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Dissertations / Theses on the topic 'Visual narration'
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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.Includes bibliographical references (leaves 63-64).
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.
by Omar Rabie.
S.M.
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Horvath, Gyongyver. "From sequence to scenario : the historiography and theory of visual narration." Thesis, University of East Anglia, 2010. https://ueaeprints.uea.ac.uk/25603/.
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Croset, Grégoire. "La narration en poésie : pièges et enjeux d'une terminologie difficile." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43896.
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In this analytical research paper, the notions of narrator and narration in poetry are discussed in order to identify why the terminology in this particular genre is considered as problematic by most theorists. In its theoretical section, this paper focuses on Philippe Lejeune’s autobiographical and biographical pacts, and shows the limits of the two reading contracts in the poetical genre. Then, on the background of Brian McHale and Stefan Kjerkegaard’s works on segmentivity, this paper explains the narrative process that can be found in the visual form of poetry. Finally, discussing Brian McAllister and Marie-Laure Ryan’s works on narrativity, this study explains that a story is a mental image that the transposition to a media will transform in order to best represent according to its own limits. In its analytical part, and mirroring the theoretical part, this study focuses on identifying the narrator, the narrative process, as well as the degree of narrativity of four poems by David Diop, Charles Pennequin, Ilse Garnier and Pierre Garnier. Thoses poems, chosen on the ground that they are good representative examples of narrative poetry, lyric poetry and visual poetry, help test the theories in practice. The results show that in the narrative poem, although the identity of the narrator is hard to establish, the narrative process is clear and the degree of narrativity is high. In the lyric and visual poems on the other hand, even if the segmentivity theory helps ‘reconstruct’ the narration when linking words are missing, the difficulty to identify narrative events in the lyric poem and a story world in the case of the visual poetry makes the emergence of a story world, and in turn of a narrator, problematic.
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Banks, Carol. "An investigation into achieving visual narration using photochromic dyes on a textile substrate." Thesis, Heriot-Watt University, 2014. http://hdl.handle.net/10399/2895.
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Photochromic dyes have the unique property of being colourless until exposed to ultraviolet (UV) light. Their application within design has thus far been basic, predominantly developing the medium as it is exposed to natural UV light. Therefore, by exploring the dyes’ colours and movement when printed on a textile substrate and developed by artificial UV light, this thesis investigates their ability to create a form of visual narrative. Using the dyes’ colours to evoke a change in emotion set the parameters for answering this aim. Testing the interactions of the dyes’ colours in sunlight, on a range of substrates and in varied combinations, provided initial knowledge of how they perform in this medium. Whilst the stylistic techniques of French Impressionist films provided configurations with which to explore the movement of the dyes, research on colour showed the diversity of ways in which it is able to be used to express emotion. Two custom built UV LED arrays, manually operated then software driven, enabled the dyes’ development times and intervals to be controlled. Design questions were then answered by combining these factors with the dyes’ fading speeds. Storyboarding photographs became an important part of the analysis and reflection process whilst filming also assisted in observing their transient nature. This work revealed that a new methodology, that was based on placement and sequencing, would be necessary when designing with dyes that move. Design exploration illustrated how using two dyes, from opposite ends of both the fading and emotional spectrum, mixed by printing, could create a colour change, as they faded, when they were developed in a linear sequence. Subsequently, by combining abstract representational imagery with variations on the stylistic film techniques, to alternately develop two dyes, it was illustrated how, by varying their development intervals, these dyes have the potential to create a visual narrative that evokes a change of emotion in the viewer.
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Silveira, Paulo Antonio de Menezes Pereira da. "As existências da narrativa no livro de artista." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12111.
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Este estudo visa verificar o intervalo formativo entre o comparecimento e a ausência das estratégias de narração nos livros de artista de edição e se e como a narrativa visual é capaz de determinar sua bibliogênese.This research, As existências da narrativa no livro de artista (“The existences of narrative in the artist’s book”), aims to verify the formative spectrum from attendance to nonappearance of narration strategies into the published artist’s books and if and how the visual narrative is able to determine its bibliogony.
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Tatham, Gail Constance, and n/a. "Stories of Moses and visual narration in Jewish and early Christian art (3rd century AD)." University of Otago. Department of Classics, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080318.163116.
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This thesis considers the evolution of narrative art in Judaism and early Christianity, and deals in particular with narrative figure scenes in which Moses is the principal figure. Current theories, espoused by the late Kurt Weitzmann, posit the existence of a Jewish illustrated manuscript tradition dating back to the Hellenistic period, which could have been the source for Old Testament scenes in art. In the light of these proposals and taking into account more recent narrative theory, this study of early Moses scenes in art takes up the suggestion that a large range of visual narrative scenes, closely following a given text and with a tendency for these scenes to be arranged in narrative sequence, might indicate the presence of a lost illustrated manuscript which artists are using as their model.
Stories about Moses originate from within Judaism, and are mentioned also in Christian texts for the first three centuries AD, when Moses is regarded as the forerunner of Christ. While earlier Jewish art largely conformed to the proscription against figural art, narrative figure scenes illustrating Old Testament stories are known from the late second century AD. In the synagogue at Dura Europos (AD c.250), the range of biblical imagery includes five or six scenes illustrating stories from Exodus and Numbers, although Weitzmann�s criteria are only partially fulfilled.
During the third century AD, when the earliest Christian art is found, Christians use Old Testament imagery as well, including a cycle of scenes illustrating the story of Jonah. The decoration in the baptistery in the Christian house at Dura, like that in the synagogue there, shows some interest in visual narrative, although in this case no Moses scenes are involved. At this time there is only one Moses story certainly illustrated in Christian art, The miracle of the spring (based on Exodus 17), which occurs in funerary art in Rome. The iconography for this scene is used "emblematically" to promote ideas rather than stories about Moses. If at this time Christian artists know of a narrative cycle involving Moses, they show very little interest in reflecting this.
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黃嘉輝 and Ka-fai Wong. "The problems of visual discourse: a study of the politics of representation with special reference to thephotographic image." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208988.
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Wong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /." [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.
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Speidel, Klaus. "Narration visuelle et récit iconique : raconter une histoire en une image." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040195.
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A l’occasion de l'analyse de la question des capacités de l’image immobile isolée de « raconter une histoire », l’auteur développe les bases d’une narratologie fondamentale renouvelée, revisite la sémiotique du texte et les théories de l’image et réalise un déplacement méthodologique qui remplace l’approche sémiotique de la question du récit et de la narrativité par une approche en termes d’effets et de réception. La réflexion croise plusieurs disciplines : l’histoire de l’art, la narratologie, la sémiotique, mais aussi la philosophie et l’esthétique. Si l'auteur se propose bien de reconstruire les fondements même de la théorie de la narration visuelle, il ne cherche pas cependant à remplacer les théories existantes par un nouveau paradigme construit ex nihilo. Les bases nouvelles émergent au fil d’un travail sur les théories développées à ce jour ainsi qu'un corpus divers d'images narratives. Les théories critiquées se voient intégrées plutôt que niées dans le déplacement opéré. Pour résoudre le principal problème pour le récit iconique, celui du temps, l'auteur propose une nouvelle conceptualisation de la structure temporelle de l'image fixe unique. Celle-ci prend en compte le temps représenté et la durée perceptive. La dernière partie de l'ouvrage est consacrée à une relecture du Laocoon (1766) de G. E. Lessing, ouvrage largement responsable de la conception actuelle selon laquelle le récit iconique serait impossible. L'auteur montre que le débat autour des thèses de Lessing a été faussé par une confusion entre la question des possibilités/impossibilités de l’image comme telle et celle des « fins propres » de l’image dès lors qu’elle est artistiqueBased on his analysis of the possibility of iconic narrative – « telling a story » with a single still picture – Klaus-Peter Speidel develops a new foundation for visual narratology based on cognitive theory and reception aesthetics. Speidel's work is at the intersection of various disciplines : art history, literary theory, semiotics, philosophy of art and picture theory. While the thesis aims at reconstructing the foundations of a theory of visual narrative, the author does not try to replace the existing approaches with a new theory created ex nihilo. The new foundations emerge from his analysis of existing theories as well as a diverse array of pictures which play an important role in the argument. Classical theories of narrative are absorbed rather than rejected. In order to solve the main problem for visual narrative, the problem of time, the author offers a new conceptualisation of the temporal structure of still images. His taxonomy takes into account both the chronology of the story being told and perception time. The final part of the work offers a reinterpretation of G. E. Lessing's Laocoon (1766) a work that has played a major role for modern scepticism concerning the possibility of telling a story with a picture. The author shows that the discussion around Lessing has been biased by a confusion between the possibilities of the picture as such and the aims of artistic pictures. According to Speidel, Lessing's theory has lost much of its value as a theory of art but is still valuable as a theory for certain kinds of pictures, namely pictures that aim at “transparency”
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Host, Mark Ivan. "Final Fantasy X and Video Game Narrative: Re-Imagining the Quest Story." Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1242246706.
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Thesis--(M.A.)Cleveland State University, 2009Abstract. Title from PDF t.p. (viewed on June 11, 2009). Includes bibliographical references (p. 42-44). Available online via the OhioLINK ETD Center. Also available in print.
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Andreani, Nicola. "Bande dessinée et séquentialité : les formes de la narration par images." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040215.
