, well noticed on this essay, follows the developments made by Denis Bertrand. Other important scholar for this research is Jean-Marie Floch, and its ways of working over the visual/pictorial, adding new categories (constitutionals and relational) of analyses for the expression plane. We follow the trails of the esthetic based on the nature of the analyzed objects, since its expressed over ordinary way of working. This course presents an important door on Algidas Julien Greimas book, De l\'imperfection (Of the Imperfection), wich analyses texts-objects of esthetic value, gathering its meaning from the sense, and the expression plane became the main force on the work piece. His descriptions about some literary texts shows us the elasticity of a discourse, going beyond the surface of the text. Yet on the plastic art field, other theoretical sources are present, so it would enrich and enlarge the analyses, always trying to keep the interchange between semiotics, and other forms of analyses of the pictorial. From all these technical information about the plastic art, that contains its own language, its possible for us to show the screen of reading of the text-object. Working with childrens texts forces us to have consistent information about the theoretical universe of this literature, even though the essay goes through the semiotics field. We understand from that the choice of using a book of this field, including specific works about childrens literature, illustration and sketch. This way, each book was analyzed according to a theory of the discursive semiotics or of the plastic art semiotics. On the book A Moça Tecelã, we work with the passions on the verbal text, trying to pay attention to the effects of the sense by the modal, the aspectual, and the structural qualifiers that change the pathetic reaction of the subject. By Manoel de Barros syncretic work we describe the strategies of the enunciation, showing the resources used for the construction of the verbal and visual texts. The intertextuality on Ziraldos work is noticed by his dialog with childrens works made by the north-American author Mark Twain, adding, on the analyses, the esthetic experiences related to the passions. The last chapter talks about the images, creating a counterpoint between the covers of the books A bola e o goleiro, and A menina, a gaiola e a bicicleta/Céu de passarinhos, based on Floch and his theoretical successors. With this essay, weve tried to add possible ways of reading the childrens literature and plastic art using the French Semiotics theoretical tools.
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Molinari, Paula Maria Aristides de Oliveira. "Alfred Wolfsohn na obra de Charlotte Salomon: uma cartografia que emerge da voz." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4600.
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Previous issue date: 2014-02-27<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>The analysis of Charlotte Salomon s work is a cartographic path of the application of
Alfred Wolfsohn s ideas. We propose the reading of this artistic text for the course of
a possible cartography that exposes the voice as compositional and aggregating unit
of the various senses in the expressive synthesis that is perceivable in its imagistic
orality. In the process of transcription of Alfred Wolfsohn s manuscript to the work of
Charlotte Salomon s, the voice drives new ways of sensitive communication, beyond
the meanings of verbal language, seen as it gives visibility to the flux of emotions,
potentiating the relationship between art and life, body and environment, education
and communication. In the reading of Charlotte Salomon s work and Alfred
Wolfsohn s manuscript, there is a pedagogic proposal that takes place through the
voice and which is not present in each individual work. Conferring aspects of both
works, a study of the voice is delineated as a path to a technique that tries for the
transit of emotions. The voice appears as mediation of the exterior world and human
interior and potentiates the translation of the experienced into work of art and which
can be read so as to concur to the comprehension of the semiosis that take shape in
this artistic text. The goals are: (i) to intersemioticaly translate, through Charlotte
Salomon s work, the legacy of Alfred Wolfsohn s from the perspective of the
relationship between communication, visualities and intersubjectivities, in a
dialoguing action between the visual work and the manuscript, seeking (ii) to
