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Lao, Junpeng. "Tracking the temporal dynamics of cultural perceptual diversity in visual information processing." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5055/.
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Human perception and cognition processing are not universal. Culture and experience markedly modulate visual information sampling in humans. Cross-cultural studies comparing between Western Caucasians (WCs) and East Asians (EAs) have shown cultural differences in behaviour and neural activities in regarding to perception and cognition. Particularly, a number of studies suggest a local perceptual bias for Westerners (WCs) and a global bias for Easterners (EAs): WCs perceive most efficiently the salient information in the focal object; as a contrast EAs are biased toward the information in the background. Such visual processing bias has been observed in a wide range of tasks and stimuli. However, the underlying neural mechanisms of such perceptual tunings, especially the temporal dynamic of different information coding, have yet to be clarified. Here, in the first two experiments I focus on the perceptual function of the diverse eye movement strategies between WCs and EAs. Human observers engage in different eye movement strategies to gather facial information: WCs preferentially fixate on the eyes and mouth, whereas EAs allocate their gaze relatively more on the center of the face. By employing a fixational eye movement paradigm in Study 1 and electroencephalographic (EEG) recording in study 2, the results confirm the cultural differences in spatial-frequency information tuning and suggest the different perceptual functions of preferred eye movement pattern as a function of culture. The third study makes use of EEG adaptation and hierarchical visual stimulus to access the cultural tuning in global/local processing. Culture diversity driven by selective attention is revealed in the early sensory stage. The results here together showed the temporal dynamic of cultural perceptual diversity. Cultural distinctions in the early time course are driven by selective attention to global information in EAs, whereas late effects are modulated by detail processing of local information in WC observers.
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Verney, Steven P. "Pupillary responses index : information processing efficiency across cultures /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992386.
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McDonough, Suzanne. "Connecting visual design and Hofstede's cultural dimensions the United States, Latin America and Spain." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4981.
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My thesis discusses whether culture can be used to predict visual design preferences in documentation and whether cultures with similar attributes demonstrate similar visual design preferences. The visual design of a document is an important element in effective communication to an audience. If the audience is outside the United States, it is important to understand the attributes of that culture to create documents that are most effective for the audience. Cultural theorist Geert Hofstede describes cultural attributes in terms of six cultural dimensions: individualism versus collectivism, high versus low power distance, high versus low uncertainty avoidance, masculinity versus femininity, long-term versus short-term orientation, and indulgence versus restraint. This thesis explores whether we can identify visual design preferences in high uncertainty avoidance cultures and high power distance cultures, such as Spain and Latin American countries. To explore this topic, a study was done on sample report documents from a single company which operates in the United States, Latin America and Spain. Choosing only one company to collect samples from provided a way of discounting different corporate cultures as an influence on standards, tools and how documents are developed. As a framework for comparison of the documents, Kostelnick's visual design matrix was used to analyze the documents for graphics, data displays, document unifiers, decoding devices, and cuing devices. The results show that some elements of visual design can be predicted by cultural attribute, and there is a correlation between different cultures and their preference for similar design elements. For U.S. technical communicators working on documents for Latin American and Spanish audiences, documents need to be shorter in length with simple data displays and need to use more cuing devices to be effective for audiences in these cultures.; This study also shows that for technical communicators designing documents for audiences in other cultures, studying the audience and the specific attributes of that culture will provide direction on how to design an effective technical document for that audience.<br>ID: 029810073; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 81-83).<br>M.A.<br>Masters<br>English<br>Arts and Humanities
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Gava, José Estevam [UNESP]. "Momento bossa nova: arte, cultura e representação sob os olhares da revista O Cruzeiro." Universidade Estadual Paulista (UNESP), 2003. http://hdl.handle.net/11449/103207.
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gava_je_dr_assis.pdf: 7246033 bytes, checksum: a7edb5a955647fa8ca7257d9a443e853 (MD5)<br>Os anos de 1959 a 1962 são considerados como período Bossa Nova, época em que o estilo musical floresceu e se afirmou como marca distintiva. Sabe-se, porém, que o termo Bossa Nova foi desde logo utilizado para rotular o mais variado leque de atividades, objetos e situações. Por sua força sugestiva, relacionada a dinamismo e novidade, a sigla BN integrou o imaginário e representações de uma época, para a qual o Brasil aparecia como país jovem, moderno e promissor. Esta pesquisa aborda justa-mente essa movimentação bossanovista em sua vertente não-musical. Para tanto, em-prega a revista O Cruzeiro como fonte de material e objeto de estudo em si, haja vista a quantidade substancial de menções e utilizações que fez do termo Bossa Nova. Ana-lisam-se, aqui, os vários sentidos conferidos ao neologismo da moda e a função da música como polarizadora dessas representações. Contudo, dá-se atenção especial a um tipo peculiar de design gráfico explorado pela revista nos anos de 1959 e 1960, intitulado paginações Bossa Nova. As matérias assim configuradas se caracterizaram pela geometrização, economia de elementos e amplo uso de fotomontagens. Além disso, propuseram interessante mescla entre coluna social, biografia, humor, expe-rimentação e manifesto pela atualização da forma de acordo com as linhas constru-tivistas que vigoravam em São Paulo e Rio de Janeiro naquele momento. Esses no-vos formatos de reportagens são analisados com base na história do jornalismo ilus-trado e nos intercâmbios havidos entre a imprensa periódica e campos dedicados à pesquisa formal mais pura. Demonstra-se, por fim, como alguns artistas, intelectu-ais e jornalistas brasileiros situados na transição entre as décadas de 50 e 60 co-mungaram ideais de modernidade análogos e os difundiram como ferramentas para a construção de mentalidades e representações sociais.<br>The years between 1959 and 1962 are considered as Bossa Nova period, an ep-och on which the musical style flourished and settled as a distinctive brand. It is known that the term Bossa Nova was used soon to label the most varied fan of activities, objects and situations. Due to its suggestive strength related to dynamism and novelty, the label BN integrated the imaginary and representations of a time to which Brazil came up as a young country, modern and promising. This research holds such bossanovistic move-ment in its non-musical expression. This way, the weekly magazine O Cruzeiro is used as source of material and object of study in itself, regarding the substantial quantity of references and uses on Bossa Nova term. Several senses referring to the neologism and the function of music polarizing such representations are analyzed hereby. Nevertheless, special attention is given to a peculiar type of graphic design explored by the magazine in 1959 and 1960, named Bossa Nova pages. The issues thus configurated are charac-terized by the geometry, economy of elements and wide use of photomontage. In addi-tion, an interesting mingle among social article, biography, humor, experiment and manifestation for the updating of the graphic form was proposed according to the con-structivists thoughts which were coming out in São Paulo and Rio de Janeiro at the time. Such new formats of reports are both analyzed and based upon the history of the illustrative journalism as well as in the interchanges that there have been between the periodical press and fields dedicated to a purer formal research. Eventually, it is demon-strated how some artists, intellectuals and Brazilian reporters situated in the transition between fifties and sixties joined similar ideals of modernity, widespreading them as tools for the construction of mentalities and social representations.