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Cette thèse porte sur le principe même de séquentialité d’images fixes, pour comprendre la différence entre la Bande Dessinée et les différentes formes de narration par images fixes, même les autres arts. Cela nous aide à comprendre pourquoi la Bande Dessinée est devenue un art autonome, pourquoi la Bande Dessinée s’est plus developpée que d'autres formes de narration par images, et quelles sont plus précisément les origines de la Bande Dessinée.Analyser la naissance de la Bande Dessinée signifie donc tracer un parcours à travers des oeuvres, des auteurs ou des mouvements fondamentaux, et considérer les thèmes, les poétiques, les technologies qui l'ont définie à telle ou telle époque. Ce travail vise donc à identifier les oeuvres qui forment une ligne de partage entre le Moyen Âge et l'Âge Moderne. Une analyse historique, mais également paradigmatique, aidera à mieux comprendre comment la Bande Dessinée a évolué, quelles influences ont eu les autres formes d'art (comme la peinture, la littérature, la caricature ou le théâtre) mais surtout, quelles techniques et stratégies ont été mises en place et ont fait évoluer la Bande Dessinée vers un système narratif à base iconiqueThis thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images
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Oana, Ursulesku. "Intermedijalna priroda pripovedanja u književnom i filmskom stvaralaštvu Pola Ostera." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2019. https://www.cris.uns.ac.rs/record.jsf?recordId=110032&source=NDLTD&language=en.
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Предмет истраживања ове докторске дисертације су интермедијална преплитања у прозном и филмском стваралаштву савременог америчког аутора Пола Остера(1947). Интермедијалност је термин који описује однос и узајамни утицај присуства више медија у једном уметничком делу на формалном и тематском нивоу (књижевности, фотографије, филма, плеса). Истраживање се фокусира на досадашње стваралаштво овог аутора, са посебним акцентом на последњу деценију 20. века која је за то стваралаштво била пресудна; у дисертацији се тумаче, путем дубинских анализа, дијалошки однос различитих медија у Остеровим романима и филмовима које је режирао и/или за које је писао сценарија, разлози за постојање овог дијалошког односа и његове последице по формирање једног посебног уметничког сензибилитета. С обзиром на место Пола Остера као једног од најрелевантнијих стваралаца савремене америчке и светске књижевности, његов опус сагледава се у ширем контексту америчке и европске културе и поготову у контексту израженог утицаја визуелних медија од друге половине 20. века. Теоријски оквир комбинује постулате књижевне и филмске наратологије, као и студија интермедијалности и адаптације, у сврху преиспитивања начина на који се конвенције разнородних уметничких израза мењају и развијају, тиме остварујући простор за нова опажања.Predmet istraživanja ove doktorske disertacije su intermedijalna preplitanja u proznom i filmskom stvaralaštvu savremenog američkog autora Pola Ostera(1947). Intermedijalnost je termin koji opisuje odnos i uzajamni uticaj prisustva više medija u jednom umetničkom delu na formalnom i tematskom nivou (književnosti, fotografije, filma, plesa). Istraživanje se fokusira na dosadašnje stvaralaštvo ovog autora, sa posebnim akcentom na poslednju deceniju 20. veka koja je za to stvaralaštvo bila presudna; u disertaciji se tumače, putem dubinskih analiza, dijaloški odnos različitih medija u Osterovim romanima i filmovima koje je režirao i/ili za koje je pisao scenarija, razlozi za postojanje ovog dijaloškog odnosa i njegove posledice po formiranje jednog posebnog umetničkog senzibiliteta. S obzirom na mesto Pola Ostera kao jednog od najrelevantnijih stvaralaca savremene američke i svetske književnosti, njegov opus sagledava se u širem kontekstu američke i evropske kulture i pogotovu u kontekstu izraženog uticaja vizuelnih medija od druge polovine 20. veka. Teorijski okvir kombinuje postulate književne i filmske naratologije, kao i studija intermedijalnosti i adaptacije, u svrhu preispitivanja načina na koji se konvencije raznorodnih umetničkih izraza menjaju i razvijaju, time ostvarujući prostor za nova opažanja.
This PhD thesis aims to research the intermedialnature of the literary and cinematic opus of thecontemporary American author Paul Auster(1947). Intermediality is a term describing therelationship and mutual influence of multiplemedia existing within one single work of art, onthe formal and thematic level (literature,photography, film, dance). The research focuseson the author’s works until the present day,looking especially at the last decade of the 20thcentury that marked a shift in the author’sexpression. The thesis employs a close readingof the dialogic relationship between differentmedia present in Auster’s novels and the filmshe wrote and/or directed, of the reasons behindthe existence of this dialogic relation, and of itsconsequences in the formation of a specificartistic sensibility. Bearing in mind the positionof Paul Auster as one of the most relevantwriters of contemporary American and worldliterature, his opus is analyzed in the widercontext of American and European culture and,especially, in the context of the heightened andrising influence of visual media in the secondhalf of the 20th century. The theoreticalframework combines the ideas of literary andfilm narratology, as well as intermedialitystudies and adaptation studies, all with the aimof re-examining the way in which conventionsof diverse artistic expressions get transformedand evolve, opening thus new spaces ofinterpretation.
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Ferreira, Rikus. "'n Ondersoek na en dekonstruksie van die taal (beeld en teks) vervat in die visuele narratief met spesiale verwysing na die komiekstripmedium." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52963.
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Thesis (MA)--Stellenbosch University , 2002.ENGLISH ABSTRACT: This thesis is concerned with a study of the two basic elements of communication, namely image and text. How these basic communication tools function in the genre of the visual narrative with regard to their roles in the comic strip and the artist's book, will be examined. Both genres, the comic book and the artist's book, consist of complex structures regarding their workings in the framework of the visual narrative, and this work explores these complexities by analysing how image and text function in the visual narrative. The area of semiotics is used as a basis on which the arguments in this thesis are built. The principles contained in semiotics act as useful guidelines in the reading and understanding of communication in general, but in this study these principles give focus and structure to the research of especially the comic strip and the artist's book. Concepts that are discussed in depth include the interesting interactions which occur between image and text when they are used together. Signs, icons, symbols and how they function with (or without) text, are also examined. Text can also function as image, and this visualisation of text is explored. The role of concepts like interpretation, perception, the study of images and image-association, are all very important in the visual communicator's eventual success with his/her communication. How these concepts influence the creation and forming of one's visual intelligence and visual literacy, and the eventual effect it has on the process of communication, make up a very important part of this study. These arguments lead to a discussion of the dynamics contained in the visual narrative when looked at from a semiotic perspective. Central to the discussion on the visual narrative in this thesis, is the differentiation between two similar genres: 1) Firstly, a discussion of the functioning of the comic strip medium. Important aspects of this subject are the interactions of image and text, and how the comic medium consists of a unique set of symbols, which influence the specific communication in this genre. 2) Secondly, the genre of the artist's book, and how the medium of the book functions as a unique phenomenon in communication. The systems of meaning contained in the medium of the book are looked at against the light of a semiotic analysis of text and image. This research supports the importance of a semiotic approach as a helpful aid in the interpretation of any piece of communication, but especially that of the comic strip medium and the artist's book. The theories of Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty and Umberto Eco are used as basis of the arguments in this thesis and serve as valuable ground for a useful discourse. The implementation of above mentioned theories lead to an indication of the complexities involved in the special visual language of the comic strip and the artist's book.
AFRIKAANSE OPSOMMING: Hierdie studie is gemoeid met 'n ondersoek na die twee basismiddele of "taal" van kommunikasie, naamlik beeld en teks. Hoe hierdie basiese kommunikasiegereedskap funksioneer in die visuele narratief, met verwysing na veral die komiekstrip en die kunstenaarsboek, word ondersoek. Beide van laasgenoemde genres beskik oor komplekse strukture in hul bestaan binne die raamwerk van die visuele narratief, en hierdie navorsing ondersoek hierdie kompleksiteite deur die funksionering van beeld en teks in die visuele narratief te ontleed. Die area van semiotiek word as basis gebruik waarop die argumente in die tesis gebaseer is. Die beginsels vervat in die rigting van semiotiek tree op as 'n handige hulpmiddel in die lees en verstaan van enige vorm van kommunikasie, maar in hierdie studie verleen dit veral fokus en struktuur aan die navorsing binne die raamwerk van die komiekstrip en kunstenaarsboek. Konsepte wat in diepte bespreek word met die oog op hul uiteindelike funksionering binne die visuele narratief, sluit die interessante interaksies wat ontstaan tussen beeld en teks wanneer hulle saam gebruik word, in. Konsepte soos tekens, ikone en simbole, asook hul werking saam met teks (en afsonderlik daarvan), word bespreek. Teks kan in werklikheid ook as visuele beeld funksioneer, en hierdie "ikonifisering" of "beeldwording" van teks word ondersoek. Die rol van konsepte soos interpretasie, persepsie, beeldherkenning en assosiasie, wat uit hierdie proses van visuele kommunikasie voortspruit, is baie belangrik in die visuele kommunikeerder se uiteindelike sukses met sy/haar poging tot kommunikasie. Hoe hierdie konsepte aanleiding gee tot die skep van 'n persoon se "visuele intelligensie" en "visuele geletterdheid", en die uiteindelike effek wat dit op die proses van kommunikasie het, maak 'n belangrike deel van hierdie navorsing uit. Hierdie konsepte lei tot 'n bespreking van die dinamika van die visuele narratief wanneer daar vanuit 'n semiotiese oogpunt daarna gekyk word. Sentraal tot die bespreking van die visuele narratief in hierdie tesis, kan daar tussen twee ooreenkomstige genres onderskei word: 1) Eerstens is daar 'n bespreking van die funksionering van die komiekstripmedium. Belangrike aspekte van hierdie onderwerp is die funksionering van en interaksies tussen beeld en teks binne die medium, en hoe die stripmedium bestaan uit 'n unieke stel simbole wat die kommunikasie van die werk beïnvloed. 2) Tweedens die genre van die kunstenaarsboek, en hoe die boek as unieke medium funksioneer, word bespreek en ontleed. Die sisteme van betekenis vervat in die visuele narratief betrokke in die boekmedium, word beskou teen die lig van 'n semiotiese ondersoek na die interaksies van die basismiddele beeld en teks. Hierdie navorsing steun die belangrikheid van semiotiek as hulpmiddel in die interpretasie van enige stuk kommunikasie, maar veral in die stripmedium en die kunstenaarsboek. Die studie maak veral gebruik van die teorieë van Charles Peirce, Ferdinand de Saussure, Roman Jakobson, Maurice Merleau-Ponty en Umberto Eco. Die toepassing van bogenoemde teorieë in hierdie studie, lei tot 'n aanduiding van die kompleksiteite vervat in die spesiale "visuele taal" van veral die komiekstrip en die kunstenaarsboek.
