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Salaru, Maria. "BLOCUL - an ethnography of a Romanian block of flats." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:54f88d42-1e16-4c1e-96ab-f046bed4d3db.
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Based on a long-term ethnography inside a block of flats in Piatra-Neamt, Romania, this thesis explores how individuals, through everyday creative engagements with their apartments, try to come to terms with the uncertainties of a rapidly changing society - one caught between the vulnerabilities of both socialism and capitalism. It examines the inhabitants' capacity for self-organization, with a focus on the daily life of a block administrator overseeing the maintenance and repair of his ageing building. By paying close attention to a range of infrastructural elements often taken for granted - from water taps and boilers, to balconies and windows - my research offers new insights into how people negotiate complex relationships of trust and suspicion in the light of degrading infrastructure. Within the context of increasingly decentralized resources, I also demonstrate various difficulties involved in sustaining day-to-day practices of energy-saving, and discuss the block inhabitants' multifaceted understanding of the 'common good'. Finally, I emphasize how apartment renovations are fuelled by motivations that are at once aesthetic and functional, and thus problematize the distinction between these two categories that has dominated anthropological studies of the built environment to this day. My thesis contrasts the well-established literature about the home - that pays attention to aesthetics and identity at the micro-scale of the domestic space - with recent studies about infrastructure that typically examine macro-scale, functional reasons for urban transformations. Overall, I argue for a more prominent role for the study of home infrastructures in anthropology, while also contributing to debates about housing and energy policies.
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Miranda, David J. "Music Blocks: Design and Preliminary Evaluation of Interactive Tangible Block Games with Audio and Visual Feedback for Cognitive Assessment and Training." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1516970991068766.
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Cerioni, Matteo. "Progettazione di un ambiente di programmazione visuale block-based per ScaFi." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25878/.
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Il paradigma Aggregate Computing semplifica lo sviluppo di applicazioni distribuite permettendo di utilizzare come punto di vista l’intero sistema distribuito anziché quello del singolo componente.
La toolchain ScaFi offre un linguaggio di programmazione basato su Scala per definire programmi che utilizzano i costrutti del paradigma Aggregate Computing.
La programmazione visuale block-based permette di comporre un programma connettendo graficamente tra loro dei blocchi tramite drag and drop.
Blockly è una libreria client-side utile per definire linguaggi di programmazione block-based.
Il progetto Blockly2Scafi, descritto in questa tesi, ha l’obiettivo di fornire tramite il linguaggio Scala.js un ambiente di programmazione visuale blockly-based, che consenta di definire programmi di un sottoinsieme delle funzionalità offerte dal linguaggio ScaFi, generandone codice testuale valido e ben leggibile.
Blockly2Scafi cattura gli elementi principali della programmazione ScaFi e ne semplifica l’approccio a utenti non esperti. L’editor visuale fornito da Blockly2Scafi viene integrato in una semplice e intuitiva applicazione web che offre all’utente la possibilità di sperimentare la costruzione di programmi ScaFi, visualizzando in tempo reale il codice generato.
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Qiu, Xinyu. "A Constructivist Instructional DesignIntroducing visual programming to professional designers." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin159239515074893.
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Aguerrevere, Luis. "Visual Perception in Traumatic Brain Injury: Effects of Severity and Effort." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/835.
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Previous studies have found that poor effort can significantly impact psychometric performance by Traumatic Brain Injury (TBI) patients. So far, this impact has been relatively well studied in attention and memory. However, this is not the case for visual perception functions. Thus, the goal of this study was to determine to what extent TBI severity affect visual perception after controlling for effort. Results showed that mild TBI good effort group did not differ from a demographically matched control group. In contrast, a mild TBI poor effort group, a moderate-severe TBI group and a right hemisphere cerebro-vascular (CVA) group performed worse than the mild TBI good effort group and the control group. The results suggest a dose response relationship between injury severity and visual perception performance. After controlling for effort, results indicated that moderate-severe TBI, but not mild TBI, has long lasting effects on visual perception. Clinical implications are discussed.
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Yoshimura, Hiroshi. "Attenuation of Mg^<2+>-block of synaptic N-methyl-D-aspartate receptors in the visual cortex of rats raised under optic nerve blockade." Kyoto University, 1997. http://hdl.handle.net/2433/202157.
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Faessel, Nicolas. "Indexation et interrogation de pages web décomposées en blocs visuels." Thesis, Aix-Marseille 3, 2011. http://www.theses.fr/2011AIX30014/document.
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Cette thèse porte sur l'indexation et l'interrogation de pages Web. Dans ce cadre, nous proposons un nouveau modèle : BlockWeb, qui s'appuie sur une décomposition de pages Web en une hiérarchie de blocs visuels. Ce modèle prend en compte, l'importance visuelle de chaque bloc et la perméabilité des blocs au contenu de leurs blocs voisins dans la page. Les avantages de cette décomposition sont multiples en terme d'indexation et d'interrogation. Elle permet notamment d'effectuer une interrogation à une granularité plus fine que la page : les blocs les plus similaires à une requête peuvent être renvoyés à la place de la page complète. Une page est représentée sous forme d'un graphe acyclique orienté dont chaque nœud est associé à un bloc et étiqueté par l'importance de ce bloc et chaque arc est étiqueté la perméabilité du bloc cible au bloc source. Afin de construire ce graphe à partir de la représentation en arbre de blocs d'une page, nous proposons un nouveau langage : XIML (acronyme de XML Indexing Management Language), qui est un langage de règles à la façon de XSLT. Nous avons expérimenté notre modèle sur deux applications distinctes : la recherche du meilleur point d'entrée sur un corpus d'articles de journaux électroniques et l'indexation et la recherche d'images sur un corpus de la campagne d'ImagEval 2006. Nous en présentons les résultats<br>This thesis is about indexing and querying Web pages. We propose a new model called BlockWeb, based on the decomposition of Web pages into a hierarchy of visual blocks. This model takes in account the visual importance of each block as well as the permeability of block's content to their neighbor blocks on the page. Splitting up a page into blocks has several advantages in terms of indexing and querying. It allows to query the system with a finer granularity than the whole page: the most similar blocks to the query can be returned instead of the whole page. A page is modeled as a directed acyclic graph, the IP graph, where each node is associated with a block and is labeled by the coefficient of importance of this block and each arc is labeled by the coefficient of permeability of the target node content to the source node content. In order to build this graph from the bloc tree representation of a page, we propose a new language : XIML (acronym for XML Indexing Management Language), a rule based language like XSLT. The model has been assessed on two distinct dataset: finding the best entry point in a dataset of electronic newspaper articles, and images indexing and querying in a dataset drawn from web pages of the ImagEval 2006 campaign. We present the results of these experiments
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Rabie, Omar. "Revealing the potential of Compressed Earth Blocks : a visual narration." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/43006.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.<br>Includes bibliographical references (leaves 63-64).<br>Compressed Earth Blocks (CEB) is a developed earth technology, in which unbaked brick is produced by compressing raw soil using manual, hydraulic, or mechanical compressing machines. Revealing the potential of an affordable sustainable material like CEB may help tackle today's fundamental challenges, social equity and environmental sustainability. For one year in India, I learned and practiced the basics of this technology in Auroville Earth Institute, and then conducted a group of design and construction experimentations for a natural resort project. Through these experimentations, I tried to reveal CEBs' capabilities through design innovation. The thesis captures my new understandings of the design competence of the material in relation to the design process, through narrating the story of this experience using images and a dialogue between the designer, mason, sponsor and the blocks themselves.<br>by Omar Rabie.<br>S.M.
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Willetts, Kheli Robin. "Images of Black Power, 1965--1975: A visual commentary on revolution." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.
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Cobby, Rebecca. "'Emperors of masculinity' : representing African American men in black visual art." Thesis, University of Nottingham, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555795.