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Zeito, Maria. "”För den intresserade allmänheten” : En undersökning av hur tre specialsamlingar visas upp på Instagram." Thesis, Uppsala universitet, Institutionen för ABM, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385847.
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The aim of this master’s thesis is to examine how social media, specifically Instagram, is utilized in three special collections libraries in Sweden. The intent is to understand why Instagram is a plausible platform for the purpose of showcasing the libraries’ cultural heritage collections, how this is done and who the target audience is. The theoretical framework for this study is based on Roland Barthes’s visual semiotic terms denotation and connotation. The study also applies Lorri Mon’s analytical tools when examining how libraries can use social media in a successful manner. The three selected libraries are Uppsala University Library, Lund University Library and Roggebiblioteket. Six Instagram posts, between October 2018 and Mars 2019, from each library are analyzed, and e-mail interviews have been conducted with the librarians behind the accounts. Finally, the results are compared to showcase their differences and similarities, but also to compare them to previous studies on social media use in libraries. The results show that Instagram is used to display the libraries’ cultural heritage and make the collections more approachable to the general public – specifically to foreign researchers. The librarians also use Instagram as a platform to connect with other cultural heritage institutions and librarians all over the world. Through publishing esthetically pleasing pictures of old historical books, maps and other materials, they want to attract new users and put their library on the map. This is a two years master’s thesis in Library and Information Science.
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Meredith, David Charles. "Match & mismatch : cross-cultural visual symbolism in Hong Kong health & hygiene public information poster campaigns 1950-1990." Thesis, Birmingham City University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262946.
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Gava, José Estevam. "Momento bossa nova : arte, cultura e representação sob os olhares da revista O Cruzeiro /." Assis : [s.n.], 2003. http://hdl.handle.net/11449/103207.
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Orientador: Tânia Regina de Luca<br>Banca: Antonio Celso Ferreira<br>Banca: Milton Carlos Costa<br>Banca: Ana Maria Mauad<br>Banca: Marcos Francisco Napolitano de Eugenio<br>Resumo: Os anos de 1959 a 1962 são considerados como período Bossa Nova, época em que o estilo musical floresceu e se afirmou como marca distintiva. Sabe-se, porém, que o termo Bossa Nova foi desde logo utilizado para rotular o mais variado leque de atividades, objetos e situações. Por sua força sugestiva, relacionada a dinamismo e novidade, a sigla BN integrou o imaginário e representações de uma época, para a qual o Brasil aparecia como país jovem, moderno e promissor. Esta pesquisa aborda justa-mente essa movimentação bossanovista em sua vertente não-musical. Para tanto, em-prega a revista O Cruzeiro como fonte de material e objeto de estudo em si, haja vista a quantidade substancial de menções e utilizações que fez do termo Bossa Nova. Ana-lisam-se, aqui, os vários sentidos conferidos ao neologismo da moda e a função da música como polarizadora dessas representações. Contudo, dá-se atenção especial a um tipo peculiar de design gráfico explorado pela revista nos anos de 1959 e 1960, intitulado "paginações Bossa Nova". As matérias assim configuradas se caracterizaram pela geometrização, economia de elementos e amplo uso de fotomontagens. Além disso, propuseram interessante mescla entre coluna social, biografia, humor, expe-rimentação e manifesto pela atualização da forma de acordo com as linhas constru-tivistas que vigoravam em São Paulo e Rio de Janeiro naquele momento. Esses no-vos formatos de reportagens são analisados com base na história do jornalismo ilus-trado e nos intercâmbios havidos entre a imprensa periódica e campos dedicados à pesquisa formal mais pura. Demonstra-se, por fim, como alguns artistas, intelectu-ais e jornalistas brasileiros situados na transição entre as décadas de 50 e 60 co-mungaram ideais de modernidade análogos e os difundiram como ferramentas para a construção de mentalidades e representações sociais.<br>Abstract: The years between 1959 and 1962 are considered as Bossa Nova period, an ep-och on which the musical style flourished and settled as a distinctive brand. It is known that the term Bossa Nova was used soon to label the most varied fan of activities, objects and situations. Due to its suggestive strength related to dynamism and novelty, the label BN integrated the imaginary and representations of a time to which Brazil came up as a young country, modern and promising. This research holds such "bossanovistic" move-ment in its non-musical expression. This way, the weekly magazine O Cruzeiro is used as source of material and object of study in itself, regarding the substantial quantity of references and uses on Bossa Nova term. Several senses referring to the neologism and the function of music polarizing such representations are analyzed hereby. Nevertheless, special attention is given to a peculiar type of graphic design explored by the magazine in 1959 and 1960, named "Bossa Nova pages". The issues thus configurated are charac-terized by the geometry, economy of elements and wide use of photomontage. In addi-tion, an interesting mingle among social article, biography, humor, experiment and manifestation for the updating of the graphic form was proposed according to the "con-structivists" thoughts which were coming out in São Paulo and Rio de Janeiro at the time. Such new formats of reports are both analyzed and based upon the history of the illustrative journalism as well as in the interchanges that there have been between the periodical press and fields dedicated to a purer formal research. Eventually, it is demon-strated how some artists, intellectuals and Brazilian reporters situated in the transition between fifties and sixties joined similar ideals of modernity, widespreading them as tools for the construction of mentalities and social representations.<br>Doutor
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Chan, Tay On Kou Alexandra Valeria. "Replanteamiento de la identidad visual del restaurante Ache a partir de su dimensión cultural." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657155.