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Hatfield, Katherine L. "A culture of terror rises out of the dust : a rhetorical analysis of iconic imagery in the aftermath of 9/11 /." View abstract, 2006. http://wwwlib.umi.com/dissertations/fullcit/3203332.
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Smith, Karen Mary. "In momentum : the navigation, narration, and negotiation of continuing professional development by mid-career artists in south west England." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/305.
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This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.
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Garin, Boronat Manuel. "El gag visual y la imagen en movimiento. Del cine mudo a la pantalla jugable." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/83522.
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Esta tesis estudia el gag visual en tanto que imagen en movimiento, analizando sus
formas, modelos y funciones esenciales. Se parte de una serie de ejemplos clave del
cine mudo y el slapstick para rastrear su evolución a lo largo de la historia del cine y
sus prolongaciones en medios audiovisuales como la televisión y el videojuego. El
estudio se centra en las tres grandes dimensiones de construcción formal del gag,
tiempo, espacio y movimiento; ligando esos tres registros formales a tres funciones
límite: narración, juego y sentido. La investigación confirma el papel del gag como
una de las formas de resistencia visual más poderosas de la cultura contemporánea,
que cuestiona valores narrativos y simbólicos a través de la posibilidad cómica.This thesis studies the visual gag as moving image, analyzing its essential patterns, forms and functions. A series of key silent film and slapstick examples are located in order to examine their evolution throughout film history and their extensions in other media like television and video games. The research focuses on three main dimensions of the gag’s formal construction, time, space and movement; three formal scopes that lead to three functional limits: narration, gameplay and sense. The thesis confirms the essential role of the gag as one of the most powerful forms of visual resistance in contemporary culture, that questions narrative and symbolic values through comic possibilities.
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Nordqvist, Filip, and Erik Sahlbom. "Visual Narrative Game Design : Ett narrativ utan konversation." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16516.
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Vi undersöker den narrativa stilen som Flower och Journey använder sig av. I denna narrativastil finns det varken dialog och text. Utifrån Flower och Journey skapade vi en designmetodsom ska finnas till som inspiration för utvecklare som vill testa denna stilen. Resultatet avundersökningen ger upphov till en designmetod som vi applicerar på vår gestaltning för atttesta den i en annan spel genre. Mycket av metoden är fokuserad på hur Flower och Journeygör då vi bara undersöker de två spelen. Vi skulle vilja göra en mer generell undersökning dåvi undersöker mer spel som också har ett narrativ utan dialog och text.We study the narrative style that Flower and Journey uses. In this narrative style, there is nodialogue and text. Based on Flower and Journey, we created a design method that will be aninspiration for developers who want to test this style. The result of this bachelor thesis givesrise to a design method that we apply to our game idea this applies the method to anothergame genre. Much of the method is very focused on what Flower and Journey do when weonly examine these two games. We would like to do a more general study when we examinemore games that also have a narrative without dialogue and text.
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Delagrange, Susan Heckman. "Technologies of wonder (re)mediating rhetorical practice /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132693298.
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Macfarlane, Karen E. "The politics of self-narration : contemporary Canadian women writers, feminist theory and metafictional strategies." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/NQ44504.pdf.
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Poole, Kevin Ray. "Visualizing apocalypse image and narration in the tenth-century Gerona Beatus Commentary on the apocalypse /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1153502367.
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Lechenaut, Emilie. "Le manga : un dispositif communicationnel : perception et interactivité." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30055/document.
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Le terme manga a été utilisé pour la première fois en 1814 par le peintre Katsushika Hokusai pour désigner ses travaux. Littéralement ce terme signifie « esquisse rapide » ou encore « image dérisoire ». En France le mot manga a perdu cette signification et désigne la bande dessinée japonaise au même titre que l’on nomme comics la bande dessinée américaine. La bande dessinée japonaise est, en termes quantitatifs, le premier marché du monde dans ce secteur. Beaucoup plus diversifié dans les sujets abordés que ne le donnent à penser les dessins animés diffusés sur le petit écran en France, le manga a longtemps été un genre peu connu des « bédéphiles » européens. Aujourd’hui, le manga connaît un fort essor en France et tend à s’imposer comme produit et phénomène culturel, pour toute une génération qui a grandi avec son arrivée sur les postes de télévision. Dans ce travail de thèse, il s’agit de comprendre le manga en tant que dispositif communicationnel. En raison de ses spécificités graphiques et narratives nous pouvons appréhender un procédé visuel-narratif qui lui est propre. Celui-ci modifie le rapport iconique/linguistique, construit un nouveau mode de lecture et joue sur les perceptions. Il génère un jeu tensif entre ce que le lecteur-spectateur regarde et ce qu’il voit. Le manga diffuse dans notre société un univers graphique, mais aussi et surtout, une technique de la narration visuelle qui peut se passer de texte. L’image est à la fois vue et lue. Dans le manga, lire l’image c’est lire le texte ou pour le dire autrement, il y a du texte-image, de l’image-texte. Elle est en elle-même un dialogue qui agit sur les sensations et les perceptions. Au travers de ses représentations, le manga montre une image de sa culture. Il diffuse par ses personnages des normes et des valeurs ainsi qu’un imaginaire pouvant « influencer » son lectorat et générer de nouvelles pratiques sociales. Par ses spécificités l’image manga devient mouvante. Elle inclut le lecteur-spectateur : celui-ci a la possibilité de naviguer, d’errer dans l’image. Notre travail de recherche porte sur l’analyse des procédés « visuels-narratifs » du manga qui génèrent un nouveau rapport à l’image et un jeu d’interactions entre l’image et son « lecteur-spectateur », ainsi que sur le processus de transmission des messages dans le mangaThe manga term was used for the first time in 1814 by the painter Katsushika Hokusai to indicate his works. This term literally means “fast rough sketch” or “derisive image”. In France the original meaning of the manga word has been lost and it is now employed to indicate the Japanese comic strip in the same way as we name comics the American comic strip. The Japanese comic strip is, in quantitative terms, the first market of the world in this sector. The topics covered in the written manga are much more diverse than the “cartoon-manga” broadcasted on tv in France. Not so long ago, the manga was a little-known genre by the European comic readers, the “bédéphiles”. Nowadays, the manga is a growing genre in France and it tends to develop and become a cultural product and phenomenon, for all a generation who grew up with the first manga on tv. This thesis explores the manga culture and analyzes it as a primary device in a whole communication system. Its graphic and narrative aspects reveal a particular visual-narrative process, specific to the manga. It modifies the image and language combination, it builds a new reading mode and plays with perceptions. It generates a stretching game between what the reader-spectator looks at and what he sees. The manga spreads in our society a graphic universe but most of all, a specific visual storytelling technique that replaces narration words. At the same time, the image is seen and read. In the manga, to read the image it is to read the text. In other words, the picture is narrative and the narration is pictured. There is a text-image, an image-text. The image is in itself a dialogue which acts on the sensations and the perceptions. In its depiction, the manga reflects its culture. It spreads characters, norms, values and an imagination which can “influences” his readership and generates new social practices. By its specificities the manga image is unstable and moving. It involves the reader-spectator: this one has the possibility of navigating, of roving in the image. This research work analyzes the manga “visual-narrative” interactive processes which generates a new relationship to the image and creates a playful interaction between the image and its “reader-spectator”, and it becomes a narrative process to transmit messages in it
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Peixe, Rita Inês Petrykowski. "Imagens que (re) constroem história : alegoria e narratividade visual da guerra sertaneja do contestado." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/139418.