introduce an analysis of Charlotte Salomon s work and Alfred Wolfsohn s legacy into
the academic medium under the light of the culture semiotics. From many layers and
semiotically heterogeneous, capable of entering complex relationships with the
environment cultural context as well as the reader, the paper is no longer an
elementary message displaying the ability of condensing information. It acquires
memory and so, in the memory of a Latin-American reality, the artistic text reforms
itself and gains other meanings, which will uncover a possible comprehension of the
voice as a pedagogical path. The transcreation from one text to another is leitmotiv of
this investigation<br>A análise da obra de Charlotte Salomon é um caminho cartográfico da aplicação das
ideias de Alfred Wolfsohn. Propomos a leitura desse texto artístico para o trajeto de
uma cartografia possível que expõe a voz como unidade composicional e
agregadora dos diversos sentidos na síntese expressiva que se faz perceptível em
sua oralidade imagética. No processo de transcriação do manuscrito de Alfred
Wolfsohn para a obra de Charlotte Salomon, a voz aciona novos modos de
comunicação sensível, para além dos significados da linguagem verbal, uma vez
que dá visibilidade ao fluxo das emoções, potencializando a relação entre arte e
vida, corpo e ambiente, educação e comunicação. Na leitura da obra de Charlotte
Salomon e do manuscrito de Alfred Wolfsohn, existe uma proposta pedagógica que
se dá por meio da voz e que não está em cada obra isolada. Cotejando-se aspectos
de um texto e outro, se delineia um estudo da voz como caminho para uma técnica
que enseja o trânsito das emoções. A voz aparece como mediação do mundo
exterior e interior humano e potencializa a tradução do vivido em obra de arte e que
pode ser lida de modo a concorrer para a compreensão das semioses que se
concretizam nesse texto artístico. São objetivos: (i) traduzir intersemioticamente,
pela obra de Charlotte Salomon, o legado de Alfred Wolfsohn a partir da perspectiva
da relação entre comunicação, visualidades e intersubjetividades, numa ação
dialogante entre a obra visual e o manuscrito, buscando (ii) apresentar ao meio
acadêmico uma análise da obra de Charlotte Salomon e o legado de Alfred Wolfsohn
à luz da semiótica da cultura. De muitos estratos e semioticamente heterogêneo,
capaz de entrar em complexas relações tanto com o contexto cultural do entorno
como com o próprio leitor, o texto deixa de ser uma mensagem elementar mostrando
a capacidade de condensar informação. Adquire memória e, assim, na memória de
uma realidade latino-americana, o texto artístico se refaz e ganha significados
outros, que abrirão uma possível compreensão da voz como caminho pedagógico. A
transcriação de um texto a outro é leit motiv desta investigação
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Lerm, Ruth Rejane Perleberg. "Leitura de textos sincréticos verbovisuais : relações entre linguagens em (fan)zines brasileiros." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/157593.
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Nesta investigação damos continuidade aos estudos sobre textos sincréticos verbovisuais iniciados no mestrado, tendo como objeto empírico de estudo os fanzines, também chamados zines, publicações alternativas de pequena circulação, que se situam nas bordas, nas interfaces entre arte, design, literatura e cultura visual. Na escolha do objeto empírico, bem como na delimitação do corpus de análise, levamos em consideração algumas particularidades observadas na obra de Roland Barthes (1984, 1990, 2004). Corroboraram com essa escolha, o crescente interesse pelos fanzines observado nas áreas de Educação, Comunicação e Design, o surgimento e expansão dos zine fests e a escassez de publicações e estudos acadêmicos sobre o assunto no Brasil. Como objetivo geral, estudamos o sentido ou os efeitos de sentido advindos das relações entre as linguagens envolvidas nos zines. Para tanto, contamos com o aporte teórico e metodológico da semiótica discursiva. Dentre seus autores, citamos as contribuições de Barros (2003), Fiorin (2004, 2009), Teixeira (2004, 2009) e Greimas e Courtés (1991, 2008). Para pensar especificamente as relações entre as linguagens no plano de expressão, buscamos aproximações com Louis Hjelmslev (1978, 2006) e José Roberto do Carmo Jr. (2009). A partir das análises de Pequeno compêndio dos fantasmas interiores, de Ale Kalko; Acordo mal e Em branco, de Hannah Uesugi