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En esta investigación se encontró un problema de comunicación visual en el restaurante Ache, donde se identificó la falta de elementos gráficos que logre identificar al restaurante de cocina nikkei a partir de su dimensión cultural. Se identificó que este problema de comunicación visual solo se podía resolver mediante el diseño gráfico, ya que pertenece precisamente al área identitaria. Además, este proyecto muestra una justificación cultural y práctica donde se identificarán aspectos esenciales para el replanteamiento de la identidad del restaurante para que logre transmitir su esencia como marca al consumidor.También, se realizó una encuesta a un grupo de personas que consumen comida nikkei y se entrevistó a dos expertos que han creado y rediseñado proyectos de identidad visual de restaurantes nikkeis y otros rubros de comida. Adicionalmente, se utilizó la metodología de trabajo del doble diamante para realizar el proceso de elaboración de la gráfica visual.Los principales resultados que se pudo obtener mediante la propuesta de diseño fueron positivos, ya que los usuarios consideraron que la nueva gráfica sí reflejaba el rubro de comida que ofrecían. Igualmente, el logo lo relacionaban con la cultura nikkei, la carta lo consideraban claro y directo, las imágenes ayudaban a entender el producto a consumir y el empaque les parecía innovador y diferente generando una experiencia única.<br>In this research, a visual communication problem was found in the Ache restaurant, where the lack of graphic elements that could identify the Nikkei cuisine restaurant from its cultural dimension was identified. It was identified that this visual communication problem could only be solved through graphic design, since it belongs precisely to the identity area. In addition, this project shows a cultural and practical justification where essential aspects will be identified for the rethinking of the identity of the restaurant so that it can transmit its essence as a brand to the consumer.Also, a survey was made to a group of people who consume Nikkei food and two experts who have created and redesigned visual identity projects for Nikkei restaurants and other food items were interviewed. Additionally, the double diamond methodology was used to carry out the process of elaboration of the visual graphics.The main results obtained through the design proposal were positive, since the users considered that the new graphics did reflect the food offered. Likewise, the logo was related to the Nikkei culture, the menu was considered clear and direct, the images helped to understand the product to be consumed and the packaging seemed innovative and different, generating a unique experience<br>Trabajo de Suficiencia Profesional
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Wang, Ding. "The systematic analysis and innovative design of the essential cultural elements with Peking Opera Painted Faces (POPF)." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/14785.
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Peking Opera (‘Jingju’) is one of the most iconic traditional theatres in China, marketed as a global signifier of Chinese theatre and national identity. The research considers current recognised illustrations of Peking Opera Painted Faces (POPF). Through both new cultural-based product design solutions and design inspired visual communication solutions, the purpose of the new design is to apply the semantic features of Chinese Traditional POPF to the modern design, and establish close contact with all aspects of social life. Also to promote a series of developable plans including product design, interaction design, system design and service design in China and Western countries proceeding from POPF, along with the integration of other elements of traditional Chinese cultures and arts. *POPF is short for Peking Opera Painted Faces.
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Moraes, Vânia de. "A comunicação dos processos artísticos nos ambientes virtuais: análises e perspectivas." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4597.
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Previous issue date: 2014-02-17<br>Universidade de Taubaté<br>Considering all educational practice also consists of a communicative practice , this proposal is resulted from an investigation by the architecture of virtual learning environments (VLE ) about three IES that offer superior Degree in Visual Arts , in a distance mode .. About the materials and methods, the investigation was done through exploratory research and utilization of educational materials available in AVA. The theoretical framework consists of publications related about studies of the Semiotics of Culture, the General Theory of Systems and Information Technology and Communication ( ICT ) , with emphasis on Instructional Design . Highlight for Lotman (1999 ) Beatalanffy (1977 ) . The research was also significant with the theoretical support of the Semiotics of Culture with Machado and Pinheiro , the General System Theory , with Vieira and Bunge , and with Vygotsky . The result did not favor interactive practice the act of teaching teach art , due to technical and pedagogical shifts . In this context , through instructional design , are desired continuous architectural proposals for balanced service user organizations representing the plural context and Brazilian mongrel<br>Considerando que toda prática educativa consiste também em uma prática comunicativa, a presente proposta é resultada de uma investigação na arquitetura dos Ambientes Virtuais de Aprendizagem (AVA) de três Instituições de Ensino Superior (IES) que oferecem curso superior de Licenciatura em Artes Visuais, na modalidade a distância. Quanto aos materiais e métodos, a investigação se deu por meio de pesquisa exploratória e utilização de materiais educativos disponíveis nos AVA. O referencial teórico consiste em publicações referentes aos estudos da Semiótica da Cultura, da Teoria Geral dos Sistemas e das Tecnologias da Informação e Comunicação (TIC), com ênfase para o Design Instrucional. Destaque para Lotman (1999) Beatalanffy (1977). A pesquisa contou, também com o apoio teórico significativo da Semiótica da Cultura, com Machado e Pinheiro; da Teoria Geral do Sistema, com Vieira e Bunge, e com Vygotsky. O resultado não favoreceu as práticas interativas do ato de ensinar a ensinar arte, devido aos desvios técnico-pedagógicos. Nesse contexto, por meio do design instrucional, são desejadas propostas contínuas de arquitetura, para atendimento equilibrado de usuários que representam o contexto plural e mestiço brasileiro
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Jankeviciute, Laura. "Internet et les préadolescents : quels usages ? : approche visuelle et participative." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00995069.