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Esta tese tem como foco de estudo as narrativas visuais sobre a Guerra Sertaneja do Contestado (Brasil 1912-1916). Trata-se de um importante fato para História do estado de Santa Catarina e para o Brasil, o qual é apresentado através de imagens por diversos artistas. O objeto de pesquisa constituiuse a partir do levantamento da produção visual sobre esta temática. Buscou-se problematizar como imagens artísticas que tematizam a Guerra Sertaneja do Contestado controem esse acontecimento histórico através de suas narratividades e alegorias visuais e que significados desse acontecimento elas produzem. O referencial teórico abarca autores do ensino da arte, da cultura visual e da História Cultural para refletir, a partir das imagens presentes no corpus documental sobre a Guerra Sertaneja do Contestado, de que maneira elas (re) constroem alegórica e narrativamente esse fato. A metodologia envolveu contato com artistas e instituições responsáveis pela guarda das obras. Foram obtidos dados biográficos e recolhido o material imagético (fotográfica/digitalmente) sendo compilado e organizado para estudo das possibilidades reflexivas oferecidas pelas imagens, considerando ainda as referências para sua produção (livros ou imagens que as originaram), bem como os seus processos artísticos. O levantamento resultou em doze artistas e um número superior a mil obras (de 1912 a 2011), possibilitando informações importantes sobre sua trajetória, bem como a organização de um significativo acervo que tem como tema a Guerra Sertaneja do Contestado A análise desta ampla e variada produção artística enfocou os seguintes assuntos narrativos: Aspectos gerais (região do Contestado, paisagem e ambientes); Personagens (e suas ligações com o conflito); Contexto da Guerra: organização e Ações militares contra os redutos e Desfecho do episódio. Os resultados apontam que a reiterada veiculação de imagens nos materiais que tratam sobre o acontecimento apresenta disparidades, principalmente quanto à sua utilização, meramente como recurso editorial ou para aludir ao fato, sem preocupação reflexiva. Concluiu-se que utilizando variadas referências imagéticas, linguagens, estilos e processos criativos, os artistas construíram diferentes efeitos de sentido, possibilitando a reconstrução da História da Guerra Sertaneja do Contestado sob distintas formas alegóricas e narrativas.This thesis focuses on the study of visual narratives about the Guerra Sertaneja do Contestado (Brazil 1912-1916) (the backcountry war in the area of Contestado), an important historical event for the constitution of the state of Santa Catarina and for the Brazil This episode was the subject matter for many artists. Hence the need for a survey of the visual production about this theme. What the visual narratives tell about the Contestado War, how they “show” it, and which meanings they construct are the main questions faced in this research. Its theoretical framework includes authors from the art studies, visual culture and cultural history, with the aim to think about how the images that are part of the documental body on this war (re)construct this fact. All the biographical information and the images (photographs taken on the field and/or acquired through the Web) were obtained through a close exchange with the artists and the institutions responsible for their art works’ preservation. They were then compiled and organized for the study of the reflective possibilities offered by the images themselves, taking in account the possible references for its production (books and/or other images), and for the analysis of its own processes. This survey resulted in a group of twelve artists and in a body of works of more than a thousand items (1912 to 2011), a veritable art collection on the theme of the Contestado War. The analysis of this ample and variegated art production focused on the following themes: General Aspects (the Contestado area, landscape and natural and social environment); Main Characters (and their role in the conflict); War Context: The Organization And The Military Actions Against The Strongholds; and Outcome of the Episode The results show that the diffusion of the images about the war, in the books that treat the theme, shows disparities, especially when they are used as a simple layout resource/editorial expedient or as a vague allusion to the episode without any reflective concern. The analysis of the art processes has made possible many interesting inferences and reflections. With the support of numerous images, the research concluded that the artists’ different idioms, styles and creative processes constructed different effects and meanings, making possible the reconstruction of the Contestado War under different allegorical and narrative forms.
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Conway, Elisha. "Rejecting the Page, Inciting Visuality: Staging 'Woyzeck' in a Mediatized Culture." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23645.
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The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual.
Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration.
This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.
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Karl, Mičkei. "Prostor u videoigrama kao novi oblik scenske arhitekture." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2019. https://www.cris.uns.ac.rs/record.jsf?recordId=110167&source=NDLTD&language=en.
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Ovaj rad ima za cilj da ispita prisutnost i značaj videoigara ukontekstu scenske arhitekture i da ukaže na rastući značaj jedne mladediscipline, a to je kreiranje prostora u videoigrama. Teorijski inaučno-istraživački deo rada ukazuju, svaki na svoj način, na većpostojeće i nove moguće oblike primene koncepata prostora i vizuelnihpercepcija iz oblasti arhitekture i urbanizma u oblasti kreiranjavideoigara. Od Vitruvijevog trojnog načela, preko trojnog načelaključnih odrednica videoigara i problematike prostornih situacija,do uloge i položaja korisnika/igrača u kontekstu sadejstva sa datimprostorom, u radu je predočen niz načina na koje elementiarhitektonskog teorijskog nasleđa, pre svega elementi i principiscenske arhitekture, mogu biti implementirani u proces kreiranjaprostora u videoigrama.The goal of this thesis is to examine the presence and significance ofvideogames in the context of scene architecture and to indicate a growingimportance of a young field – level design in videogames. Theoretical andscientific research portions of the paper point, each in their own manner, toexisting as well as new modes of applying concepts of space and visualperception from the domain of architecture and urbanism in the field ofvideogame design. This paper offers a significant number of methods ofimplementing aspects of architectural theory heritage, primarily elements andprinciples of scene architecture, in the process of designing space invideogames - starting with Vitruvius’s triple principle, followed by the tripleprinciple of key features of videogames and the issue of spatial situations, tothe role and position of user/player in the context of cooperation with a givenspace.
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Machado, Ludmila Ayres. "Design e narrativa visual na linguagem cinematográfica." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-26032010-142901/.
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A dissertação Design e narrativa visual na linguagem cinematográfica localiza as origens do cinema e do design no contexto do projeto da modernidade e busca entender o papel que o artista moderno deve desempenhar neste fluxo de transformações e ambiguidades que teve início no século XIX. Assim, procura traçar como as novas formas de representação, consumo e entretenimento convergiram para o discurso visual da linguagem cinematográfica. Faz algumas considerações a respeito de recursos técnicos do cinema, a fim de tornar mais clara a discussão sobre narrativa visual. No texto dedicado às origens do design, localiza a fundação da Bauhaus no contexto da redefinição do papel do pensamento artístico e do artesanato em face da produção mecânica seriada. Propõe a Bauhaus como ponto de convergência da formulação teórica, da aplicação prática e do ato criativo que levariam ao desenvolvimento do design no século XX. Explicita a mudança da idéia de desenho como meio gráfico pelo qual se abstrai a forma, para desenho no sentido ativo de projeto: intuição de relações construtivas ou espaciais dentro da matéria. A partir deste estudo, realiza uma investigação dos aspectos imagéticos e projetuais nas concepções fílmicas do production designer Alex McDowell, assim como a descrição e a análise de quatro filmes desenhados por ele: Invasão de Domicílio, O Terminal, Minority Report e A Fantástica Fábrica de Chocolate. A apresentação desses filmes não segue uma ordem cronológica, sendo, sim, orientada por critérios estéticos e narrativos. A linha traçada parte da representação da realidade contemporânea de Invasão de Domicílio; passa pela experiência de O Terminal no qual parte de um aeroporto foi construída em estúdio ; é quebrada pela ficção científica Minority Report; até chegar ao cinema de fantasia de A Fantástica Fábrica de Chocolate.This thesis, Design narrative and visual language in film locates the origins of cinema and design in the project of modernity trying to understand the role that the modern artist should play in this world of change and ambiguity that has beginning in the nineteenth century. The intent is to discover how new forms of representation, consumption and entertainment converged to the discourse of visual language film. The work makes some considerations about the technical resources of the cinema in order to clarify the discussion of visual narrative. In the text about the origins of the design, mentions the foundation of the Bauhaus in the context of redefining the role of artistic thought and craft in the face of mechanical serial production. The thesis proposes the Bauhaus as a point of convergence of the theoretical formulation, the implementation and practice and the creative act that would lead to the development of design in the twentieth century. Explains the change of the idea of the pictures as a graphic related to the abstract form, in order to the idea of a picture as an active project: intuition of constructive relations or space in the object. It is made an investigation of the image and design aspects in the process of filming of the production designer Alex McDowell. Four movies he designed have also been analyzed: Breaking and Entering, The Terminal, Minority Report and Charlie and the Chocolate Factory. These movies are not mentioned following a chronological order; the criteria was narrative and aesthetic. A line of the analysis of these selected movies begin at the representation of contemporary reality of Breaking and Entering; then goes to the experience of The Terminal in which part of an airport was built in the studio ; and is broken by the science fiction of Minority Report. Finally it ends with the fantasy movie of Charlie and the Chocolate Factory.
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Ferreira, Luiz Carlos Pinheiro. "Mo(vi)mentos autobiográficos: historiando fragmentos narrativos de experiências de vida docente e discente em artes visuais." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5091.
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This doctoral research, with emphasis on autobiographical narrative, presents issues focusing on mo(ve)ments seen from the rearview mirror of life. This retro(re)located archaeological view situates images, memories and fragments of my life history, leading me to a (re)visitation of school time, processes of teacher training and teaching practice in the field of Visual Arts. The study articulates and includes analysis related to the processes of life narrative and teacher training of student’s collaborators earning the Teacher Education Degree in Visual Arts at the University of Brasilia. The research analyses pedagogical episodes lived in the classroom, reflecting on the temporality of biographical experience and existence to think the place of narrative in the context of connections between the know-how as a possibility for transformation and self-transformation of the subjects involved. The narrative fragments of the history of life give the research epistemological coherence consolidating interest in autobiographical approach as research perspective and as a practical training, enabling a (re)construction of archaeological subject. Self-reflexive references and biographical reflexivity are used as theoretical allowance to (re)position historical consciousness about learning and lived experiences throughout life. This route took me to design a methodological tripod based in teaching episodes, in interviews and focal groups as orientation to analyze the data produced in the field of research which showed the self narrative as a way that projects a subject involved in passages, territory of sensibilities configured through marks, affections and traces resulting from lived experiences, that is, a subject under training who learns not only through pedagogical practice but also giving place to whatever comes, and yet, learning to be a place, a port and a space for happenings and mo(ve)ments of life as a necessary way to knowledge and self narrative.
Este estudio de doctorado, de carácter autobiográfico con énfasis en la narrativa de sí, presenta cuestiones que parten de “momentos con movimiento” al mirar por el espejo retrovisor de la vida. Esa retro(re)visión arqueológica evoca imágenes, memorias y fragmentos de mi historia de vida, llevándome a una (re)visitación de los tiempos de colegio, formación y actuación docente en el campo de las Artes Visuales. El estudio articula y contempla análisis relacionados al proceso de la narrativa de vida y formación discente/docente de alumnos colaboradores del curso de Licenciatura en Artes Visuales de la Universidad de Brasilia. La investigación analiza, también, episodios pedagógicos vividos en el salón de clases, con el objetivo de reflexionar sobre la temporalidad biográfica de la experiencia y de la existencia para pensar el lugar de la narrativa en el contexto de la conexión entre el saber-hacer como posibilidad de transformación y auto transformación de los sujetos involucrados. Los fragmentos narrativos derivados de la historia de vida proporciona a la investigación la coherencia epistemológica que consolidó el interés en el enfoque autobiográfico como perspectiva investigativa y como práctica de formación, permitiendo una posible (re)construcción arqueológica del sujeto. El referencial auto-reflexivo y la reflexividad biográfica son utilizados como subsidio teórico para (re)posicionar la consciencia histórica sobre aprendizajes y vivencias experimentados a lo largo de la vida. Tal camino me ha llevado a la concepción de un trípode metodológico pautado en los episodios pedagógicos, entrevistas y realización de grupos focales como una guía para analizar los datos producidos en el campo de la investigación, que evidenciaron la narrativa de sí como camino que vislumbra un sujeto permeado por transiciones, territorio de sensibilidades, configurado por marcas, afectos y vestigios consecuentes de las experiencias vividas, o sea, un sujeto en formación que aprendió por la práctica pedagógica no soló a dar lugar a aquello que llega, pero también, a ser lugar, puerto y espacio de los acontecimientos y movimientos de la vida como apertura esencial para el conocimiento y la narrativa de sí.