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This thesis examines the ways in which black visual artists Roy DeCarava, Gordon Parks, Jean-Michel Basquiat and David Hammons visually represent African American men. By looking at their various representations of workers, enslaved men, sportsmen, musicians and politicians in relation to a legacy of negative and positive stereotypes of black masculinity in the United States, I argue that these artists resist limited, polarised notions of African American male identity in order to create new visions that are defined by complexity, ambiguity and creativity. Spanning a time period from the early 1950S to the mid-rocos this thesis is set against the background of a society in which black men are often split into groups of the famous and the anonymous, the celebrated and the demonised, and where the "ordinary everyday realities" of African American men are largely negated. I show how each of the artists discussed here negotiate splits in conceptions of African American male identity as they expose the tensions and contradictions faced by all black men who live their lives under the scrutiny of the public eye. By focusing particularly on the ways in which these artists deal with the complicated and often contradictory issues of visibility and invisibility in relation to African American male identities, I show how their work "re-envisions vision," challenging the ways black men are viewed in U.S. society and suggesting alternatives based in the importance of individualised black male subjectivities. Furthermore, this thesis shows how the relationship between these artists and the institutions within which they work sheds light on their interpretations of what it means and feels to be a black man living a life in public.
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Porterfield, Laura Krstal. "Hidden in plain sight: Young Black women, place, and visual culture." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238388.
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Urban Education<br>Ph.D.<br>Hidden curriculum scholars have long since recognized the function of the visual in shaping the educational experiences of youth. Scholars have noted that the hidden curriculum of schooling has functioned as a primary socialization mechanism to reproduce capitalism, the state, gender, racial, and class-based inequalities. Today, urban high school spaces present both invisible and visible curricula that are shaped not only by the many images that comprise a school's visual culture, but also by the wider visual landscape. This is of particular import for working-class young Black women who are often framed and seen as social and economic problems within the discourse on urban schools/urban school failure. This discourse teaches. It is taught in and through the everyday visual texts, spaces, and places young Black women navigate to the point that the discourse linking Black femaleness, poverty, and failure becomes natural/normal. It is normalized to the point that it becomes "hidden in plain sight." The simultaneous transparency and invisibility of knowledge presents urban educators concerned about the Black girl and other youth of color with three intersecting problems. First, the educative role of the visual has been underexplored in the research literature on urban schools/urban schooling. Second, within the context of urban schools, we do not know enough about if and or how the educative role of the visual shapes young Black women's relationship with teaching and learning. Third, we do not know if or how the contentious relationship between visual learning inside and visual learning outside of school shapes young Black women's relationship with education as a formal institution and or a process. Given these three intersecting problems, this dissertation project centers on examining the educative impacts of place, visual culture, and design in an effort to fill the gap in the scholarship regarding this portion of the educational experiences of young Black women. Using visual ethnography and discourse analysis as primary methods, I engage a group of five primary student participants who attend a non-traditional, design-focused science and technology magnet school where they are one of the largest student cohorts. Einstein 2.0 is an instance of a progressive, non-normative, small learning community that is attentive to the power of the visual in shaping the teaching and learning experiences, especially for youth of color. In this way, it is a case that can help us better understand the challenges, opportunities, and complexities of harnessing the visual in the urban school context. In this study I argue that by creating a safe and emotionally engaging environment that rejects using punitive disciplinary frameworks and pseudo-factory/pseudo-prison design, Einstein's visual and school culture gave rise to an increased sense of emotional readiness for both producing and receiving knowledge that stands in sharp contrast to the more traditional ways urban schools often approach managing and controlling its student(s') body(ies). Given the increased role of the visual in shaping teaching and learning for youth in the 21st century urban context and the persistent link between young Black women and urban educational/societal failure, having the emotional readiness to deal with these challenges is crucial to their self-definitions (Collins, 2000) and internal motivation to reject and or exceed societal expectations. Using Einstein's approach to visual and organizational culture as a model, I make specific recommendations for educators tasked with or concerned about creating engaging school spaces for young Black women and other youth of color. These recommendations demand further attention to the ways that the visual, spatial, and emotional interact to contour the educational experiences and consumption practices of youth in urban America today.<br>Temple University--Theses
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Sunami, April J. "Transforming "blackness" "post-black" and contemporary hip-hop in visual culture /." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1219161375.
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Bowen, Shirley A. "Recovering and Reclaiming the Art and Visual Culture of the Black Arts Movement." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1228514505.
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Gipson, Leah R. "Do you see what I see? : a visual artist's exploration of African American women and obsessions with visual appearance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1029.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Art
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Beverly, Michele P. "Phenomenal Bodies: The Metaphysical Possibilities of Post-Black Film and Visual Culture." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/37.
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In recent years, film, art, new media, and music video works created by black makers have demonstrated an increasingly “post-black” impulse. The term “post-black” was originally coined in response to innovative practices and works created by a generation of black artists who were shaped by hip-hop culture and Afro-modernist thinking. I use the term as a theoretical tool to discuss what lies beyond the racial character of a work, image, or body. Using a post-black theoretical methodology I examine a range of works by black filmmakers Kathleen Collins Prettyman and Lee Daniels, visual artists Wangechi Mutu and Jean-Michel Basquiat, new media artist Nettrice Gaskins, and music video works of hip-hop artists and performer Erykah Badu.
I discuss how black artists and filmmakers have moved through Darby English’s notion of “black representational space” as a sphere where bodies and works are beholden to specific historical and aesthetic expectations and limitations. I posit that black representational space has been challenged by what I describe as “metaphysical space” where bodies produce a new set of possibilities as procreative, fluid, liberated, and otherworldly forces. These bodies are neither positive nor negative; instead they occupy the in-between spaces between life and death, time and space, digital and analog, interiority and exteriority, vulnerability and empowerment. Post-black visual culture displays the capacities of black bodies as creative forces that shape how we see and experience visual culture.
My methodology employs textual analysis of visual objects that articulate a post-black impulse, paying close attention to how these works compel viewers to see other dimensions of experience. In three chapters I draw from theoretical work in race and visuality, affect theory, phenomenology, and interiority from the likes of Charles Johnson, Frantz Fanon, Elena del Río, Sara Ahmed, Saidiya Hartman, and Elizabeth Alexander. This study aims to create an interdisciplinary analysis that charts new directions for exploring and re-imaging black bodies as subjects and objects of endless knowledge and creative potential.
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Stringfield, Ravynn K. "Black Capes, White Spies: An Exploration of Visual Black Identity, Evolving Heroism and 'passing' in Marvel's Black Panther Comics and Mat Johnson's Graphic Novel, Incogengro." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1530192363.
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This thesis is a portfolio which contains two essays. The first essay, “Reclaiming Wakanda,” is a character biography of the Black Panther comic character from his inception in 1966 until 2016. The work historicizes and politicizes a character written as apolotical by his creators while also placing him firmly within a legacy of Black Power, Civil Rights and other Black freedom movements of the second half of the 20th century. The second essay, “Incogengro: The Creation and Destruction of Black Identity in the ‘Safety’ of Harlem” considers how images and representations race and racial violence are constructed in graphic novel form when color is literally no longer present and within the confines of Harlem.
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Murrieta, Flores David Alejandro Jerzy. "Situationist margins : The Situationist Times, King Mob, Black Mask, and S.NOB magazines." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20919/.
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This thesis parts from the premise that avant-garde art collectives produce discourses meant to articulate the opposition to the art/life divide as one that interrelates fields such as aesthetics, politics, philosophy, and even economics. By utilizing a comparative framework, it plays on the complementarity and differences between four 1960s groups that formed very specific organizations directed at challenging society, in one way or another related to the Situationist International: The Situationist Times (France), King Mob Echo (UK), Black Mask and its transformations (US), and S.NOB (Mexico). Through the medium of magazines, they intended to reach a mass audience that in the act of reading and looking at their images and texts would be prompted to discern organizations that undermined the world-system. Thus, the Situationist Times attempted to form a (people’s) movement that in an applied creativity that rejected the metanarrative of progress would be able to realize the malleability of history. King Mob followed a conspiratorial logic with the idea of a dis-organized mass suddenly acting in concert against states. Black Mask and its transformations played with the idea of a war for territory, the occupation of a ‘free zone’ by a community in the midst of a dominated world. Finally, S.NOB’s idiosyncratic anarchism came from an opposition to the totalizing discursive practices of the Mexican Revolution, giving primacy to fragmentation and an anti-organizational bent; while it had no direct relationship to any of the above groups, it shows how their techniques and theories develop out of an engagement with Surrealism and past avant-gardes. S.NOB provides not a counterpoint but a contextual revelation of the limits of these collectives, in the Bataillean sense that opens all of them up to a ‘contamination’ with historicity and thought that treats all of them as equal in scope and importance.