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Notre thèse évoque les usages d'Internet des préadolescents âgés de 11 à 14 ans, dans toute leur complexité d'une manière anthropologique et ethno-qualitative. D'une part, elle présente une démarche scientifique appliquée et ses principes en se focalisant sur le courant méthodologique des Visual Methodologies, et plus particulièrement sur les méthodes visuelles participatives utilisées durant l'étude dans deux collèges publics bordelais. Et d'autre part, elle fournit l'analyse des résultats de cette étude afin de démontrer comment, grâce à la création de collages et de dessins et aux entretiens menés avec la technique " dessin/collage-élicitation ", les préadolescents ont pu construire un modèle métaphorique de leur lien avec Internet. Notre thèse contribue à la compréhension des dynamiques sociales, culturelles et identitaires qui se créent à travers les dispositifs en ligne et se manifestent chez le public des préadolescents. Nous examinons la façon dont le public en question, à travers ses interactions numériques, comportements, routines, jeux, construit un espace culturel en ligne et comment, à leur tour, les différentes formes d'activités et d'expression influencent leur monde : leurs relations, leur identité et leur quotidien.
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Chattratichat, Jaturon. "Visual information comprehension." Thesis, Imperial College London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249638.
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Woods, Carrie L. "Visual Culture: A Case Study." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193266191.
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Duttlinger, Carolin. "Kafka, photography and visual culture." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615615.
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Harland, Faye. "Katherine Mansfield and visual culture." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/e2872ae4-1cb3-4efb-980f-01407629a6b1.
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The relationship between modernist fiction and visual culture has received substantial critical attention in recent years. However, many of the studies on this intermediality focus primarily on the drama, poetry, and novels of male authors, with Virginia Woolf being the only significant exception to this rule. I propose that this engagement with the visual in modernist fiction has a different social and cultural significance in the works of women writers. With reference to the short stories of Katherine Mansfield, I will explore the attempt to establish a female literary voice in what was perhaps the greatest transitory period for the role of women in the Western world. Although studies exist that consider the relationship between Mansfield’s writing and modern art and cinema, this thesis will provide a wider context for this period of cultural history. I take a variety of technological advancements into account, examining they ways in which they collectively provided the inspiration behind modernist literature’s new subjectivity of vision. As well as film, I will discuss the arts that developed prior to or alongside it, from the magic lantern to photography, and the impact they had on literature as writers sought new forms of representation. Furthermore, I believe that I will be able to examine this shift in cultural consciousness in a unique way through my focus on Mansfield, an author whose experimental work has received far less critical attention in terms of its engagement with other media than that of her contemporaries. Through reference to the visual arts, Mansfield was able to subjectively focalise her short stories through the eyes of her characters, presenting the ways in which women see and are seen in early twentieth-century society.
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Ritter, Amy B. "My Body In Visual Culture." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398882692.
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au, kelli fuery@arts monash edu, and Kelli Louise Fuery. "Theorising the Gift through Visual Culture." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050810.131444.
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This thesis discusses the gift in terms of presence and interpretation using varied examples of image that form a visual culture. It contextualises the term "giftness" by analysing its use and our socio-cultural understanding of its function as it relates to the gift process. The hermeneutic processes attached to both the gift, and gifting, are multifarious and require examination of moments of instability present in the act of interpretation and meaning. The gift relationship is juxtaposed against the relationship between image and reader/observer to highlight the abstract quality of the gift and its inherent instability that exists within gift interpretation in general.
The fundamental structure and unity of the gift, as is based upon relations between subjects, helps to identify and analyse systems of power and subjectivity developed in terms of investment in order to emphasise the complexities that arise through inter-subjective relations, particularly gift exchange, and those between subject and image. Certain theoretical models help to exemplify and illuminate this thesis, predominantly post-structuralist and psychoanalytic theories. The gifts condition of instability is further examined in terms of discursive formation and function, looking at how the gift is enunciated so that one can recognise a gift and giving, and acknowledge its problematic status. The relationship between subject and image is investigated to see if we are able to read this investment as a gift relationship within the context of giftness, that is when giftness operates as an instable and challenging element to discursive exchange in visual mediums such as film, painting, television, art and photography. An examination of the gift aporia in this thesis is directed towards a subjects investment in the image. What transpires between subject and image is akin to what circulates between giver and receiver, on the basis of investment. On this basis, the present configuration of giftness is utilised in terms of the image.
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Fuery, Kelli Louise. "Theorising the gift through visual culture." Thesis, Fuery, Kelli Louise (2005) Theorising the gift through visual culture. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/56/.
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This thesis discusses the gift in terms of presence and interpretation using varied examples of image that form a visual culture. It contextualises the term giftness by analysing its use and our socio-cultural understanding of its function as it relates to the gift process. The hermeneutic processes attached to both the gift, and gifting, are multifarious and require examination of moments of instability present in the act of interpretation and meaning. The gift relationship is juxtaposed against the relationship between image and reader/observer to highlight the abstract quality of the gift and its inherent instability that exists within gift interpretation in general.
The fundamental structure and unity of the gift, as is based upon relations between subjects, helps to identify and analyse systems of power and subjectivity developed in terms of investment in order to emphasise the complexities that arise through inter-subjective relations, particularly gift exchange, and those between subject and image. Certain theoretical models help to exemplify and illuminate this thesis, predominantly post-structuralist and psychoanalytic theories. The gift's condition of instability is further examined in terms of discursive formation and function, looking at how the gift is enunciated so that one can recognise a gift and giving, and acknowledge its problematic status. The relationship between subject and image is investigated to see if we are able to read this investment as a gift relationship within the context of giftness, that is when giftness operates as an instable and challenging element to discursive exchange in visual mediums such as film, painting, television, art and photography. An examination of the gift aporia in this thesis is directed towards a subject's investment in the image. What transpires between subject and image is akin to what circulates between giver and receiver, on the basis of investment. On this basis, the present configuration of giftness is utilised in terms of the image.
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Fuery, Kelli Louise. "Theorising the gift through visual culture." Fuery, Kelli Louise (2005) Theorising the gift through visual culture. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/56/.