Esta pesquisa de doutorado, de caráter autobiográfico com ênfase na narrativa de si, apresenta questões que partem de mo(vi)mentos ao olhar pelo espelho retrovisor da vida. Essa retro(re)visão arqueológica situa imagens, memórias e fragmentos da minha história de vida, levando-me a uma (re)visitação dos tempos de escolarização, formação e atuação docente no campo das Artes Visuais. O estudo articula e contempla análises relacionadas ao processo da narrativa de vida e de formação discente/docente de alunos colaboradores do curso de Licenciatura em Artes Visuais da Universidade de Brasília. A pesquisa analisa, também, episódios pedagógicos vivenciados em sala de aula, com o objetivo de refletir sobre a temporalidade biográfica da experiência e da existência para pensar o lugar da narrativa no contexto de conexões entre o saber-fazer como possibilidade de transformação e autotransformação dos sujeitos envolvidos. Os fragmentos narrativos derivados da história de vida, conferem à investigação coerência epistemológica que consolida o interesse na abordagem autobiográfica como perspectiva de pesquisa e como prática de formação, possibilitando uma (re)construção arqueológica do sujeito. O referencial autorreflexivo e a reflexividade biográfica são utilizados como subsídio teórico para (re)posicionar a consciência histórica acerca das aprendizagens e vivências experienciadas ao longo da vida. Tal percurso levou-me à concepção de um tripé metodológico pautado nos episódios pedagógicos, nas entrevistas e na realização de grupos focais como orientação para analisar os dados produzidos na pesquisa de campo que evidenciaram a narrativa de si como caminho que vislumbra um sujeito permeado de passagens, território de sensibilidades, configurado por marcas, afetos e vestígios decorrentes das experiências vividas, ou seja, um sujeito em formação que aprende pela prática pedagógica não apenas a dar lugar àquilo que chega, mas, também, a ser lugar, porto e espaço de acontecimentos e mo(vi)mentos da vida como abertura necessária para o conhecimento e a narrativa de si.
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Ortega, Chávez Sergio Leonardo. "Los elementos gráficos de las producciones cinematográficas y su influencia en la construcción de la narrativa visual del retrofuturismo." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/651609.
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La investigación tiene como objetivo examinar la relación entre los elementos gráficos usados en las producciones cinematográficas retrofuturistas pertenecientes a la plataforma de streaming de Netflix y el desarrollo de su estructura narrativa con la finalidad de hallar si estos elementos elaborados a través del diseño gráfico son determinantes para el desarrollo narrativo de una producción cinematográfica considerando factores relacionados a la experiencia cinematográfica.
Se estudiaron, a través del análisis documental y de contenido por medio de la observación científica, los elementos gráficos de cuatro capítulos con estética retrofuturista de las series Black mirror (2011) y Maniac (2018), pertenecientes a la plataforma de streaming Netflix. Para lo cual se realizó una clasificación de los mencionados elementos gráficos según su rol y el área del diseño gráfico a la que se adjuntan, obteniendo información detallada de los mismos.
A lo largo de la investigación se encontraron 198 elementos propios del diseño gráfico a través de los cuatro capítulos analizados. Los anteriores dependiendo de su uso comunicaban distintas partes de la narrativa, resaltan distintas escenas donde los elementos gráficos definían la trama. Además, se puede afirmar que un elemento gráfico es capaz de revelar distintos estados emocionales del personaje o cambios de contextuales del mundo ficticio en el cual la narrativa tiene lugar.
Se concluye a través de esta investigación que el diseño gráfico a través de los elementos gráficos posee una influencia resaltante en la narrativa visual cinematográfica, sobretodo en el género retrofuturista y en la construcción de su estética.The objective of this research is examining the relationship between the graphic elements used in the retrofuturistic cinematographic production to Netflix streaming platform and in the development of its structural narrative, in order to find if the graphic elements crafted through graphic design are key for the narrative development of a cinematographic production considering factors related to the cinematographic experience. Through a documentary analysis and by means of scientific observation graphic elements from four chapters with retrofuturistic aesthetics from Black Mirror series (2015) and the Maniac series (2018), both belonging to the Netflix streaming platform were studied. For this task a classification of the mentioned graphic elements was conducted, each according to its role and the graphic design area in which they connect, thus obtaining detailed information on those. Throughout the research, a total of 198 elements belonging to graphic design were found among the four chapters analysed. The previous ones, depending on their use, expressed distinct parts of the narrative, some scenes that included graphic elements that defined key parts of the narrative stand out. Furthermore, one can affirm that a graphic design element is capable of revealing emotional states of a character or also show contextual changes in the world where the narrative takes place. One then reaches the conclusion that by means of researching the various graphic design elements these possess a striking influence on the visual cinematographic narrative, especially in the retrofuturistic genre and in the construction of its aesthetic.
Trabajo de investigación
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Mestre, Célia Patrícia Teixeira. "Relatório da prática de ensino supervisionada em ensino de artes visuais no 3º ciclo e ensino secundário realizado nas escolas: ES3 Diogo de Gouveia e agrupamento EBI Mário Beirão, ambas em Beja: a narrativa visual e a representação interpretativa: o contributo das novas tendências da ilustração para o pensamento crítico nos adolescentes." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/14884.
Full textAbstract:
Propor ao aluno formas de valorização do pensamento crítico em
relação a si e ao que o rodeia foi um dos referenciais para a
Prática de Ensino Supervisionada descrita neste documento.
Ao longo deste relato de experiência pedagógica, a tónica
manteve-se nas competências relativas à capacidade do aluno
para definir planos de trabalho com vista à solução dos
enunciados propostos. Os alunos foram motivados para o
desenvolvimento de competências que lhes permitiram delinear
previamente objectivos a atingir, desenvolver mecanismos de
autonomia na resolução de problemas, equacionar soluções e
avaliar processos e resultados.
Para as práticas pedagógicas aqui descritas propôs-se preparar o
aluno para a criação de metodologias de trabalho - individual e de
grupo – fomentando a sua autonomia e segurança para que as
possa reproduzir e aplicar noutras aprendizagens e desempenhos; ABSTRACT:Propose ways of valuing the student's critical thinking about
themselves and what surrounds them was one of the benchmarks
for the Supervised Teaching Practice described in this document.
Throughout this report of teaching experience, the focus remained
on the skills and the ability to define work plans that seek for
solutions for assigned tasks. Students were encouraged to develop
skills that allowed them to draw objectives in advance, to develop
mechanisms of autonomy in solving problems, to consider
solutions and evaluate processes and outcomes.
The pedagogical practices described herein were meant to prepare
the students for the establishment of working methods - individual
and group - encouraging their independence and self-assurance so
they apply them in other learning and accomplishments.
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Silva, Nara Amelia Melo da. "SOBRE UM CÉU FEITO DE ABISMO: NARRATIVAS EM POÉTICAS VISUAIS." Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/5184.
Full textAbstract:
This research is founded in my plastic production and investigates in theoretical and practical way the narrative from the series that relate image and text in configurations that explore the visual and textual meanings of a book's page. For this research, in a
first moment, I begin with a theoretical approach that involves visual arts and literature, creating a midfield that in visual arts relates image and text. In a second
moment, I relate methodological aspects of my creative process with researches of others artists, and I call attention to the equivalence of meanings in my plastic
research with the means of action of knowledge s areas involved in this researches.Esta pesquisa está fundada na minha produção plástica e investiga nos âmbitos teórico e prático a narrativa a partir das séries que relacionam imagem e texto em configurações que exploram a visualidade e a literalidade da página de livro. Para este estudo, em um primeiro momento, parto de uma abordagem teórica dos conceitos que envolvem artes visuais e literatura para a criação de um campo intermediário que relaciona imagem e texto no âmbito das artes visuais. Em segundo momento, relaciono aspectos metodológicos do meu processo de criação com pesquisas de outros artistas, e aponto correspondências dos meios de significação do meu trabalho com os meios de atuação das áreas de conhecimento envolvidas nesta pesquisa.
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Machado, Fábio Purper. "VideoHQescultura: uma poética narrativa." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8091.
Full textAbstract:
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
These are the processes of an artist researcher who discusses his poetic and traces its dialogues with operational concepts from different origins. The artistic work that is covered here consists of a series of creations of my own, which I call videocomicsculptures, and are defined as narratives in movement between the artistic fields of sculpture, comics and video. I choose to focus this research on the ones that result in videos, and that come to be permeated by issues from the fields of film, photography and animation. Relations between the senses of touch and vision that are experienced with the videocomicsculptures dialogue with the “Tactile Vision Theory” (José Val Del Omar) and with the concept of “image-time” (Gilles Deleuze), which contributes to this work with the notion of a cinema that proposes blocks of sensation with the materiality of filmed objects. There is a dialog with the “sculpture effect” (Régis Durand, Phillipe Dubois), by valuing tridimensionalities in the flat support of the video, and with the notions of “transmedia narrative” (Henry Jenkins, Edgar Franco) and “expanded comics” (Gazy Andraus), among other concepts that involve the plurality of means of telling stories. Relations between image and writing that are present in the videocomicsculptures are also addressed, as well as issues in common with poetics of other artists within these areas and especially in movement between them. Moreover, the tergiversative feature present in the textual portion of several of the works that compose the body of this research is taken as the guiding thread for the establishment of a fictional universe, here baptized “Fictional Tergiverse”. Some parameters and benchmarks are then developed for an initial exploration of an artistic field that is made of movements and boundary works between these chosen artistic fields.