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Cochran, Shannon M. Phd. "Corporeal (isms): Race, Gender, and Corpulence Performativity in Visual and Narrative Cultures." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281917081.
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Santos, Fernandes dos. "Orange Is The New Black : uma proposta de tradução de roteiros de audiodescrição da série da Netflix." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23957.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2017.<br>Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-07-07T19:57:08Z
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Previous issue date: 2017-07-28<br>A audiodescrição (AD) de filmes é uma ferramenta desenvolvida para auxiliar pessoas com deficiência visual e baixa visão a compreenderem a narrativa fílmica a partir da construção imagética dos elementos visuais da obra. O corpus da pesquisa é composto pela audiodescrição da série Orange is the New Black (OITNB), fornecida pela Netflix, também sua produtora. A série, lançada em 2013, é baseada no livro autobiográfico de Piper Kerman que relata suas experiências e memórias da época de sua vida como detenta em uma prisão feminina nos Estados Unidos. O presente trabalho tem por objetivo traduzir o roteiro de audiodescrição em inglês da série, fornecida pela Netflix, e a partir do roteiro traduzido para o português, será proposta uma metodologia de análise intersemiótica das duas audiodescrições, com base nas orientações do Guia para produções audiovisuais acessíveis (2016) e uma análise interlinguística aplicando-se o modelo de avaliação da qualidade da tradução de Juliane House (2015). Ao final, a AD traduzida será narrada e gravada em arquivo dublado dos dois primeiros episódios da série. As análises serviram para verificar a viabilidade de uma tradução de roteiro de audiodescrição que seja adequada ao público brasileiro com deficiência visual, além de justificar minhas escolhas tradutórias e linguísticas, considerando as questões técnicas próprias da audiodescrição e de suscitar a discussão entre as diferenças culturais nos textos em inglês e português. O presente trabalho tem o intuito de contribuir com os estudos e com a elaboração de material relevante para a AD brasileira, pretendendo, assim, beneficiar o público brasileiro com deficiência visual e baixa visão no que tange ao acesso dos produtos midiáticos disponíveis e altamente consumidos pelo público enxergante.<br>The audiodescription (AD) of films is a tool developed to assist people with visual impairment to understand the film narrative from the construction of the visual elements of the audiovisual production. The AD is a modality of Audiovisual Translation, and is also considered, within the area of Translation Studies, as an Intersemiotic Translation, because it belongs to a system of visual signs (images) that is translated into a system of verbal signs (words). The corpus of research consists in the audio description of the series Orange is the New Black (OITNB), supplied by Netlix, also its producer. The series, which was released in 2013, is based on Piper Kerman's autobiographical book that chronicles her experiences and memoirs from her time as a prisoner in a female prison in the United States. This reasearch aims to translate the script of audio description in English of the series provided by Netflix, and to propose a methodology of intersemiotic analysis of the two audio descriptions, based on the guidelines of the Guia para produçõesaudiovisuais acessíveis (2016) and an interlingual analysis, using the Translation Quality Assesment model of Juliane House (2015). Then, my AD script in portuguese will be narrated and recorded over the dubbed file of the first two episodes of the series. The analyzes are used to verify the feasibility of the translation of audio descripted scripts, in a way that it is adjusted for the Brazilian public with visual impairment, as well as to justify my translation and linguistic choices, considering the technical issues inherent in audiodescription and to arouse discussion among cultural differences of the texts in English and Portuguese. The present research has the purpose to contribute with future studies in the area, also aiming to benefit the visually impaired towards the access of the audiovisual products available and highly consumed by the general public.
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Hunter, Matthew W. "Liberation in White and Black: The American Visual Culture of Two Philadelphia-area Episcopal Churches." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/108346.
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Religion<br>Ph.D.<br>Liberation in White and Black studies, respectively, Washington Memorial Chapel (WMC) and The Church of the Advocate (COA), which are two Episcopal parishes in the Diocese of Pennsylvania. This dissertation investigates the ways that the visual culture of these spaces represents and affects the religious, racial and national self-understanding of these churches and their ongoing operations by offering particular and opposing narrative interpretations of American history. These "sacred spaces" visually describe the United States (implicitly and explicitly) in terms of race and violence in narratives that set them in fundamental opposition to each other, and set a trajectory for each parishes' life that has determined a great deal of its activities over time. I develop this thesis by situating each congregation and its development in the context of the entire history of both the Episcopal Church and Philadelphia as related to race, violence and patriotism.
WMC is what historian of religions scholar Jonathan Z. Smith calls a "locative" space and tries to persuade all Americans to patriotically covenant with images of heroic "White" freedom struggle. COA is what Smith calls a "utopian" space and tries to compel its visitors to covenant with a subversive critique of the United States in terms of the parallels between biblical Israel and the African American freedom struggle. My analysis draws especially on the theoretical work of Pierre Bourdieu and David Morgan. A major focus of Pierre Bourdieu's work in both Language and Symbolic Power, and The Logic of Practice is the power of group-making. Group-creating power is often exercised through representations that create a seemingly objective sense of group identity and a social world that is perceived as "natural." David Morgan writes that religious visual culture functions as this sort of political practice through the organization of memory among those who are drawn to "covenant" with images.
The Introduction of my dissertation lays out the theoretical approaches informing the visual culture analysis of these Episcopal Churches and raises the significant questions. Three main chapters provide: 1) an historical background of patriotism, race and violence in the Episcopal Church and in Philadelphia in particular, and 2-3) a thorough analysis of the history and visual culture of each space in context. A great deal of my analysis will be interpretive "readings" of the visual culture of the aforementioned churches in their larger contexts to explain how the visual culture represents social classifications to affect the constituents religious, racial and national self-understanding, and their ongoing operations by offering particular and opposing narrative interpretations of American history. The project concludes by summarizing the ways that the analysis of these spaces explicates the thesis with thoughts about the implications for the disciplines involved and further research.<br>Temple University--Theses
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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
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Hall, Ashley Renee. "ENVISIONING ANTI-BLACK ABORTION RHETORIC: AN ANALYSIS OF THE RADIANCE FOUNDATION'S BILLBOARD CAMPAIGN." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/930.
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In contemporary society, public discourse about abortion remains substantially controversial. Although the U.S. abortion debate remains in the public eye, there has been little to no attention focused on race. This project interrogates the role of race and racial identity in the abortion debate through. To investigate the existence of race in contemporary U.S. abortion rhetoric, I utilize a three-part conceptual framework as my rhetorical method. I examine TRF billboard campaign, paying particular attention to its employment of collective memory. Moreover, I examine how the campaign uses African American collective memories to create and sustain an argument concerning Black abortion. I conclude that racialized abortion rhetoric demands scholarly attention because it extends the boundaries of conversations about abortion. Furthermore, I contend that anti-Black abortion rhetoric increases our understanding of how communication and racial/ethnic identities mutually develop.
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Rodrigues, Vladimir Miguel. "Malcolm X : entre o texto escrito e o visual /." São José do Rio Preto : [s.n.], 2010. http://hdl.handle.net/11449/99127.
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Orientador: Alvaro Luiz Hattnher<br>Banca: Dagoberto José Fonseca<br>Banca: Giséle Manganelli Fernandes<br>Resumo: Malcolm X foi figura exponencial durante a luta pelos direitos civis da população afroamericana nos EUA nas décadas de 1950 e 1960. Seu polêmico discurso pela resistência violenta das populações negras contra o racismo branco marcou gerações naquele país. Esta dissertação de mestrado pretende analisar as representações desse personagem histórico na obra "Autobiografia de Malcolm X", texto biográfico escrito pelo jornalista Alex Halley e sua transcodificação para o Cinema no filme "Malcolm X" do cineasta Spike Lee<br>Abstract: Malcolm X was a remarkable historical character during the Civil Rights struggles in the USA in the 1950s and 1960s. His polemical speech in favor of black resistance against the white racism was fundamental to the next generations in the country. This study aims at analyzing Malcolm's representations in Alex Halley's biography - Malcolm X - and its transcodification to the film X, directed by Spike Lee<br>Mestre
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Sonnekus, Theo. "Invisible queers investigating the 'other' Other in gay visual cultures /." Diss., Pretoria [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-10152009-152556.
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Villot, Janine Marie. "Refiguring Indexicality: Remediation, Film, & Memory in Contemporary Japanese Visual Media." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4603.