constatamos entre seus componentes relações de interdependência que, por sua vez, foram examinadas quanto a três dimensões: aproximação/afastamento; coerência/incoerência e subjetividade/objetividade. Consideramos que tais dimensões também estejam presentes nas relações entre linguagens acionadas em outros textos sincréticos verbovisuais. Com isso, pretendemos colaborar tanto para o ensino da arte como para pesquisas que tenham como objeto empírico de estudo manifestações sincréticas verbovisuais. Além de apresentarmos o zine como potente material para experimentação expressiva e conceitual também proporcionamos subsídios teóricos e metodológicos para o aprofundamento da leitura de imagens, trazendo a semiótica discursiva para o contato de professores e pesquisadores. Por outro lado, com o estudo das relações entre linguagens pensadas como dimensões esperamos contribuir para uma sistematização da leitura do plano de expressão de textos sincréticos, ainda em construção na semiótica discursiva.<br>In the present investigation we continued our studies on verb-visual syncretic texts started in the Master’s course, having as empirical object of study the fanzines, also called zines, alternative publications of small circulation, which are found on the margins, on the interfaces between art, design, literature and visual culture. When choosing the empirical object as well as the limits of corpus of analysis, we took into consideration some features observed in the work of Roland Barthes (1984, 1990, 2004). The growing interest for fanzines, observed in the fields of Education, Communication and Design, the emergence and expansion of zine fests and the lack of publications and academic studies on the topic in Brazil have supported such choice. As a general objective, we studied the sense or the effects of sense resulting from the relations between the languages involved in the zines. To do so, we made use of the theoretical and methodological input of discursive semiotics. Amongst its authors we mention the contributions by Barros (2003), Fiorin (2004, 2009), Teixeira (2004, 2009) and Greimas and Courtés (1991, 2008). In order to think specifically about the relations between the languages in the expression plan, we looked for reports with Louis Hjelmslev (1978, 2006) and José Roberto do Carmo Jr. (2009). Based on analysis of the Pequeno compêndio dos fantasmas interiores, by Ale Kalko; Acordo mal and Em branco, by Hannah Uesugi we noticed, amongst their components, relations of interdependency which, in turn, were examined concerning three dimensions: approximation/distance; coherence/incoherence and subjectivity/objectivity. We consider that such dimensions are also present in the relations between languages used in other verb-visual syncretic texts. Thus, we intend to collaborate both for the teaching of art as well as for researches which have as their empirical object of study, verb-visual syncretic manifestations. Besides presenting the zine as a powerful material for expressive and conceptual experimentation we also provide theoretical and methodological subsidies for the development of image reading, making the discursive semiotics accessible for teachers, professors and researchers. On the other hand, with the study of the relations between the languages seen as dimensions we expect to contribute for a systematization of the reading of the expression plan of syncretic texts, still under construction in the discursive semiotics.
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Hay, Trevor Thomas. "China's Proletarian Myth: The Revolutionary Narrative and Model Theatre of the Cultural Revolution." Thesis, Griffith University, 2000. http://hdl.handle.net/10072/366202.
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China's model works, the so-called `eight great model works' are rarely thought of as `literature', not only because they are of course, performance works, but because they are not thought of in the normative sense as a form of dramatic literature, but as a form of propaganda. This thesis investigates the relationship between propaganda and art by concentrating on the texts of these works and, in particular, by analysing the structure of a narrative type which is not just a blueprint for dramatic texts but a design for the Chinese revolutionary narrative, as embodied in Mao Zedong's key utterances on literature and art, and `told' or enacted, by the campaign to reform Beijing opera undertaken by his wife, Jiang Qing.