Estos son los procesos de un artista investigador que discute su poética y traza diálogos de ésta con conceptos operativos de diferentes orígenes. El trabajo artístico aquí abordado consiste en una serie de creaciones de mi autoría, que llamo videotebeosculturas, y defino como narrativas en movimiento entre los campos artísticos de la escultura, del tebeo y del video. Selecciono como foco de la investigación aquí desarrollada aquellas que resultan en videos, y que vienen a ser permeadas por cuestiones oriundas de los campos del cine, de la fotografía y de la animación. Las relaciones entre los sentidos del tacto y de la visión experimentadas con la videotebeoscultura dialogan con la “Teoría de la Visión Táctil” (José Val Del Omar) y con el concepto de “imagen-tiempo” (Gilles Deleuze), que contribuye a este trabajo con la noción de un cine que propone bloques de sensación con la materialidad de los objetos filmados. Dialogo con el “efecto escultura” (Régis Durand, Phillipe Dubois), al valorar tridimensionalidades en el soporte plano del vídeo, y con las nociones de “narrativa transmidia” (Henry Jenkins, Edgar Franco) y “tebeo expandido” (Gazy Andraus), entre otros conceptos involucrando la pluralidad de medios de contar historias. También abordo las relaciones entre la imagen y la escritura presentes en las videotebeosculturas, así como cuestiones en común con poéticas de otros artistas dentro de esas áreas y principalmente en movimiento entre ellas. Además, la característica tergiversativa presente en la porción textual de varios de los trabajos que componen el cuerpo de esta investigación es tomada como hilo conductor para el establecimiento de un universo ficcional, aquí bautizado “Tergiverso Ficcional”. Se desarrollan algunos parámetros y referenciales para una exploración inicial de un campo artístico que se hace de movimientos y de haceres limítrofes entre los campos artísticos escogidos.
Estes são os processos de um artista pesquisador que discute sua poética e traça diálogos desta com conceitos operacionais de diferentes origens. O trabalho artístico aqui abordado consiste numa série de criações de minha autoria, que chamo videoHQesculturas, e defino como narrativas em movimento entre os campos artísticos da escultura, da história em quadrinhos (HQ) e do vídeo. Escolho como foco da investigação aqui desenvolvida aquelas que resultam em vídeos, e que vêm a ser permeadas por questões oriundas dos campos do cinema, da fotografia e da animação. Relações entre os sentidos do tato e da visão experimentadas com a VHQE dialogam com a “Teoria da Visão Táctil” (José Val Del Omar) e com o conceito de “imagem-tempo” (Gilles Deleuze), que contribui para este trabalho com sua noção de um cinema que propõe blocos de sensação com a materialidade dos objetos filmados. Dialogo com o “efeito escultura” (Régis Durand, Phillipe Dubois), ao valorizar tridimensionalidades no suporte plano do vídeo, e com as noções de “narrativa transmídia” (Henry Jenkins, Edgar Franco) e “HQ expandida” (Gazy Andraus), entre outros conceitos envolvendo a pluralidade de meios de se contar histórias. Relações entre imagem e escrita presentes nas videoHQesculturas são também abordadas, assim como questões em comum com poéticas de outros artistas dentro dessas áreas e principalmente em movimento entre elas. Além disso, a característica tergiversativa presente na porção textual de vários dos trabalhos que compõem o corpo desta pesquisa é tomada como fio condutor para o estabelecimento de um universo ficcional, aqui batizado “Tergiverso Ficcional”. São então desenvolvidos alguns parâmetros e referenciais para uma exploração inicial de um campo artístico que se faz de movimentos e de fazeres limítrofes entre os campos artísticos escolhidos.
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Lenz, Henry. "NARRATIVE IN LIVE VISUAL PERFORMANCE." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3996.
Full textAbstract:
For purposes of this thesis, live visual performance is defined as the accompaniment of music using projected or televised visual stimuli to achieve a supplemental interpretation of the music to tell its 'story' in a visual way. In my research I have found that, while complex narrative in a song can be conveyed through various means, the attention span of those listening and watching in a club setting is not conducive for patrons to sit down and engage in watching the visuals for a protracted period of time. Most patrons are dancing and socializing and do not choose to watch the video to derive complex meaning or context. My research has shown that, while introducing complex visual storylines may be the ultimate goal for a live visual performance in a studio or orchestral setting, the best way to convey an artist s message in a club environment is through the use of repetitive symbols and visuals that move according to the beats of the music, light up the darkened atmosphere, and/or create a social metronome. This thesis presents the process by which the visual symbols were created and then chosen for specific, targeted performances and discusses the results of patron surveys that assess their initial responses to the accompanying live visual performance.M.F.A.
School of Film and Digital Media
Arts and Humanities
Film and Digital Media MFA
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Vallejos, Omar. "GameLab: Conceptualización y narrativa visual." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623722.
Full textAbstract:
Exposición en el marco de la "Primera exposición GameLab" de desarrollo de videojuegos, llevado a cabo el 05 de Mayo en la Universidad Peruana de Ciencias Aplicadas (UPC), el Campus Monterrico. Lima, Peru.
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Gamino, Alvarado Bárbara. "Imaginarios de un grupo de extranjeros mexicanos en Barcelona a partir de narrativas visuales." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/665705.
Full textAbstract:
Bajo el paraguas del enfoque construccionista, he buscado tanto comprender los tránsitos que devienen de la provocación del imaginario en una acción social, aunados a la carga simbólica de las representaciones culturales que tenemos asumidas en nuestras historias de vida. Ampliar el conocimiento sobre la construcción de identidad con esta experiencia de movilidad a otra geografía.
Un taller de fotografía fue el enlace con los colaboradores para utilizar la tecnología (cámara fotográfica) como herramienta para mostrar su subjetividad, junto con este ejercicio de narrativa visual y su narrativa escrita, para obtener datos que se complementaran usando los dos métodos.
El primer capítulo es un viaje a través de la comprensión: la imagen dentro de la investigación, la imagen mental, la influencia de la imagen tecnológica como productora de imaginarios colectivos, la imagen como representación cultural, la imagen como lenguaje y herramienta en educación. El capítulo dos se refiere a lo imaginario, una ontología desde la Escuela de Grenoble, partiendo de Gilbert Durand, además de otros autores tales como Wunenburger, Huizinga, Bachelard, Castoriadis, por mencionar los fundamentales en mi trabajo. En la historia de la humanidad se vislumbra cómo se responde respecto a lo imaginario en cada época de la historia y su función en la producción de símbolos culturales, integración social, instituciones imaginarias. Capítulo tres la identidad, es un recorrido por las diversas influencias en la identidad a nivel personal, cultural, el yo y el influjo de los medios tecnológicos, el Yo saturado de Gergen, las diversas representaciones que confluyen en los colectivos, o poblaciones, para configurarla. Desde varias miradas, se buscó entender cómo las experiencias, los contextos, la historia personal, las representaciones culturales, los sueños, el pasado, las imágenes construidas son parte de las capas que constituyen las diversas identidades, así como colocar en el tejido cultural el panorama de las influencias históricas sincréticas a raíz de la colonización, su influencia en el carácter cultural, la Revolución mexicana, la actualidad de la identidad o mexicanidad, construyéndose a
raíz de los legados prehispánicos, la hibridación cultural, los imaginarios de la llamada raza cósmica, para dar lugar a la sociedad actual.
La segunda parte corresponde a la metodología, a la aplicación de los métodos narrativa visual y narrativa textual, a partir de pequeñas historias o small stories, un trabajo de campo realizado en una asociación donde, desde mi mirada fotográfica, capté los imaginarios colectivos de las representaciones culturales de coetáneos y, a partir de mi narrativa, expuse la información de la lectura desde mi mirada de investigadora, para obtener los datos que complementaran las lecturas que tendría del análisis de datos de mis colaboradores. Impartí un taller de fotografía en la asociación, donde obtuve la cooperación de algunos participantes del taller, que me otorgaron su tiempo y su confianza para compartirme experiencias escritas y visuales de su proceso personal de movilidad de su Estado en México hacia la ciudad de Barcelona.
La tercera parte, el Análisis de Datos, fue el cruce de métodos de análisis para crear conocimiento sobre los procesos imaginarios que mueven a una persona a transitar a otro país. El método de análisis holístico de contenido de Lieblich para entender a través del texto lo que entre líneas podría aportarme. El método de análisis de narrativas visuales para comprender el contexto y los elementos simbólicos usados e implícitos en el lenguaje fotográfico, un panorama desde su subjetividad, motivación, sentimientos, situaciones culturales, y nuevas experiencias combinadas con su identidad mexicana, narrada desde sus nuevas experiencia de vida en otra cultura.Under the umbrella of the constructionist approach, I have sought to understand the transits that come from the provocation of the imaginary in a social action, that we have assumed in our life stories. A photography workshop was the liaison for collaborators to use technology (camera) as a tool to show their subjectivity, coupled this visual narrative exercise, and their written narrative, in orden to obtain data that will be complemented using the two methods. The first chapter is a journey through understanding: the image within research, the mental image, the influence of the technological image as a producer of collective imaginaries, the image as cultural representation, the image as a language and a tool in education. The second chapter refers to the imaginary, an ontology Gilbert Durand, Wunenburger, Huizinga, Bachelard, Castoriadis, the production of cultural symbols. social integration, and imaginary institutions. The chapter three corresponds to identity, a journey through the diverse influences on personal, cultural identity, the self and the influence of technological means. The actuality of identity or “Mexicanness”, built as a result of pre-Hispanic legacies, cultural hybridization, the imaginaries to give place to today's society. The second part corresponds to the methodology, the use of methods such as, visual narrative and textual narrative, from small stories to carry out a field work in an association in Barcelona, and to obtain the data that complements the readings of the analysis of my collaborators’ data. The third part of data analysis was the crossing of methods of analysis Lieblich's holistic content analysis method, was applied to understand through the text what between lines could provide information of their imaginary and the hybrid construction of their identity. The method of analysis of visual narratives was used to understand the context, its imaginary construction, and the symbolic elements used for this photographic language, showing its panorama from its subjectivity motivations, feelings, cultural situations, to their new experiences combined with his Mexican identity, altogether narrated through his contributions and their new experience of life in a different culture.