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Through an analog between film and memory, I argue contemporary Japanese visual media constantly remediates this relationship in order to develop a more inclusive, plastic indexicality that allows media without direct material contiguity access to an indexicality not typically attributed to it. Amidst the early twenty-first century shift from old, mechanical media to new, electronic media, each Japanese text engages the West through intercultural discourses and intracultural responses, just as Japan has continually encountered the West since its forced opening by Commodore Perry in 1853. The plasticized indexicality figured by contemporary Japanese visual media implies the plastic nature of abstracted referents such as memory. I examine these issues through three texts, each representing three different contemporary Japanese visual media forms: the live-action film, After Life (Kore-eda Hirokazu, 1998), the anime film, Millennium Actress (Satoshi Kon, 2003), and the manga, Black Butler (Yana Toboso, 2006-ongoing). Each text remediates film and memory as analogs in ways particular to their own medium to refigure indexicality as inclusive of their own medium, revealing a cultural discourse wherein contemporary Japanese visual media engage with abstracted realities such as memory.
By plasticizing and abstracting the index through its remediation of film and memory, contemporary Japanese visual media reveal visual media's, especially anime's and manga's, ability to relate to culture. Their refigured index is inclusive of all visual media, allowing each the opportunity to index subjective memory and experience. After Life introduces this possibility by privileging its memory-film recreations as a higher fidelity index to memory than documentary, though documentary's remediation informs this index. Both Millennium Actress and Black Butler extend After Life's inclusive possibilities to suggest that their painterly realities are not divorced from reality, but rather representative of its decentered reception as subjective experience and memory. As media technology extends human beings, through new media such as the internet, it also abstracts us from certain material interactions such as reading paperback books or speaking to friends rather than texting them. Contemporary Japanese visual media suggest that as old media make way for new media, we should readjust our preconceptions about media's relations to culture, for as our world becomes digitized, even animated, the painterly realities found in film, anime, and manga bear more relevance than ever to how we construct our worlds, inside Japan and across the world.
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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.
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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Gjörde, Alexandra, and Molly Magnfält. "Myten om gråzonen : En kvalitativ innehållsanalys av kulturell varumärkeskommunikation i samband med opinionsrörelsen Black Lives Matter." Thesis, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-51918.
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Denna kvalitativa studie ämnar undersöka hur västerländska företag har konstruerat sin varumärkeskommunikation i samband med Black Lives Matter-rörelsen. Utifrån ett teoretiskt ramverk baserat på semiotik, visuell retorik och postkolonialism granskar studien retoriska strategier i reklamfilmer för att utläsa de myter företagen kommunicerar. Genom att respondera på samhälleliga förändringar kan företag skapa positiva associationer till sig själva, vilket utgår från den kulturella kontexten kommunikationen verkar inom. Varumärken har möjligheten att preservera, förvandla och utmana rådande maktstrukturer genom den reklampåverkan de har på mottagaren. Studien belyser således den problematik gällande hur företag kommunicerar värderingar och budskap utifrån en annan kultur. Genom en jämförelse av Gillettes hyllade respektive Pepsis kritiserade reklamfilm möjliggörs även förståelsen för hur mottagarnas reaktioner kan förstås i relation till Black Lives Matter utifrån ett postkolonialt perspektiv. Analysenheterna granskas genom en kombinerad semiotisk och kritisk visuell analysmetod med relaterade verktyg. Studien visar hur Pepsis myt inte faller naturligt inom den kulturella kontexten, där den verkar förminskande mot Black Lives Matter-rörelsen. Varumärket sätts i centrum, då produkten blir en symbol för myten och tydliga maktrelationer kan avläsas. Gillettes retoriska strategier svarar istället på de kulturella koder som rörelsen utgår från, där varumärket tas ur fokus och reklamfilmen kommunicerar jämlika förhållanden.<br>This qualitative study intends to examine how western companies have constructed their branding communication in conjunction with the Black Lives Matter movement. From a theoretical framework based on semiotics, visual rhetoric and postcolonialism reviews the studies rhetorical strategies in commercials to read out the myths the companies communicate. By responding to societal changes can companies create positive associations to themselves, which is based on the cultural context the communication operates within. Brands have the opportunity to preserve, transform and challenge the current power structures through the advertising impact they have on the receiver. The study illustrates the issue concerning how companies communicate values and messages from a different culture. By comparing Gillette’s praised, respectively Pepsi’s criticized commercial, makes it possible to understand how the recipient's reaction can be understood in relation to Black Lives Matter from a postcolonial perspective. The units are examined through a combined semiotic and critical visual analysis method with related tools. The study shows how Pepsi´s myth does not fall naturally within the cultural context, where it has a diminishing effect on the Black Lives Matter movement. The brand is placed in the center, as the product becomes a symbol of the myth and clear power relations can be read. Gillette's rhetorical strategies instead associate with the cultural codes that the movement conveys, where the brand is taken out of focus and the commercial communicates equal conditions.
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Johnson, Lakesia Denise. "The Iconography of the Black Female Revolutionary and New Narratives of Justice." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1213127495.
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Costa, Kátia Regina Rebello da. "O ser negro à vista: construção verbo-visual do negro na propaganda impressa." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2792.
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Esta tese destina-se a desenvolver estudo semiótico de propagandas impressas em que a pessoa negra é posta em presença. Investiga-se como a propaganda veiculada em revista, mediante seleção e combinação sígnicas, efetiva a construção da imagem verbo-visual do negro, tendo em vista o produto anunciado e os projetos comunicativos do enunciador e, assim, como finda por ratificar ou (re)elaborar significados sociais acerca desse sujeito. Pautando-se na Semiótica de Charles Sanders Peirce e tendo por suporte, fundamentalmente, a Teoria da Iconicidade Verbal de Simões (2009), a pesquisa aborda todos os signos verbais e não verbais em diálogo, como dotados de potencial icônico, não só revelador dos projetos de texto, como também ativador de interpretações/leituras e, ainda, delineador de sentidos, posteriormente cristalizados e convertidos em significados imanentes aos signos e aos objetos reportados. Por ter, como material constitutivo do corpus, textos elaborados em linguagem mista, a pesquisa propõe a aplicação da Teoria da Iconicidade Verbal ao universo dos signos lato sensu. O debate apresenta o texto de propaganda como excelente material, não só para implementar os estudos de História e Cultura Afro-brasileiras, como prevê a Lei 10.639/03, como também para subsidiar o ensino de língua portuguesa, com ênfase para os estudos sobre leitura e produção textual, para que se forme sujeito dotado de habilidades que lhe permitam reconhecer no verbal e no não verbal a revelação e a geração de sentidos sociais<br>This thesis is destined to develop the semiotics study of the printed advertisement where the black person is placed in presence. It is investigated as the advertising propagated in magazine, by means of election and meaning combination of signs accomplishes the construction of verbal/visual blacks image, in the announced products view and the communicative annunciators projects; and, thus, how it terminates for ratifying or elaborating or (re) elaborate social meanings about that being. Basing on the Semiotics of Charles Sanders Peirce and having for support, basically, the Theory of the Verbal Iconicidade of Simões (2009), the research approaches all the verbal signs and the no verbal ones in dialogue, as endowed with iconic potential, not only discloser of the texts projects, as well as activator of interpretations/readings and, yet, delineator of feelings, subsequently crystallized and converted into intrinsic meanings to the signs and to the reported objects. For having, as material constituent of the corpus, texts elaborated in mixing language, the research proposes the application of the Iconicity Verbal to the universe of the signs lato sensu. The discussion presents the advertisement text as excellent material not only to implement the studies of History and Culture Afro-Brazilians, as she foresees Law 10,639/03, as well as to assist the study of the Portuguese language, expressively for the studies of reading and textual production, in order to mould a being endowed with abilities that allow him to recognize in the verbal and in the no verbal, the revelation and the generation of the social feelings
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Polat, Aydin Goze. "Modeling Neurons That Can Self Organize Into Building Blocks And Hierarchies: An Exploration Based On Visual Systems." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614712/index.pdf.