In order to understand the precise nature of this narrative, and its relationship with theatre and the broader political arena of the Cultural Revolution, an analysis is undertaken of literary theory in both the Soviet Union and China, followed by an analysis of the aesthetic at work in the particular combinations of realism and romanticism which were discussed and implemented in each country. After a detailed examination of the way the campaign to reform Beijing opera was conducted, including the promulgation and `display' of key documents and speeches by Mao and Jiang Qing, sample texts are analysed according to a method which illustrates the design of the narrative. These texts, and the model works in general, are then considered in relation to some general observations about genres of mythology and their relationship with folklore. Finally, a particular `dramatic' relationship is suggested between the narrative design of the models, and the conduct of the Cultural Revolution itself. In the course of this, the notion of mythology is discussed in the context of its complex relationship with ideology and popular culture, as identified by Roland Barthes in particular, with his often enigmatic emphasis on the `semiology' of myth. The complex blend of cultural theories which may be brought to bear on this discussion is re-visited, with a view to understanding the model works as a genre of `proletarian' mythology which might yet survive the Cultural Revolution as a substantive dramatic genre. In conclusion, the relationship between theatre, narrative and semiotics is pursued, in attempting to establish a key difference between the aesthetic `method' employed in the model works and that of socialist realism. This difference, it is argued, is the product of a basic approach to mythic romanticism which preserves the essential traditions of Beijing opera, and makes the models legitimate heir to this tradition, in spite of the bitter memories of the Cultural Revolution and its tragic campaigns.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Asian and International Studies<br>Full Text
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Costa, Manuel da. "A subjetividade das formigas : uma abordagem pragmática do uso artístico da eletrongrafia na representação de mundos ocultos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/10831.
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Dando continuidade a uma pesquisa estética iniciada em 1991, este projeto de pesquisa em arte propõe a realização da série FORMIGAS, e o texto desta dissertação trata das relações entre a ética e a estética que essa obra estabelece ao longo dos quatro anos de duração do seu processo instaurador. No decorrer desse período, uma primeira versão dessa mesma série, composta por uma seqüência de nove eletrongrafias de caras de formigas de várias espécies, gerou um impasse ético que a presente versão, composta por uma seqüência de quinze eletrongrafias de caras de formigas do gênero acromyrmex, propõe discutir e contornar.<br>The current paper is a research project in art that discusses the relation between the ethics and the aesthetics brought about by the making of the ANT series. It is part of an aesthetic investigation initiated in 1991 and the series instauration process has taken four years. A first version of the series was composed by a sequence of nine electrongraphs of ant faces of several species, and the second version is composed by fifteen electrongraphs of ant faces of the genus acromyrmex. The first version raised an ethical dilemma which the second one and this paper are meant to discuss and resolve.
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Holzapfel, Vilson. "Stelarc e a comunicação: a túnica inconsútil das corporeidades." Universidade Federal de Juiz de Fora (UFJF), 2009. https://repositorio.ufjf.br/jspui/handle/ufjf/3419.
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Previous issue date: 2009-12-09<br>Propondo-se a analisar a produção artística de Stelarc a partir de um olhar semiótico, a presente pesquisa busca elementos que legitimem a interpretação simbólica, portanto fantasiosa, imaginária e utópica, das performances, observando-as como signos do processo evolutivo humano em luta contra a obsolescência. A essa leitura opõe-se Brian Massumi, que sugere a observação literal e restrita ao espaço performático. A análise, baseada na Semiótica de Peirce, segue três etapas: a primeira, descritiva, demora-se nos fundamentos do signo; a segunda intenta delinear o objeto, que se prolonga do espaço performático à realidade contígua e imbrica sobre a futuridade pós-humana. Na terceira, observam-se os efeitos interpretativos nas categorias de primeiridade, secundidade e terceiridade, com ênfase no legissigno instituidor das corporeidades conectadas, base de uma sugestão de modelo classificatório que, ao considerar o caráter relacional do ciberespaço, destaca o modo como se