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This thesis discusses the gift in terms of presence and interpretation using varied examples of image that form a visual culture. It contextualises the term giftness by analysing its use and our socio-cultural understanding of its function as it relates to the gift process. The hermeneutic processes attached to both the gift, and gifting, are multifarious and require examination of moments of instability present in the act of interpretation and meaning. The gift relationship is juxtaposed against the relationship between image and reader/observer to highlight the abstract quality of the gift and its inherent instability that exists within gift interpretation in general.
The fundamental structure and unity of the gift, as is based upon relations between subjects, helps to identify and analyse systems of power and subjectivity developed in terms of investment in order to emphasise the complexities that arise through inter-subjective relations, particularly gift exchange, and those between subject and image. Certain theoretical models help to exemplify and illuminate this thesis, predominantly post-structuralist and psychoanalytic theories. The gift's condition of instability is further examined in terms of discursive formation and function, looking at how the gift is enunciated so that one can recognise a gift and giving, and acknowledge its problematic status. The relationship between subject and image is investigated to see if we are able to read this investment as a gift relationship within the context of giftness, that is when giftness operates as an instable and challenging element to discursive exchange in visual mediums such as film, painting, television, art and photography. An examination of the gift aporia in this thesis is directed towards a subject's investment in the image. What transpires between subject and image is akin to what circulates between giver and receiver, on the basis of investment. On this basis, the present configuration of giftness is utilised in terms of the image.
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Zachariah, Dave. "Fusing Visual and Inertial Information." Licentiate thesis, KTH, Signalbehandling, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-32112.
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Marshall, Eileen Louise. "Visual memory for recent information." Thesis, University of Central Lancashire, 1985. http://clok.uclan.ac.uk/20023/.
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A visual memory may contribute to perception by providing a source of hypotheses against which current input is tested. To make this contribution it should neither require active processes for its maintenance nor be overwritten by subsequent visual events. There is little evidence for a visual memory with these characteristics. However, the single-item visual recency effect observed in the continuous binary decision task is an isolated instance of a short-term visual effect which does not reflect an active visual memory. The present experiments demonstrate that the visual memory underlying this effect possesses the above characteristics. Visual effects were isolated by using single letters varying in case. It was found that visual facilitation can survive an intervening visual event if it is predictable that this event will not be visually identical to the preceding stimulus or if it occurs in a different spatial location. This visual memory appears to retain the last of a particular class of events rather than the last item per se, indicating that the usual limitation of visual facilitation to one item is not due to interference or to decay with time. Further experiments confirmed the automatic nature of the visual facilitation effect and provided evidence for an underlying process which compares current input against memory for preceding stimuli, and directly primes response selection. The final experiments employed photographs of real objects and isolated a two-dimensional visuo-spatial code from an object level code. Only the former is sensitive to the predictability of occurrence of an irrelevant visual stimulus, suggesting that visual memory and perception interact at the level of this code.
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Town, Christopher Phillip. "Ontology based visual information processing." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.614908.
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Saleem, Aman. "Information processing in visual systems." Thesis, Imperial College London, 2009. http://hdl.handle.net/10044/1/5531.
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One of the goals of neuroscience is to understand how animals perceive sensory information. This thesis focuses on visual systems, to unravel how neuronal structures process aspects of the visual environment. To characterise the receptive field of a neuron, we developed spike-triggered independent component analysis. Alongside characterising the receptive field of a neuron, this method provides an insight into its underlying network structure. When applied to recordings from the H1 neuron of blowflies, it accurately recovered the sub-structure of the neuron. This sub-structure was studied further by recording H1's response to plaid stimuli. Based on the response, H1 can be classified as a component cell. We then fitted an anatomically inspired model to the response, and found the critical component to explain H1's response to be a sigmoid non-linearity at output of elementary movement detectors. The simpler blowfly visual system can help us understand elementary sensory information processing mechanisms. How does the more complex mammalian cortex implement these principles in its network? To study this, we used multi-electrode arrays to characterise the receptive field properties of neurons in the visual cortex of anaesthetised mice. Based on these recordings, we estimated the cortical limits on the performance of a visual task; the behavioural performance observed by Prusky and Douglas (2004) is within these limits. Our recordings were carried out in anaesthetised animals. During anaesthesia, cortical UP states are considered "fragments of wakefulness" and from simultaneous whole-cell and extracellular recordings, we found these states to be revealed in the phase of local field potentials. This finding was used to develop a method of detecting cortical state based on extracellular recordings, which allows us to explore information processing during different cortical states. Across this thesis, we have developed, tested and applied methods that help improve our understanding of information processing in visual systems.
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Suau, Pérez Pablo. "Information-theoretic visual saliency detection." Doctoral thesis, Universidad de Alicante, 2010. http://hdl.handle.net/10045/19624.
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Balkir, Nur. "Visual Culture in the Context of Turkey: Perceptions of Visual Culture in Turkish Pre-Service Art Teacher Preparation." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc9935/.
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This study explored the state of art education in Turkey as revealed by pre-service art education university instructors, and the potential of incorporating visual culture studies in pre-service art education in Turkey. The instructors' ideas about visual culture, and popular culture, the impact it might have, the content (objects), and the practices within the context of Turkey were examined. Visual culture was examined from an art education perspective that focuses on a pedagogical approach that emphasizes the perception and critique of popular culture and everyday cultural experiences, and the analysis of media including television programs, computer games, Internet sites, and advertisements. A phenomenological human science approach was employed in order to develop a description of the perception of visual culture in pre-service art education in Turkey as lived by the participants. In-person interviews were used to collect the data from a purposive sample of 8 faculty members who offered undergraduate and graduate art education pedagogy, art history, and studio courses within four-year public universities. This empirical approach sought to obtain comprehensive descriptions of an experience through semi-structural interviews. These interviews employed open-ended questions to gather information about the following: their educational and professional background; their definitions of art education and art teacher education and what it means for them to teach pre-service art education; critical reflections on the educational system of Turkey; perceptions of visual and popular culture; and finally individual approaches to teaching art education. This study was conducted for the purpose of benefiting pre-service art teacher education in general and specifically in Turkey. It provided the rationale, the nature, and pedagogy of visual culture as well as the why and how of visual culture art education in the context of Turkey. Furthermore, it provided insights into the potential contribution of the concept of visual culture to the understanding of art and improvement of art teacher training in the context of Turkey.