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Cell-cell and cell-environment interactions are controlled by a set of local rules that dictate cell behavior. With such local rules, emergence of computationally meaningful building blocks and hierarchies can be observed. For example, at the cellular level organization in the visual system, receptive field of a retinal ganglion cell displays an activation inhibition behavior that can be modeled as Mexican Hat wavelet or Difference of Gaussians. This precise organization is the product of a harmonious collaboration of different cell types located at the lower levels in a hierarchical structure for each ganglion cell. Moreover, a similar hierarchical organization is observed at higher levels in the visual system. This thesis investigates the visual system from several perspectives in an effort to explore the biological/computational principles underlying these local rules. The investigation results in a hybrid computer model that can combine the advantages of evolutionary and developmental principles to explore the effects of local rules on cellular differentiation, retinal mosaics, layered structures and network topology.
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Griffiths, Corona Gracelyn. "An investigation into the visual literacy skills of Black primary-school children from an informal settlement in Cape Town, with particular reference to visual imagery in educational textbooks." Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002199.
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This thesis provides evidence that learning difficulties some. black primary-schoolchildren may experience with certain textbooks, can be attributed, in part, to the visual text (imagery). These difficulties were established by eliciting responses from educationally dlscfdvantaged urban black primary learners to selected examples of visual texts using the Research Interview method. To further establish if these difficulties were attributable either to poorly executed/unrecognizable visual text, or to low levels of learned educational visual literacy skills - white primary-school children were also interviewed - as it was anticipated that they would be familiar with Western pictorial material due to their consistent exposure to books from an early age. The difficulties experienced by the black interviewees were attributed mainly to their level of learned pictorial perceptual skills and to a lesser extent to poorly/inadequately illustrated visual texts. It was found from interviews with the developers of visual texts - publishing personnel and illustrators - that the former were not entirely certain e.xactly which aspects of visual text were difficult for black primary learners to comprehend, while the latter were generaUy very uncertain. The procedure for visual text development by the developers (including textbook authors), was found to be problematic due to the lack of synthesis and consultative decision making in the process- between these persons. The limited time allocated to illustrators for producing visual text, as well as their professional isolation, were found to be factors which can give rise to ineffective and inadequate visual texts. Most publishers and authors, if they trial (field-test) materials, generally do not trial the visual text. The visual text is usually decided upon ultimately by the poblishers and produced after trialling and/or consultants have examined the written text. Consequently incongruent meanings and inconsistencies can result between written and visual text, which can affect the learning effectiveness of the composite text. Trialling (field-testing) of visual and written text together, was recommended to identify and address any difficulties experienced by learners prior to final publication of the textbook. Recommendations were provided for textbook selection committees, authors, teachers, publishers and illustrators.
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Downs, J. "Ministers of 'the Black Art' : the engagement of British clergy with photography, 1839-1914." Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35917.
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This thesis examines the work of ordained clergymen, of all denominations, who were active photographers between 1839 and the beginning of World War One: its primary aim is to investigate the extent to which a relationship existed between the religious culture of the individual clergyman and the nature of his photographic activities. Ministers of 'the Black Art' makes a significant intervention in the study of the history of photography by addressing a major weakness in existing work. Taking an interdisciplinary approach, the research draws on a wide range of primary and secondary sources such as printed books, sermons, religious pamphlets, parish and missionary newsletters, manuscript diaries, correspondence, notebooks, biographies and works of church history, as well as visual materials including original glass plate negatives, paper prints and lantern slides held in archival collections, postcards, camera catalogues, photographic ephemera and photographically-illustrated books. Through close readings of both textual and visual sources, my thesis argues that factors such as religious denomination, theological opinion and cultural identity helped to influence not only the photographs taken by these clergymen, but also the way in which these photographs were created and used. Conversely, patterns also emerge that provide insights into how different clergymen integrated their photographic activities within their wider religious life and pastoral duties. The relationship between religious culture and photographic aesthetics explored in my thesis contributes to a number of key questions in Victorian Studies, including the tension between clergy and professional scientists as they struggled over claims to authority, participation in debates about rural traditions and church restoration, questions about moral truth and objectivity, as well as the distinctive experience and approaches of Roman Catholic clergy. The research thus demonstrates the range of applications of clerical photography and the extent to which religious factors were significant. Almost 200 clergymen-photographers have been identified during this research, and biographical data is provided in an appendix. Ministers of the Black Art aims at filling a gap in scholarship caused by the absence of any substantial interdisciplinary research connecting the fields of photohistory and religious studies. While a few individual clergymen-photographers have been the subject of academic research - perhaps excessively in the case of Charles Dodgson - no attempt has been made to analyse their activities comprehensively. This thesis is therefore unique in both its far-ranging scope and the fact that the researcher has a background rooted in both theological studies and the history of photography. Ecclesiastical historians are generally as unfamiliar with the technical and aesthetic aspects of photography as photohistorians are with theological nuances and the complex variations of Victorian religious beliefs and practices. This thesis attempts to bridge this gulf, making novel connections between hitherto disparate fields of study. By bringing these religious factors to the foreground, a more nuanced understanding of Victorian visual culture emerges; by taking an independent line away from both the canonical historiography of photography and more recent approaches that depict photography as a means of social control and surveillance, this research will stimulate further discussion about how photography operates on the boundaries between private and public, amateur and professional, material and spiritual.
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jones, vanessa michelle. "Art as Method: Complicating Tales of Visual Stenography and Implications for Urban Education and Research." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1369737270.
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Meyers, Lateasha Nicol. "Seeing Education Through A Black Girls' Lens: A Qualitative Photovoice Study Through Their Eyes." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1586263706742763.
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Kuebler-Wolf, Elizabeth Ann. "The perfect shadow of his master : proslavery ideology in American visual culture, 1700-1920 /." [Bloomington, Ind.] : Indiana University, 2006. http://wwwlib.umi.com/dissertations/fullcit/3204312.
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Kama, Lunga. "Imaginative acts of photographic of self-representation as a critical response to representations of the black male body in South African photography." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86412.
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Thesis(MA)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: The first part of this thesis discusses some of the problematic photographic practices that
form part of the modern visual discourse employed in defining the representation of the black
man in South African photography. The aim of this thesis is to critically investigate the visual
discourse in contemporary South African photography and to outline the inherent flaws
whereby the black male subject is represented according to racial stereotypes inherited from
the photographic conventions of colonial discourse. The purpose of this is to investigate my
own photographic practice by drawing a critical comparison with the works of German
photographer Gustav Theodor Fritsch (b.1834-1927), South African photographers Alfred
Martin Duggan-Cronin (b.1874-1954), the Caney brothers (1844-1899), Steve Hilton-Barber
(b.1962-2002), Pieter Hugo (b.1976-), Zanele Muholi (b.1972-) and Zwelethu Mthethwa
(b.1960-), and Nigerian-born British photographer Rotimi Fani-Kayode (b.1955-1989). My
argument is centred around the discussion of these photographer’s works and the visual
impact on the manner in which the black subject is portrayed as a ‘noble savage’. The
predominant visual representation of the black body in South African photography
perpetuates the kinds of discourse that rely on anthropological photographic methods of
representation. I argue that where the depiction of the black male body is concerned, a
number of contemporary South African photographers mentioned in this thesis continue to
unconsciously appropriate a colonial discourse wherein the body of the black man is cast in
the exotic role of ‘noble savage’ with extreme attributes regarding sex and gender, either as
extremely ‘effeminate’ or, alternatively, as ‘hyper-masculine’ and exuding a ‘raw’ sexual
prowess (Read, 1996:64). The work that I create and my photographic practices utilise some
of the abovementioned artists’ problematical visual devices in order to subvert them but also
to create an alternate perception of black representation. In the second chapter of this thesis, I critically evaluate the work of Rotimi Fani-Kayode as a
strategy to employ alternate means of visual representation of the black body in order to
critically re-evaluate the work of contemporary South African artists in their depiction of the
black male body through either studio photography or documentary photography. The aim is
to point out imaginative forms of representation as an alternative to either of the two modes
of photography mentioned above. The argument then aims to put emphasis on acts of
imaginative self-representation, a contemporary mode in photographic art practice made popular by Rotimi Fani-Kayode. Imaginative self-representation involves “the ritualistic
transformation of the colonial imagery into creations of our own” as black artists in order to
subvert the dominant discourses on representations of the black body (Fani-Kayode, 1997:6).
This is just one of the important strategies used by the artists mentioned in this thesis to
critique black sexuality. My works and practices draw their influence from the discourses that
dominate the contemporary discourse on the representation of the black body. My argument
looks at stereotypical forms of photographic practice and critiques the problematical
construct of such representations of black male sexuality. The purpose is to expose some of
the Western principles that seek to regulate and control the black body. My own practice
focuses on creating works of art that form part of my cultural and historical background.