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Silva, Vanessa Ramos Furtado da. "Bon Appétit: Construção narrativa e visual da série hannibal." Universidade do Vale do Rio dos Sinos, 2018. http://www.repositorio.jesuita.org.br/handle/UNISINOS/7035.
Full textAbstract:
Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-07T13:11:48Z
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Este estudo tem por objetivo analisar a construção da narrativa seriada Hannibal, que traz a história do personagem já conhecido da literatura e do cinema ainda em ação – antes de ser preso. Partimos de conceitos tanto relacionados à construção de narrativa quanto à construção cinematográfica para entendermos a complexidade processual como um todo. Para tal, fomos passando por aspectos que vão desde o processo criativo com Brett Martin, questões narrativas com Mittell e de gêneros com Carroll, Wood e Todorov. Compreendendo, também, a forma do crime trocado utilizado por Hitchcock a partir de Chabrol e Rhomer e Truffaut, da qual a série se apropria, bem como pela forma sinestésica do cinema com Eisenstein, Deleuze e Aumont, até o estilo utilizado no período do expressionismo alemão, com Lotte Eisner e Kracauer, que deixou alguma herança nesse objeto. Somente após todo esse aporte pudemos dissecar e desmembrar Hannibal, identificando como se compuseram seus arcos e cenários, como funcionaram suas inspirações e propósitos. Para isso, dividimos a análise em três vias de dissecação: dos crimes aleatórios e suas construções estéticas visuais e cinematográficas; da narrativa e a análise dos arcos que culminam em um crime trocado; e a via da análise do Hannibal design, em que analisamos como a série constrói sua metodologia assassina durante os episódios, de forma desconexa e cuidadosa. Desse modo, fazendo uma analogia à própria série e sua temática investigativa, nós seguimos as evidências e pontas soltas da forma com que a obra se apresenta, de modo a descobrir quais foram os seus passos – esse é o nosso método.
This study aims to analyze the construction of the serial narrative Hannibal, which brings the story of the already known character of literature and movie still in action - before being arrested. We start from concepts related to narrative construction and to the cinematographic construction in order to understand procedural complexity as a whole. For that, we have gone through aspects ranging from the creative process with Brett Martin, narrative issues with Mittell and genres with Carroll, Wood and Todorov. Understanding also the form of the exchanged crime used by Hitchcock from Chabrol and Rhomer and Truffaut from which the series appropriates, as well as by the synesthetic form of cinema with Eisenstein, Deleuze and Aumont, to the style used in the period of German expressionism with Lotte Eisner and Kracauer that left some inheritance in this object. Only after all this contribution we were able to dissect and dismember Hannibal, identifying how his arcs and scenarios were composed, how his inspirations and purposes worked. For this, we divided the analysis into three dissecting avenues: random crimes and their aesthetic visual and cinematographic constructions; of the narrative and the analysis of the arcs that culminate in a changed crime; and the life of the analysis of Hannibal design, in which we analyze how the series constructs its killer methodology during the series, in a disconnected and careful way. In this way, by analogy with the series itself and its investigative theme, we follow the evidence and loose ends of the visceral way in which the series presents itself in order to discover its steps - this is our design.
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Manrique, Chávez Victorina María Paz. "Aproximación a los componentes visuales y construcción de personajes en el cine animado." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653198.
Full textAbstract:
La estructura visual es un elemento fundamental que un realizador tiene que tomar en cuenta al momento de construir el producto cinematográfico. En tal sentido, la estructura visual; que se conforma por componentes visuales básicos, entre los que están el espacio, la línea, la forma, el tono y el color; ha dado definitivamente personalidad y estilo a muchas películas a partir del criterio que el realizador, como Wes Anderson, maneja previamente con un estilo definido. Esta investigación analiza precisamente los componentes visuales que conforman la estructura visual con los que los personajes de "Fantastic Mr. Fox"(2009) y "Isle of Dogs"(2018) van generando una relación empática con el espectador. Para lo cual se realizó un análisis de los personajes principales de estas películas, como también de los aspectos visuales, en base a 27 frames de estos filmes, en los cuales se halló que los personajes tienen conflictos originados por sí mismos al carecer completamente del conocimiento de sus propias virtudes y defectos. De este modo, al relacionarse con su entorno, buscan la aceptación en otros personajes para sentir que alguien más los considera importantes. Asimismo, se identificó que visualmente, en la mayoría de casos, se logra reafirmar los sentimientos y las características que definen a los personajes en base a los componentes visuales que plantea Anderson.The visual structure is a fundamental element that a filmmaker has to considerate when is building the film product. In this sense, the visual structure; which consists of basic visual components, among which are the space, the line, the shape, the tone and the color; has definitely given personality and style to many films based on the director’s criteria, like Wes Anderson, previously handles with a definite style. This research analyzes precisely the visual components that make up the visual structure with which the characters of "Fantastic Mr. Fox" (2009) and "Isle of Dogs" (2018) are generating an empathetic relationship with the spectator. For this purpose, an analysis was made of the main characters of these films, as well as the visual aspects, based on 27 frames of these films, in which it was found that the characters have conflicts originated by themselves completely a lack of knowledge of their own virtues and defects. In this way, by relating to their environment, they seek acceptance from other characters to feel that they are considered important by someone else. It was also identified that visually, in most cases, one manages to reassert the feelings and characteristics that define the characters based on the visual components that Anderson poses.
Trabajo de investigación
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Cattani, Laura. "O estranho equívoco de A. Hilzendeger Feltes : a convergência de narrativas incompossíveis." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/66675.
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A presente dissertação se propõe a construir e fundamentar um modo operatório para compreender o tipo de obra poética que parte de uma fusão de linguagens na criação de uma narrativa artística, sob a forma de um site-obra (www.io.art.br). Para tanto, parte-se de um conjunto de conceitos cuja soma possibilita uma aproximação desse objeto de estudo, a realização de uma obra em poéticas visuais na forma de um site na web, estruturado em narrativas não-lineares que se interligam e ganham novas dimensões de significado, em uma construção múltipla e fragmentada. Busca-se problematizar o trabalho proposto à luz de diferentes conceitos, como narrativa, suas origens na narração oral e literária, passando para a cinematográfica, trazendo uma visão sobre os princípios da montagem na construção de narrativas mentais. São feitas aproximações com a imagem do labirinto, como forma de compreender a estruturação da navegação por múltiplos caminhos, e abordadas algumas possíveis visões sobre obras em redes telemáticas, notadamente os princípios que regem a hipertextualidade e a não-linearidade. São também abordados os conceitos de rizoma, por agenciar conexões e desdobramentos; informes moldáveis, pelo seu caráter de aglutinação de elementos em um conjunto que age e se desloca como um único ser, além de permitir sua propagação em novos agrupamentos; e torus, pelo seu potencial de dar tridimensionalidade aos deslocamentos que a rede propicia. Finalmente, analisa-se o conceito de Convergência, em especial no que tange à interatividade e inserção de propostas de web arte no contexto fora da rede. Este último mostrou-se como uma ferramenta apropriada para englobar os anteriores, e permitir uma abordagem da proposta artística desenvolvida.This dissertation aims to form the foundation and structure of an operational mode for understanding creative work that is based on a fusion of languages in creating an artistic narrative in the form of a site-work (www.io.art.br). It is therefore based on a set of concepts that together enable an approach to this object of study, the production of creative work in the form of a website, structured into non-linear narratives that are interconnected and acquire new scales of meaning in a multiple and fragmented structure. It seeks to address the proposed work in the light of different concepts, such as narrative, its origins in oral and literary narration, passing through cinematography and introducing a view of the principles of montage in the construction of mental narratives. It refers to the image of the labyrinth as a way of understanding a structure of navigation along multiple routes and considers some possible views about works in telematics networks, in particular the principles governing hypertextuality and non-linearity. It also investigates rhizome theory as an enabler of connections and developments; slime mold, through its agglutination of elements into a group that acts and moves as a single unit and also allows propagation into new groupings; and the torus, through its ability to give three-dimensionality to the movements provided by the web. Finally, it analyses the concept of Convergence, particularly in terms of interactivity and insertion of web-art proposals into a context beyond the web. This final concept is seen to be a suitable instrument for encompassing the others, and allows an approach to the developed art proposal.
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Nardi, Taís de Andrade e. Silva. "Imagens do Desvario: narrativa visual de estados alterados de percepção." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-07112017-160315/.