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Balkir, Nur Chanda Jacqueline. "Visual culture in the context of Turkey perceptions of visual culture in Turkish pre-service art teacher preparation /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9935.
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Becker, Mark W. "Volatile visual representations : the information represented while viewing visual scenes /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992379.
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Palmer, Daniel Stephen Vaughan. "Participatory media : visual culture in real time /." Connect to thesis, 2004. http://eprints.unimelb.edu.au/archive/00000125.
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Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.
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Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.
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Shirley, Rosemary. "The non-metropolitan everyday and visual culture." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7597/.
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In much of the existing literature on everyday life the spaces, rhythms and routines of the modern city are overwhelmingly privileged as sites of the everyday. This research relocates the topography of the everyday from its habitually urban focus, out into the English countryside by presenting an account of certain aspects of everyday life from a non-metropolitan perspective. The rural is often portrayed as existing outside of modernity, or as its passive victim. This thesis recasts the rural as an active and complex site of modernity and as such contributes to alternative ways of thinking the rural and a new perspective on the everyday. A central concern is to complicate established distinctions between the city and the country through developing the notion of the non-metropolitan. Also important, is discussion of how the ongoing tension between ancient and modern, and preservation and development, is articulated in non-metropolitan everyday practices. This study theoretically repopulates the rural, thinking it not only as a space to be looked at, moved through or visited, but as a space which is lived in. The first chapters examine everyday practices more often associated with the urban such as driving and littering, and rethinks them through a rural perspective. The later chapters focus on practices that are more traditionally embedded in the non-metropolitan: membership of the Women's Institute and calendar customs such as village fetes, examining how these activities might be re-situated in discourses of modernity. The work is primarily informed by visual cultures including scrapbooks, photographs and films, that articulate how these aspects of the everyday might operate differently in non-metropolitan places. In addition, textual and original archival work contributes significantly to this study.
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Ashman, Nathan. "James Ellroy : voyeurism, viewing and visual culture." Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/813378/.
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James Ellroy is an eccentric and divisive popular novelist. Since the publication of his first novel Brown’s Requiem in 1981, Ellroy’s outré ‘Demon Dog’ persona and his highly stylised, often pornographically voyeuristic and violent crime novels have continued to polarise both public and academic opinion. This study considers Ellroy’s status as an historical novelist, critically evaluating the significance and function of voyeurism in his two collections of epic noir fiction The L.A. Quartet and The Underworld U.S.A. Trilogy. Using a combination of psychoanalysis, postmodern and cultural theory, it argues that Ellroy’s fiction traces the development of the voyeur from a deviant and perverse ‘peeping tom’ into a recognisable, contemporary ‘social type’, a paranoid and obsessive viewer who is a product of the decentred and hallucinatory, ‘cinematic’ world that he inhabits. In particular, it identifies a recurring pattern of ‘ocularcentric crisis’ in Ellroy’s texts, as characters become continually unable to understand or interpret through vision. Alongside a thematic analysis of obsessive watching, this project also suggests that Ellroy’s works - particularly his later novels - are themselves voyeuristic, implicating the reader in these broader narrative patterns of both visual and epistemophilic obsession. While principally a study on Ellroy’s work, this thesis also attempts to situate his texts within the broader contexts of both the contemporary historical novel and our pervasive ‘culture of voyeurism’. This thesis will therefore be of interest not only to Ellroy critics and readers, but also to scholars of both contemporary fiction and contemporary cultural studies.
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Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.
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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined ways an integrated art and visual culture curriculum fostered safe spaces for students to take risks by deconstructing and reconstructing their identities, beliefs and understandings of others and their world through artmaking. In chapter one, I recount early teaching experiences that prompted the research questions in which an examination of which arts integration pedagogies best stimulate students to examine visual culture, articulate voice, and question power relationships that perpetuate social inequities. I address the theoretical lens of social justice art education as it frames the study and examine and discuss the current literature surrounding visual culture and art integration in chapter two. Chapter three delineates methodologies employed in the action research study including data collection measures of visual journaling, artmaking and photography. In chapters four, five, and six, I recount the process in which students engaged with, responded to, and created artwork through three curricular units--in social studies examining the intersections of culture and visual culture as evidenced through advertising, in language arts class collaboratively exploring persuasion through environmental and ecological art installations, and in math class integrating Fibonacci's theories through art making. Findings, discussed in chapter seven, indicated that visual culture art integration, used by teachers is often mislabeled out of insecurity and is a viable methodology for increasing student engagement. When students work collaboratively a space is created for them to regain power in the classroom and increase empathy awareness for themselves and others. Furthermore, art making, within a non-art classroom, can be a particularly successful arena through which middle school students articulate and clarify their voices.
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Snell, Edgar William. "Close focus : interpreting Western Australia’s visual culture." Thesis, Curtin University, 2011. http://hdl.handle.net/20.500.11937/2309.
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Distance from the centres of world art and from national hubs of creative practice provides both opportunities and constraints for Western Australian visual artists. Informed but isolated, they have learned to direct the lens shaped by received ideas onto the extraordinary natural environment they inhabit. Regional perspectives influence this act of re-focusing, which is inflected by local knowledge and personal experience in a process of reinvention and re-imagination that has escalated since the Second World War.The objective of this PhD by supplication is to situate my practice as an art historian, critic and curator within the broader context of Australian visual culture and to examine how the process of assimilation, described by George Seddon as taking 'imaginative possession', has contributed to our understanding of local identity within the wider framework of a national identity.In my writing and through my activity as a curator of exhibitions over the past two decades, I have identified the importance of local conditions in generating a critical, regional practice and I have shown how imported ideas have been absorbed, modified and accommodated within the work of the State’s leading artists to create a vibrant sense of regional identity that makes a significant contribution to our understanding of a wider and more comprehensive view of cultural practice in Australia.