Sexuality and gender are discussed in the third part of this thesis as a means to outline my
own photographic practice and its influences.
The third chapter investigates the masculinity of the black subject through a discussion of
sexuality and gender performativity. In this chapter, gender proves to be a performative,
unlike some of the essentialist assumptions made about how sexuality and gender are
unchanging. A visual mechanism that seeks to critically question racist representations of
black sexuality such as drag and performativity is applied in the construction of affirmative
imagery of black masculinity. The final chapter of the thesis focuses on my own work as an
example of imaginative forms of self-representation. The first, second and third parts of the
argument serve to provide a theoretical framework in which to situate my own practice.<br>AFRIKAANSE OPSOMMING: Hierdie tesis bespreek van die problematiese fotografiepraktyke wat deel uitmaak van die
visuele diskoers waarvolgens die swart man in Suid-Afrikaanse fotografie uitgebeeld word.
Die doel van die tesis is die kritiese ondersoek van die visuele diskoers in kontemporêre
Suid-Afrikaanse fotografie, en die blootlegging van die inherente leemtes waarin die swart
manlike subjek uitgebeeld word volgens rassestereotipes wat uit fotografie gebruike van die
koloniale diskoers spruit. Die oogmerk is om my eie fotografiese praktyk te verken deur ’n
kritiese vergelyking te tref met die werk van die Duitse fotograaf Gustav Theodor Fritsch
(b.1834–1927); die Suid-Afrikaners Alfred Martin Duggan-Cronin (b.1874-1954), die Caneybroers
(1844-1899), Steve Hilton-Barber (b.1962-2002), Pieter Hugo(b.1976-), Zanele
Muholi (b.1972-) en Zwelethu Mthethwa (b.1960-), en die Britse fotograaf Rotimi Fani-
Kayode (1955-1989), ’n Nigeriër van geboorte. ). My argument is gesentreer rondom die
bespreking van hierdie fotograaf se werke en die visuele impak op die wyse waarop die swart
onderwerp word uitgebeeld as 'n 'edel barbaar ". Die visuele voorstelling van die swart
liggaam in Suid-Afrikaanse fotografie is hoofsaaklik ’n voortsetting van die soort diskoerse
wat op antropologiese fotografiese uitbeeldingsmetodes berus. Ek voer aan dat, wat die
uitbeelding van die swart manlike liggaam betref, ’n paar kontemporêre Suid-Afrikaanse
fotograwe wat in hierdie tesis ter sprake kom, steeds onbewustelik ’n koloniale diskoers
handhaaf wat die eksotiese rol van ‘edel barbaar’ met uiterste geslags- en genderkenmerke –
hetsy uiters ‘vroulik’ of ‘hipermanlik’ met ’n ‘rou’ seksuele manhaftigheid (Read, 1996:64) –
aan die swart man toeken. In my eie werk en fotografiepraktyke het ek van bogenoemde
kunstenaars se problematiese visuele middele gebruik gemaak, nie net om dit bloot te lê nie,
maar ook om ’n alternatiewe opvatting van ‘swart’ uitbeelding te skep. In die tweede hoofstuk van die tesis gebruik ek alternatiewe metodes om die swart liggaam
visueel uit te beeld in ’n kritiese herbeoordeling van die werk van kontemporêre Suid-
Afrikaanse kunstenaars wat die swart manlike liggaam deur hetsy ateljeefotografie of
dokumentêre fotografie voorstel. Sodoende verskuif die klem na verbeeldingryke vorme van
uitbeelding as alternatief vir bogenoemde twee vorme van fotografie. Daarná val die soeklig
op handelinge van verbeeldingryke selfvoorstelling – ’n kontemporêre metode in fotografiese
kunspraktyk wat deur Rotimi Fani-Kayode gewild gemaak is. Verbeeldingryke
selfvoorstelling behels “die rituele transformasie van koloniale beelde tot ons eie skeppings”
as swart kunstenaars, ten einde die oorheersende diskoerse oor die uitbeelding van die swart liggaam omver te werp (Fani-Kayode, 1997:6). Dít is bloot een van die belangrike strategieë
wat die kunstenaars in hierdie tesis gebruik om op swart seksualiteit kritiek te lewer. My
werk en praktyk word beïnvloed deur die oorheersende kontemporêre diskoerse oor die
voorstelling van die swart liggaam. In my argument bestudeer ek stereotiepe vorme van
fotografiese praktyk, en lewer ek kritiek op die problematiese konstruk van sodanige
voorstellings van swart manlike seksualiteit. Sodoende word sommige van die Westerse
beginsels wat die swart liggaam wil reguleer en beheer aan die lig gebring. My eie praktyk
konsentreer op die produksie van kunswerke wat deel uitmaak van my kulturele en historiese
agtergrond.
Deel 3 van die tesis ondersoek seksualiteit en gender ten einde my eie fotografiepraktyk, én
die faktore wat dit beïnvloed, te omskryf. Die derde hoofstuk ondersoek die manlikheid van
die swart subjek deur ’n bespreking van seksualiteit en gender performatiwiteit. Uit hierdie
hoofstuk blyk dit dat gender as performatief verskil van die essensialistiese aannames oor die
onveranderlike aard van seksualiteit en gender. Visuele meganismes om rassistiese
voorstellings van swart seksualiteit te bevraagteken, soos fopdossery en performatiwiteit,
word toegepas in die konstruksie van bevestigende beelde van swart manlikheid. Die laaste
hoofstuk van die tesis konsentreer op my eie werk as voorbeeld van verbeeldingryke vorme
van selfvoorstelling. Gesamentlik dien die drie dele van die argument as teoretiese raamwerk
waarin my eie praktyk geplaas kan word.
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Van, Patterson Cameron. "A Black Presence Disclosed in Absence: The Politics of Difference in Contemporary Art." Thesis, Harvard University, 2011. http://dissertations.umi.com/gsas.harvard:10050.
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As an interdisciplinary project that integrates African and African American Studies, critical race theory, and Art History, this dissertation attempts to enrich our understanding of the politics of difference in contemporary art by interrogating the formal practices of artists and the social significance of their work. The artwork discussed reflects a pattern of creative engagement with archival institutions and documents that is characteristic of contemporary artists who are concerned with questions of consumption and the body; representation and erasure; the social construction of race and space; and the relationship between history, memory, and identity. Taken together, these themes constitute a discursive landscape within contemporary art that is central to the principle question raised here—namely, how do social genres of difference and relations of power influence artistic practices of representation, curatorial display, and reception? In an attempt to both answer and reverse the direction of this question, this text presents insightful perspectives from different artists on the complex relationship between art and society. Using the politics of difference as a lens through which to examine the aforementioned themes in contemporary art, I argue that the artists under consideration are transforming the meaning of race in post-slavery societies throughout the black diaspora. Through various creative practices, these artists are shifting the terms, coordinates, and representations of difference seen in the archive in order to reimagine the language of identity in the twenty-first century. Fundamentally, their work challenges the way certain bodies are recognized—compelling us, as viewers, to reinterpret the past from alternative and critical perspectives. Moreover, by focusing on the disclosure of a black presence in western cultures through the comparative formal and historical analysis of contemporary works of art that call our attention to misrepresentation, commodification, invisibility, and displacement, this dissertation contributes to developing conversations about how contemporary artists challenge dominant narratives and representational aesthetics. Through their work, these artists expand our conception of the archive—disclosing the overlapping ways in which objects, images, words, signs, ideas, ads, bodies, and spaces register social and historical meaning through the demarcation of racialized difference. Ultimately, this project demonstrates how art can transform the way we see and represent ideas of difference, and therein, the way we see and represent ourselves.<br>African and African American Studies
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Chambers, Edward Anthony. "The emergence and development of Black visual arts activity in England between 1981 and 1986 : press and public responses." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420715.
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Kelly, Aryn. "Mobilizing Images of Black Pain and Death through Digital Media: Visual Claims to Collective Identity After “I Can’t Breathe”." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7827.