dão os contatos sociais em Stelarc e como influenciam a subjetividade. A proposta complementa o modelo de Massumi, fundado no automatismo força atuante corpo ação transduzida. As relações em Stelarc são eminentemente táteis, viscerais, em que o corpo torna-se arena de manifestação do comportamento híbrido, coletivo, fractal. À luz da Pragmática, observar-se-á o interpretante stelarciano em seu poder de alterar a visão de mundo do intérprete e seus hábitos de sentimento, ações e pensamentos. Será analisada, portanto, a capacidade do signo artístico de incentivar o crescimento da razoabilidade concreta, ao estimular a busca do Summum Bonum, ideal estabelecido pela Estética e
executado pela Lógica, sob a direção da Ética. Por fim, a pesquisa identifica elementos que validem a leitura simbólica a partir de critérios objetivos respaldados nos fundamentos e na referencialidade do signo, somados à experiência colateral do intérprete. Na presente pesquisa, foram consideradas as teorias de Peirce sobre semiótica, a partir das observações de Gambarato, Fernandes, Serra, Tienne e Santaella; de Hall, Freud, Lemos, Marcondes Filho, Rüdiger, Maffesoli sobre subjetividade e socialização; de Kerckhove, Lévy, Santaella e Domingues, como teóricos da cibercultura; e de Leão, Fernandes, Dery, Goodall, Jones, Kroker, Smith, Massumi sobre o universo stelarciano.<br>Trying to analyze in a semiotic view the Stelarc’s artistic production, the current research seeks elements that can legitimate the symbolic interpretation, hence fanciful, imaginary and utopian, of performances, observing them as signs of the human evolutionary process in the fight against obsolescence. Brian Massumi, in opposition to this reading, suggests the literal and restricted observation of the performative space. The analysis, based on Peirce’s Semiotic, follows three stages: the first one, descriptive, stays on the sign features. The second, intends to outline the object, which prolongs from the performative space until the contiguous reality and overlaps the posthuman futurity. On the third one, the interpretative
effects on the firstness, secondness and thirdness are observed, laying emphasis on the legisign as founder of the connected corporities, which are the base of a suggestion to a classifier framework when, considering the cyberspace relational aspect, emphasizes the way how the social contacts in Stelarc are settled and how they influence the subjectivity. The proposal completes Massumi’s pattern based on the automatism acting force body transduced action. In Stelarc, the relationships are priorly tactile, visceral, where the body becomes arena of expression of the hybrid, collective and fractal behavior. Under the
pragmatic aegis, the Stelarcian interpretants will be analyzed in its power of changing the interpreter’s world perception, and his/her habits of feeling, action and thought. The artistic sign capacity to motivate the growth of the concrete reasonableness will be scrutinized, by stimulating the Summum Bonum search, which is established by the aesthetic and executed by the logic, under the ethic leading. Finally, the research identifies elements that confirm the symbolic reading that follows objective criteria supported by both, the features and the referentiality of the sign, added to the interpreter’s collateral experience. This current research has considered the theories of Peirce, about Semiotic, according to Gambarato, Fernandes, Serra, Tienne and Santaella; of Hall, Freud, Lemos, Marcondes Filho, Rüdiger, Maffesoli
about subjectivity and socialization; of Kerckhove, Lévy, Santaella and Domingues, as theoreticians of the cyberculture; and of Leão, Fernandes, Dery, Goodall, Jones, Kroker, Smith, Massumi about the Stelarcian universe.
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Vedin, Sofi. "Den fulaste tavlan : En undersökning av kontroversiell konst i vårdmiljö." Thesis, Karlstads universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-56634.
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Decorative art is not a natural part of an health care environment to many people. Still it exists – in Sweden the county councils have some of the largest art collections in the country, and they are often the ones responsible for the art in hospitals, health centers and dentist offices in each county. This study is about the art in health care environments that is controversial – and why. With the help of interviews and a semiotic picture analysis, I will try to sort out what kind of paintings and pictures make people uncomfortable when viewed in a health care context.
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Daines, Alison. "Ascents and Descents: Personal Pilgrimage in Hieronymus Bosch's The Haywain." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3322.pdf.
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