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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Lundgren, Erik. "Curiosity and motivation toward visual information." Thesis, Umeå universitet, Institutionen för psykologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-145105.
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Curiosity is thought to be an intrinsically motivated driving force for seeking information. Thus, the opportunity for an information gain (IG) should instil curiosity in humans and result in information gathering actions. To investigate if, and how, information acts as an intrinsic reward, a search task was set in a context of blurred background images which could be revealed by iterative clicking. The search task was designed such that it prevented efficient IG about the underlying images. Participants therefore had to trade between clicking regions with high search target probability or high expected image content information. Image content IG was established from “information-maps” based on participants exploration with the intention of understanding (1) the main theme of the image and (2) how interesting the image might appear to others. Note that IG is in this thesis not identical with the information theoretic concept of information gain, the quantities are however probably related. It was hypothesised that participants would be distracted by visually informative regions and that images independently rated as more interesting would yield higher image based IG. It was also hypothesised that image based IG would increase as a function of time. Results show that participants sometimes explored images driven by curiosity, and that there was considerable individual variation in which images participants were curious about. Independent interest ratings did not account for image based IG. The level of IG increased over trials, interestingly without affecting participants’ performance on the visual search task designed to prevent IG. Results support that IG is rewarding as participants learned to optimize IG over trials without compromising performance on the extrinsically motivated search; managing to both keep the cake and eat it.
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O'Connell, Thomas. "Visual information processing : tennis volleying strategy /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25691.pdf.
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Nicholas, Julian Jesuratnam. "Information processing in #parallel' visual pathways." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386633.
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Vasconcelos, Nuno Miguel Borges de Pinho Cruz de. "Bayesian models for visual information retrieval." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/62947.
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Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2000.<br>Includes bibliographical references (leaves 192-208).<br>This thesis presents a unified solution to visual recognition and learning in the context of visual information retrieval. Realizing that the design of an effective recognition architecture requires careful consideration of the interplay between feature selection, feature representation, and similarity function, we start by searching for a performance criteria that can simultaneously guide the design of all three components. A natural solution is to formulate visual recognition as a decision theoretical problem, where the goal is to minimize the probability of retrieval error. This leads to a Bayesian architecture that is shown to generalize a significant number of previous recognition approaches, solving some of the most challenging problems faced by these: joint modeling of color and texture, objective guidelines for controlling the trade-off between feature transformation and feature representation, and unified support for local and global queries without requiring image segmentation. The new architecture is shown to perform well on color, texture, and generic image databases, providing a good trade-off between retrieval accuracy, invariance, perceptual relevance of similarity judgments, and complexity. Because all that is needed to perform optimal Bayesian decisions is the ability to evaluate beliefs on the different hypothesis under consideration, a Bayesian architecture is not restricted to visual recognition. On the contrary, it establishes a universal recognition language (the language of probabilities) that provides a computational basis for the integration of information from multiple content sources and modalities. In result, it becomes possible to build retrieval systems that can simultaneously account for text, audio, video, or any other content modalities. Since the ability to learn follows from the ability to integrate information over time, this language is also conducive to the design of learning algorithms. We show that learning is, indeed, an important asset for visual information retrieval by designing both short and long-term learning mechanisms. Over short time scales (within a retrieval session), learning is shown to assure faster convergence to the desired target images. Over long time scales (between retrieval sessions), it allows the retrieval system to tailor itself to the preferences of particular users. In both cases, all the necessary computations are carried out through Bayesian belief propagation algorithms that, although optimal in a decision-theoretic sense, are extremely simple, intuitive, and easy to implement.<br>by Nuno Miguel Borges de Pinho Cruz de Vasconcelos.<br>Ph.D.
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Kunze, Richard J. "Redundant visual coding of state information /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841208.
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Nash, Michelle. "Menstrual cycle and visual information processing /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2757.pdf.
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Schläpfer, Thomas Eduard. "Early stages of visual information processing /." [S.l : s.n.], 1988. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Herrera, Allison Kay. "Information Science & Visual Arts Integration." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/578933.
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While at the University of Arizona, I have learned a great deal about art education practices, such as: how to engage students and implement lesson plans. I have also had the opportunity to learn about information science topics and I have found that many of these relate directly to the typical student's life, yet there is no guarantee that students will ever study the theory behind these areas. The purpose of this thesis is to create and establish multidisciplinary and interdisciplinary lesson plans, which demonstrate how visual arts can be integrated with information science topics. Interdisciplinary approaches in art education can advance critical thinking, communication, resourcefulness, and other fundamental academic skills. I created a series of lesson plans that should be viewed as a comprehensive unit that combines art and information science topics. This paper elucidates on how visual arts have been constructively integrated into core curriculum in other subject areas and gives educators examples of how to explore the idea of integrating general education topics into art lessons. Educators will have concrete examples of lesson plans and may use these plans as finished works or as prototypes for developing their own plans that combine visual arts and information sciences.
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Nash, Michelle. "Menstrual Cycle and Visual Information Processing." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1966.
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This project examined the effects menstruation may have on visual attention in women. A recent study examined electroencephalographic (EEG) gender differences using a visual object recognition task. Results indicated certain EEG amplitudes (specifically, P300 and N400) are greater in women than men. This study extended the previous findings to determine if these increased EEG amplitudes vary across menstrual phases. Eighteen female participants participated in a series of 3 EEG recording sessions using the same visual object recognition task from the previous study; 18 male participants completed this task once. Analyses from 15 of the 18 female and 16 of the 18 male participants support the previous finding of larger P300 amplitudes in response to relevant stimuli for women compared with men. While there was no distinctive N400 component in this study, there was a late negative (LN) component which was found to vary significantly between men and women. In addition, multiple visual evoked potential (VEP) components varied significantly across the menstrual cycle. In particular, the N200 component appeared to provide greater differences between menstrual phases than either the P300 or LN components; however, the results varied greatly by head location. The differentiation found with VEP components in response to the pop-out task used in this study provide support for basic visual processing variation across the menstrual cycle and between genders.