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In the wake of Eric Garner’s 2014 public execution at the hands of NYPD officers, online spaces such as Twitter saw an influx of remediated imagery referencing Ramsey Orta’s bystander cell phone video of Garner’s death. These images often explicitly reference the chokehold that killed Garner and/or they reappropriate Garner’s last words: “I can’t breathe.” To what formal dimensions in Orta’s video are these remediated images responding? What broader cultural work is the creation of these images doing?
In this project, I regard Orta’s video as the point of entry for considering the cultural work of remediating images from it, as understanding its formal dimensions are necessary to recognizing the ways in which the remediated images attend to Garner’s body. I read this video using Scott Richmond’s revision of Christian Metz’s theory of cinematic identification to identify the concerning and compelling tension between over and under-identifying with onscreen subjects in Orta’s video, ultimately asserting that aligning with any body onscreen is ultimately a choice. Further, the remediated images attending to Garner’s body signal viewer’s chosen alignment with him or Orta, and claim Garner’s death as a socially constructed cultural trauma. These claims not only signal collective identification around the trauma on behalf of those who did not initially witness it, but also express belief in Garner’s experience despite a public discourse that continually emphasized his (and other black men’s) perceived violent potential.
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Ruth, Daniel. "Adolf Hitler – America’s First Black President and Other Oval Office Demons: The Right-Wing Rhetorical Assault On Barack Obama’s Health Care Plan." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3598.
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This thesis endeavors to examine the imagery and rhetoric surrounding the portrayal of President Barack Obama during the national debate over health care reform from the summer of 2009 into the spring of 2010. It is argued that the critics of the health care reform legislation used images to portray the president as Adolf Hitler, Che Guevara, The Joker, as well as other images such as the swastika and the Wehrmacht symbol as stand-in euphemisms for race to discredit Barack Obama.
A number of exemplar images have been selected from various websites and publications specifically addressing the portrayal of Barack Obama not only in starkly menacing tones, but also in images suggesting the president is a villainous black man attempting to pass for white in order to accomplish his tyrannical goals.
The images used in this thesis speak to the power of fantasy themes and the use of fear in rhetorical imagery inasmuch as they attempt to stoke a narrative seizing upon the anxieties of an American public caught in the grip of difficult financial times, finding themselves being led by the nation’s first African-American president.
This thesis complements earlier research exploring the role of race in politics and public policy debates. And it is hoped this work will contribute to a better understanding of the growing influence of talk radio, as well as perhaps the need for greater civics literacy.
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Lee, Hyojin. "The Effect of Black-and-White versus Color Imagery on Consumer Behavior: A Construal Level Theory Approach." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461160672.
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Rodrigues, Vladimir Miguel [UNESP]. "Malcolm X: entre o texto escrito e o visual." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99127.
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Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0
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rodrigues_vm_me_sjrp.pdf: 2852276 bytes, checksum: 6edda76d5dac99cb133b8f9ed4b11c58 (MD5)<br>Malcolm X foi figura exponencial durante a luta pelos direitos civis da população afroamericana nos EUA nas décadas de 1950 e 1960. Seu polêmico discurso pela resistência violenta das populações negras contra o racismo branco marcou gerações naquele país. Esta dissertação de mestrado pretende analisar as representações desse personagem histórico na obra “Autobiografia de Malcolm X”, texto biográfico escrito pelo jornalista Alex Halley e sua transcodificação para o Cinema no filme “Malcolm X” do cineasta Spike Lee<br>Malcolm X was a remarkable historical character during the Civil Rights struggles in the USA in the 1950s and 1960s. His polemical speech in favor of black resistance against the white racism was fundamental to the next generations in the country. This study aims at analyzing Malcolm´s representations in Alex Halley´s biography – Malcolm X – and its transcodification to the film X, directed by Spike Lee
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Oskar, Andersson. "Building Blocks: Utilizing Component-Based Software Engineering in Developing Cross-Platform Mobile Applications." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-158206.
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Contemporary approaches to cross-platform mobile application development, such as hybrid apps from PhoneGap and generated native apps from Xamarin, show promise in reducing development time towards Android, iOS and other platforms. At the same time, studies show that there are various problems associated with these approaches, including suffering user experiences and codebases that are difficult to maintain and test properly. In this thesis, a novel prototype framework called Building Blocks was developed with the purpose of investigating the feasibility of utilizing component-based software engineering in solving this problem. The prototype was developed towards Android along with a web interface that allowed users to assemble an Android app using software components. The report concludes that component-based software engineering can be – and already is – utilized successfully to improve cross-platform mobile app development with special regards to user experience. Qualitative data indicate that Building Blocks as a concept is flexible and shows promise for mobile app development in which functionality is often reused, such as enterprise apps. Rapid prototyping using the web-based visual editing tool was another promising area. However, future use of Building Blocks would require further work on the prototype to improve its ease of use.
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Jackson, Tanisha M. "Defining Us: A Critical Look at the Images of Black Women in Visual Culture and Their Narrative Responses to these Images." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281378634.
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Melling, Helen Micaela. "Colourful customs and invisible traditions : visual representations of black subjects in late colonial and 19th century, post-independence Peru (1750s – 1890s)." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/colourful-customs-and-invisible-traditions(b11531a3-8dae-4351-9a92-8f896bdc48fe).html.
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This thesis explores Afro-Peruvian identity vis-à-vis national republican identity through visual representations of black Peruvian subjects in the late colonial and post-independence period (1750s – 1890s). Its foundations lie in a detailed analysis of these representations, primarily in bringing to the surface the historical articulation of post-independence representations with their late colonial precedents as an interweaving of cultural discourses. Focal points are Léonce Angrand’s (1808 – 1886) images from his time as French Vice-consul in Lima during the 1830s, and the works of German artist Johann Moritz Rugendas (1802 – 1858) during his travels in 1840s Peru. An analysis of the ‘popular’ characters and types featured in the watercolours of Peruvian mulato Francisco ‘Pancho’ Fierro (1807 – 1879) lies at the heart of this examination of 19th century images. They are the most prolific and renowned examples of Peruvian costumbrismo and constitute the most significant body of images discussed in the thesis. Photographs from the Courret Hermanos Studio provide a final source of images. My analysis of these visual discourses is complemented by a study of contemporary literary and non-fiction texts that include representations or descriptions of black culture. My findings lead me to argue for the existence of a visual tradition in the depiction of black subjects in Peru, particularly during the formative years after independence. This tradition is almost entirely related to Lima, where the largest communities of slaves, free blacks and black colonial castas were located. These findings open up new interpretative possibilities and means of exploring the symbolic centrality of blackness in the formation of a creole subjectivity and national identity in 19th century Peru.
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Burbach, Karolina. "Schwarz Rot Gold is the New Black : The production of patriotism in German fashion - The case of Eva Gronbach." Thesis, Stockholms universitet, Centrum för modevetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-30334.
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This thesis is a theoretically guided empirical discussion of fashion and its role within the production of national identity in Germany. In recent years, a new patriotism in contemporary German fashion could be observed, starting with the fashion designer Eva Gronbach in 2001. I will approach the term patriotism with the aid of one of Michel Foucault's key terms, the notion of the episteme. In my case study, singular fashion images from three consecutive collections by Gronbach are examined with regard to their role in the discourse of German patriotism. But I am not only interested in the "how" of this discourse. Building up upon Antonio Gramsci's notion of "cultural hegemony", I also explain the recent rise of this fashion patriotism. Thus, my discourse analysis of Gronbach's fashion becomes embedded in social struggles and transformations in Germany. Argueing that fashion is a discursive practice that can show up as well as promote changes in discursive formations, I assume a dialectical structure-agency conception: On the one hand the case of Gronbach hints at the deeper structural problematic of patriotism and social cohesion which allowed Gronbach to become popular. On the other hand, this structure is also produced via discursive practices such as Gronbach´s. The what I term "inclusionary patriotism" comprises cultural normalisation. Thus, the case of Gronbach demonstrates a "constrained heterogeneity" with regard to the discourse of patriotism in Germany, in which diversity is only acceptable within certain discursively constructed limits.
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Hensley, Charlsa Anne. "IN BLACK AND WHITE: RICHMOND’S MONUMENT AVENUE RECONTEXTUALIZED THROUGH THE PHOTOGRAPHIC ARCHIVE." UKnowledge, 2019. https://uknowledge.uky.edu/art_etds/18.
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The release of the Monument Avenue Commission Report in July, 2018 was the culmination of over one year of research and collaboration with community members of Richmond, Virginia on how the city should approach the contentious history of Monument Avenue’s five Confederate centerpieces. What the monuments have symbolized within the predominately rich, white neighborhood and outside of its confines has been a matter of debate ever since they were unveiled, but the recent publicity accorded to Confederate monuments has led to considerations by historians, city leaders, and the public regarding recontextualization of Confederate monuments.
Recontextualization of the monuments should not only consider the city’s current constituency, but also the lives, testimonies, and representations of Richmond’s African- American residents as the monuments were built. A comparative case study of photographs from various institutional archives in Richmond, Virginia, depicting late- nineteenth and early twentieth-century scenes from the city’s history reveals that while Monument Avenue and its Confederate celebrations benefitted the city’s upper-class white constituency, its messages extended far beyond Richmond and its Confederate veterans. By bringing to light images and testimonies from the archive that highlight African-American presence, a counter-narrative emerges detailing the construction of power in post-Reconstruction Richmond through Monument Avenue.
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Odentia, Elin. "hur vi möts : tankar om måleri, dess närvaro och de rum det skapar. om relationen mellan objekt och betraktare." Thesis, Konstfack, Institutionen för Konst (K), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5679.
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Jag fick en fråga om hur relationen mellan mina olika målningar ser ut. För mig är det viktiga inte hur målningarna relaterar till varandra, utan hur de relaterar till oss som betraktare. Kan vi se dem som någon slags speglar? Eller tillstånd? Befinner vi oss där med dem? Eller står vi på utsidan och tittar in? Är vi närvarande på samma sätt? I denna essä vill jag närma mig mitt måleri genom att diskutera några olika aspekter som alla relaterar till mötet mellan betraktare och verk: blicken och dess maktrelationer, tidsrymder, målningens integritet och närvaro: hur verket sträcker sig utåt och inåt, de rum som skapas. Jag vill reflektera och ställa frågor, vilka jag, kanske, kan svara på genom måleriet.
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Rapoport, Robert S. "The iterative frame : algorithmic video editing, participant observation & the black box." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8339bcb5-79f2-44d1-b78d-7bd28aa1956e.
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Machine learning is increasingly involved in both our production and consumption of video. One symptom of this is the appearance of automated video editing applications. As this technology spreads rapidly to consumers, the need for substantive research about its social impact grows. To this end, this project maintains a focus on video editing as a microcosm of larger shifts in cultural objects co-authored by artificial intelligence. The window in which this research occurred (2010-2015) saw machine learning move increasingly into the public eye, and with it ethical concerns. What follows is, on the most abstract level, a discussion of why these ethical concerns are particularly urgent in the realm of the moving image. Algorithmic editing consists of software instructions to automate the creation of timelines of moving images. The criteria that this software uses to query a database is variable. Algorithmic authorship already exists in other media, but I will argue that the moving image is a separate case insofar as the raw material of text and music software can develop on its own. The performance of a trained actor can still not be generated by software. Thus, my focus is on the relationship between live embodied performance, and the subsequent algorithmic editing of that footage. This is a process that can employ other software like computer vision (to analyze the content of video) and predictive analytics (to guess what kind of automated film to make for a given user). How is performance altered when it has to communicate to human and non-human alike? The ritual of the iterative frame gives literal form to something that throughout human history has been a projection: the omniscient participant observer, more commonly known as the Divine. We experience black boxed software (AI's, specifically neural networks, which are intrinsically opaque) as functionally omniscient and tacitly allow it to edit more and more of life (e.g. filtering articles, playlists and even potential spouses). As long as it remains disembodied, we will continue to project the Divine on to the black box, causing cultural anxiety. In other words, predictive analytics alienate us from the source code of our cultural texts. The iterative frame then is a space in which these forces can be inscribed on the body, and hence narrated. The algorithmic editing of content is already taken for granted. The editing of moving images, in contrast, still requires a human hand. We need to understand the social power of moving image editing before it is delegated to automation. Practice Section: This project is practice-led, meaning that the portfolio of work was produced as it was being theorized. To underscore this, the portfolio comes at the end of the document. Video editors use artificial intelligence (AI) in a number of different applications, from deciding the sequencing of timelines to using facial and language detection to find actors in archives. This changes traditional production workflows on a number of levels. How can the single decision cut a between two frames of video speak to the larger epistemological shifts brought on by predictive analytics and Big Data (upon which they rely)? When predictive analytics begin modeling the world of moving images, how will our own understanding of the world change? In the practice-based section of this thesis, I explore how these shifts will change the way in which actors might approach performance. What does a gesture mean to AI and how will the editor decontextualize it? The set of a video shoot that will employ an element of AI in editing represents a move towards ritualization of production, summarized in the term the 'iterative frame'. The portfolio contains eight works that treat the set was taken as a microcosm of larger shifts in the production of culture. There is, I argue, metaphorical significance in the changing understanding of terms like 'continuity' and 'sync' on the AI-watched set. Theory Section In the theoretical section, the approach is broadly comparative. I contextualize the current dynamic by looking at previous shifts in technology that changed the relationship between production and post-production, notably the lightweight recording technology of the 1960s. This section also draws on debates in ethnographic filmmaking about the matching of film and ritual. In this body of literature, there is a focus on how participant observation can be formalized in film. Triangulating between event, participant observer and edit grammar in ethnographic filmmaking provides a useful analogy in understanding how AI as film editor might function in relation to contemporary production. Rituals occur in a frame that is dependent on a spatially/temporally separate observer. This dynamic also exists on sets bound for post-production involving AI, The convergence of film grammar and ritual grammar occurred in the 1960s under the banner of cinéma vérité in which the relationship between participant observer/ethnographer and the subject became most transparent. In Rouch and Morin's Chronicle of a Summer (1961), reflexivity became ritualized in the form of on-screen feedback sessions. The edit became transparent-the black box of cinema disappeared. Today as artificial intelligence enters the film production process this relationship begins to reverse-feedback, while it exists, becomes less transparent. The weight of the feedback ritual gets gradually shifted from presence and production to montage and post-production. Put differently, in cinéma vérité, the participant observer was most present in the frame. As participant observation gradually becomes shared with code it becomes more difficult to give it an embodied representation and thus its presence is felt more in the edit of the film. The relationship between the ritual actor and the participant observer (the algorithm) is completely mediated by the edit, a reassertion of the black box, where once it had been transparent. The crucible for looking at the relationship between algorithmic editing, participant observation and the black box is the subject in trance. In ritual trance the individual is subsumed by collective codes. Long before the advent of automated editing trance was an epistemological problem posed to film editing. In the iterative frame, for the first time, film grammar can echo ritual grammar and indeed become continuous with it. This occurs through removing the act of cutting from the causal world, and projecting this logic of post-production onto performance. Why does this occur? Ritual and specifically ritual trance is the moment when a culture gives embodied form to what it could not otherwise articulate. The trance of predictive analytics-the AI that increasingly choreographs our relationship to information-is the ineffable that finds form in the iterative frame. In the iterative frame a gesture never exists in a single instance, but in a potential state. The performers in this frame begin to understand themselves in terms of how automated indexing processes reconfigure their performance. To the extent that gestures are complicit with this mode of databasing they can be seen as votive toward the algorithmic. The practice section focuses on the poetics of this position. Chapter One focuses on cinéma vérité as a moment in which the relationship between production and post-production shifted as a function of more agile recording technology, allowing the participant observer to enter the frame. This shift becomes a lens to look at changes that AI might bring. Chapter Two treats the work of Pierre Huyghe as a 'liminal phase' in which a new relationship between production and post-production is explored. Finally, Chapter Three looks at a film in which actors perform with awareness that footage will be processed by an algorithmic edit.<br>The conclusion looks at the implications this way of relating to AI-especially commercial AI-through embodied performance could foster a more critical relationship to the proliferating black-boxed modes of production.
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Chachere, Karen A. De Santis Christopher C. "Visually white, legally black miscegenation, the mulatoo, and passing in American literature and culture, 1865-1933 /." Normal, Ill. : Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3128271.
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Thesis (Ph. D.)--Illinois State University, 2004.<br>Title from title page screen, viewed Jan. 10, 2005. Dissertation Committee: Christopher C. De Santis (chair), Ronald Strickland, Cynthia A. Huff, Alison Bailey. Includes bibliographical references (leaves 178-193) and abstract. Also available in print.