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Decobecq, Isabelle. "Les visual studies : un champ indiscipliné." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30006.
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Voilà plus d'une génération que les visual studies ont entrepris de bousculer procédures scientifiques et organigrammes universitaires, dans le monde anglo-américain d’abord, puis à l’échelle planétaire. Jouant la porosité des champs du savoir, ce courant de recherches fonctionne à la manière d’une interface où s’échangent et se combinent les charges théoriques et critiques de l’histoire de l’art, du post-structuralisme, des études culturelles et autres area studies, offrant un lieu de convergence inédit pour des pensées dispersées. En embrassant l’imagerie démotique autant que savante, en déconstruisant l’axiologie tacite qui sous-tend de tels partages hiérarchiques, et en interrogeant l’idéologie de tout acte de connaissance, les visual studies assument depuis l’origine une position limite, entre discours savant, activité critique et engagement politique. S’ils peuvent apparaître comme une nouveauté radicale, les travaux groupés sous cette bannière sont symptomatiques d’un mouvement plus général de renouvellement des façons de penser les images et la dimension visuelle du sensible. Au moment où les visual studies bénéficient d’une première réception dans l’espace francophone, cette thèse s’attache à en restituer les fondements épistémologiques et les enjeux actuels, en montrant qu’elles ne forment pas un ensemble homogène d’approches ou de pratiques. Car non seulement il n’existe pas de visual studies « en général », mais ce terme unique recouvre trois niveaux de réalité sensiblement dissociés : une formation académique, une somme de travaux empiriques et théoriques, ainsi qu'un vaste métadiscours sur le champ qui nourrit sa propre mythologie. Par souci de clarté, le plan de la thèse désimbrique ces trois niveaux, et plutôt que de définir ce que sont les études visuelles, s’attache à expliquer ce qu’elles font. En se fondant sur l'étude suivie de textes précis, chacune des sections de la thèse envisage donc l'objet visual studies sous l'un de ses différents aspects : historique, théorique, académique, métathéorique, toutes cs dimensions étant coextensives de ce qui constitue les visual studies de façon globale<br>It's been more than a generation since visual studies started to shake up scientific procedures and academic organizational structures, in the Anglo-American world and on a global scale. Working between and across disciplines, this research trend behaves like an interface where art history, poststructuralism, cultural studies and other area studies can meet and combine their critical strengths. By embracing both demotic and scholarly imageries, laying bare the axiology underlying such divisions, and challenging the ideology pertaining to knowledge itself, visual studies take on many guises, either as a scientific discourse, a critical activity or a form of political commitment. However, though often claiming a form of radical novelty, visual studies’ concerns should rather be considered part of a broader shift in the study of the function of images and visuality in contemporary sciences and societies.As visual studies are starting to work their way in the french scientific landscape, this dissertation will expose their epistemological grounds and current stakes, calling attention to the fact that they do not cohere into a consistent set of shared approaches or practices. First, visual studies « in general » do not exist. Second, the term encompasses three aspects only partly overlapping : an academic formation, a body of empirical and theoretical works, and a thriving metadiscourse endlessly feeding the field’s self-mythology. For the sake of clarity, the dissertation will offer to break down these three components. What’s more, rather than trying to define what visual studies actually are, it endeavors to explain what they do. Mostly based on the close reading of a series of texts, each section of the dissertation hence offers to look at visual studies from a specific viewpoint — historical, theoretical, academic or metatheoretical — all aspects constitutive of visual studies as such
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Walsh, Andrea Naomi. "Contemporary aboriginal art texts, intersections of visual culture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0012/NQ59158.pdf.
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Sullivan, Matthew Greg. "Historiography and visual culture in Britain 1660-1783." Thesis, University of Leeds, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583380.
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Vernon, Clare Mary. "Visual culture in Norman Puglia c.1030-1130." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708775.
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Kim, Jeongsuk. "Literature, visual culture and domestic spheres, 1799-1870." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45926/.
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Buchannan, Sophie Christina Rose. "The art of violence in Roman visual culture." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608069.
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Puzey, Jacqueline Michelle. "Hybrid dialogues, situational strategies : producing postcolonial visual culture." Thesis, Bath Spa University, 2014. http://researchspace.bathspa.ac.uk/1887/.
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Hybrid Dialogues, Situation Strategies (hereafter referred to as HDSS) aims to explore the production of a postcolonial visual culture, through action research centered on producing and reflecting on collaborative visual artworks. The aim of the research is to use collaborative creative practice itself as the site of investigation into the way in which visual creative strategies can reflect and redefine the processes of constructing, inhabiting and exchanging complex definitions of postcolonial identities. It is suggested that the reflexive creative processes of art/design methods, can bring productive, transformative and complex re-visibilisations of accepted and contested postcolonial histories, through the application of the 'familiarity' of making clothes as a wider metaphor for exploring the construction of complex, postcolonial identities. In my thesis I set out my understanding of postcolonial visual culture and its histories and their relationship to my practice and the project presented. The research is implemented through Shade, a project situated within postcolonial visual culture and which interrogates the processes of producing that postcolonial culture. As the major practice project for HDSS, Shade is the key site of the generation of new knowledge. Through participation and reflection a new methodology of "fittings" has been developed, combining the principles of participatory action research and the craft process of tailoring, embroidering and fitting, so that the development and performance of the garments and accessories for Shade also become an important space for generation of new postcolonial cultural exchanges. Through this reflective practice, five principles of/for creative engagement with postcolonial cultures are identified. These five principles are; 'shared histories', 'radical familiarities', 'complicit spectacle', 'transgressive crafts', and 'democratic bespoke'. HDSS insists on becoming deeply implicated in acts of collaborative practice and on reflection on the construction of postcolonial identities. This has produced the key contribution to new knowledge, which can be summarised as the theory of 'shared cultural production', which suggests that no act of postcolonial cultural production can be theorised without genuine democratic participation in the conditions of its production.