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A presente pesquisa investiga como os elementos visuais ao dispor dos cineastas podem contribuir para a representação de estados alterados de percepção no cinema, de modo a ampliar a discussão sobre a expressividade do trabalho de direção de fotografia. Por meio da análise e interpretação de três filmes brasileiros que apresentam personagens fora de si e construções visuais contundentes - Estorvo (2000), de Ruy Guerra, Filme de Amor (2003), de Júlio Bressane e A Concepção (2005), de José Eduardo Belmonte -, a pesquisa discute de que maneira as características da imagem podem contribuir para a criação de pontos de vista, atmosferas e sentidos, que permitem a apreensão do filme para além de sua compreensão intelectual. Partindo do reconhecimento da ligação entre narrador e personagens, a análise se volta à força expressiva das imagens usadas ao longo dos filmes, tomando como referência reflexões sobre o expressionismo na pintura e no cinema. Essa discussão serve de base para a identificação de um imaginário sobre os estados alterados de percepção e suas relações com a sociedade presente na cinematografia brasileira dos anos 2000.The present research investigates how the visual elements available to the filmmakers can contribute to the representation of altered states of perception in the cinema, in order to broaden the discussion about the expressiveness of the cinematography work. Through the analysis and interpretation of three Brazilian films that present characters out of their minds and rich visual constructions - Estorvo (2000), by Ruy Guerra, Filme de Amor (2003), by Júlio Bressane and A Concepção (2005), by José Eduardo Belmonte -, the research discusses how the characteristics of image can contribute to the creation of points of view, moods and senses, which in turn make possible the apprehension of the film beyond its intellectual understanding. Acknowledging the connection between narrator and characters, the analysis focus on the expressive force of the images used throughout the films, taking as reference reflections on Expressionism in painting and in cinema. This discussion serves as basis for the identification of a position regarding altered states of perception and their relations with society in Brazilian cinematography of the 2000s.
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Canales, Bonilla Carlos. "Desarollo y análisis de narrativas visuales en el proyecto Show your own gold." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668319.
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La investigación que se presenta a continuación está vinculada al proyecto europeo Erasmus+ Show your own gold: a European Concept to Visualize and reflect One's Vocational Biography Using Digital Media [2014-1-DE02-KA202-001430]. Se basa en la narración sobre el desarrollo y el análisis posterior de las narrativas visuales biográficas producidas por los jóvenes estudiantes, durante la implementación del proyecto en dos grupos de educación en Cataluña. El proyecto fue llevado a cabo en un periodo comprendido entre diciembre de 2015 y marzo de 2016, en dos progra- mas formativos específicamente implantado para tratar de resolver el problema del fracaso y abandono escolar. El objetivo principal del proyecto era elaborar narrativas que fuesen capaces de representar de otro modo a los sujetos, con la intención de que éstos tuviesen mayores capacidades y oportunidades en su trayectoria personal.
Partiendo del proyecto, esta investigación desplaza la mirada centrada en el individuo o en el grupo de jóvenes para centrarla en lo que me permite pensar, como investigador, el proceso llevado a cabo a lo largo de esta investigación. Se construye un marco teórico que abarca distintas posiciones y miradas o acercamientos respecto al fenómeno del fracaso escolar, presentando cómo otros lo han abordado y cómo se relaciona con diversos ámbitos.
Para elaborar la tesis, parto de las premisas del pensamiento narrativo de Bruner, para mediante métodos narrativos y visuales, ir reconstruyendo el proceso educativo y los análisis posteriores. Se presenta, por tanto, como una indagación muy cercana a la Investigación Basada en las Artes propuesta por Eisner, acogiendo algunos de los posicionamientos del giro narrativo de Bruner, Denzin, y de los cuestionamientos aportados por el construccionismo social por parte de Gergen.
Desde estas ideas, la tesis se presenta como una narrativa, o como múltiples relatos que se van entrecruzando. Se tratar de narrar. No tiene que ver con analizar a los sujetos representados, sino centrarme en lo que me hace pensar aquello que produjimos juntos.This research is linked to the European project Erasmus+ Show your own gold: a European Concept to Visualize and reflect One's Vocational Biography Using Digital Media [2014-1-DE02-KA202-001430]. It is based on the narration about the develo- pment -and subsequent analysis- of the visual biographical narratives produced by young people, during the implementation of the project with two education groups in Catalonia. The project was carried out in a period between December 2015 and March 2016, in two training programs specifically implemented to try to solve the problem of school failure and dropout. The main objective of the project was to elaborate digital narratives that would be able to represent the subjects in a different way, with the intention that they would have greater capacities and opportunities in their personal trajectory. Starting from the project, this research shifts the focus from the individual or group of young people to what allows me, as a researcher, to think about the process carried out throughout this research. It builds a theoretical framework that encom- passes different positions and views or approaches to the phenomenon of school failure, presenting how others have approached it and how it relates to various areas. To elaborate the thesis, I start from the premises of Bruner's narrative thought, to reconstruct the educational process and subsequent analyses through narrative and visual methods. It is presented, therefore, as an Arts Based Research like is proposed by Eisner, welcoming some of the positions of the narrative turn of Bruner, Denzin, and the contributions of social constructionism by Gergen. From these ideas, the thesis is presented as a narrative, or as multiple stories that intertwine. It is about narrating. It has nothing to do with analysing the subjects represented, but to focus on what makes me think about what we produced together.
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Haguiuda, André Terayama [UNESP]. "Performatividade narrativa: intersecções narrativas em performance, fotografia e vídeo." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/138902.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O objetivo desta dissertação é a apresentação dos trabalhos de arte produzidos pelo autor entre 2011 e 2016. Os trabalhos desenvolvidos enfocam uma pesquisa que intersecta as linguagens da fotografia, do vídeo, da performance, da escultura e a inserção de narrativas ficcionais nessas operações. Este texto busca articular procedimentos e conceitos que os trabalhos suscitam e articulá-los a um repertório de obras de outros artistas e teóricos.
This Master’s Thesis is the presentation of artworks produced by the author between 2013 and 2016. The main focus of the research are the intersection of languages, such as photography, video, performance, sculpture and the insertion of fictional narratives in these works. This text articulates procedures and concepts recurring from those works and connect them to a repertoire of other artists works and theorists.
CAPES: 3300401-3
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Shipe, Rebecca L. "Creating productive ambiguity| A visual research narrative." Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3700162.
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The purpose of this dissertation was to examine how I can facilitate experiences with art that promote "productive ambiguity," or the ability to transform tensions that disrupt our current understandings into opportunities for personal growth. Ambiguity becomes productive when our encounters with difference stimulate curiosity, imagination, and consideration of new possibilities and perspectives. While employing a multi-methods practitioner inquiry that combined elements of action research, autoethnography and arts based research, I addressed the following questions with a voluntary group of fifth grade research participants: How can I facilitate experiences with art that promote productive ambiguity? How do my students interact with the various visual content and instructional strategies that I develop and implement? How might these interactions inform my future teaching practice, and how does my own reflective visual journaling process inform my research? In addition to employing reflective sketching to document and analyze data, I also presented research findings in the form of a visual research narrative.
My analysis of research findings produced the following teaching strategies for facilitating meaningful experiences with art that promote productive ambiguity: (a) Use an inquiry approach to instruction as much as possible in order to position students to actively navigate the space between the known and unknown while seeking fresh understandings rather than passively accepting new information. (b) Explore how new concepts or themes relate to students' lives in order to situate unknowns in relation to their present knowns. (c) Aim to balance structure, flexibility and accountability while developing and implementing curricula. This promotes productive ambiguity as both teachers and students negotiate their pre-conceived ideas or plans and push themselves to respond to challenges encountered within their immediate environment. (d) In order to avoid unnecessary confusion, explicitly state that students should takes risks while generating new ideas rather than identifying a pre-existing solution. (e) Finally, ask students to identify why skills and knowledge generated during these activities are valuable in order to promote meta-cognition of how this ambiguous space can become more productive.
In addition to these practical findings, research participants agreed that sharing their interpretations of visual phenomena with one another enabled them to understand each other better. I also discovered the ways in which productive ambiguity emerged in the spaces in between my teacher/researcher/artist roles when I perceived challenges as prospects for personal transformation. As a whole, this dissertation exhibited how relational aesthetics and arts based research theories translated into my elementary art classroom practice while simultaneously integrating these concepts into the research study design and presentation.
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Eklund, Christopher. "Time and narrative in depthless visual media." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0025004.
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Valdes, Marius I. "The Unwantables: An Exploration of Visual Narrative." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1378.
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The Unwantables is a creative project that has evolved from my lifelong interest in and relationship with visual stories. To me the most compelling aspect of visual storytelling is "imagination". The author possesses the ability to create new worlds, interesting characters, and situations that can have the potential to communicate about any topic. My project explores visual narrative as a communication tool to explain the role of imagination in my life.
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Paim, Ana Cláudia Machado. "A CULTURA VISUAL NO ÂMBITO ESCOLAR: UMA VIAGEM A DILERMANDO DE AGUIAR/RS." Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/6874.
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The Master's thesis is associated to the research line 'Education and Arts' of the Post-graduation Program of Studies on Education in the Federal University of Santa Maria/RS. Therefore, the present thesis is aimed at investigating how teachers perceive the world of visual culture in the municipal school Elementary School Valentine Bastianello (school of nucleum) in the town of Dilermando de Aguiar - RS. The methodology was qualitative, marked by Investigation Based on the Arts - IBA. Thus, data were gathered through semi-structured interviews and narratives from images, beside of a field diary. The theoretical background of the research was constructed from the conceptions by Efland; FREEDMAN and Stuhr (2003); FREEDMAN (2006), Hernández (2000; 2006; 2007; 2008); MIRZOEFF (2003); BREA (2005); MARTINS (2008) and DIAS (2008). These authors disscuss the importance of the debates on visual culture in the curricula, the argument of this relationship in planning, teaching, and finally the relevance of the images and interpretations of visual representations.A referida dissertação de mestrado está vinculada à Linha de Pesquisa de Educação e Artes do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria/RS. Concebe como objetivos investigar como as educadoras percebem a cultura visual no universo da Escola Municipal de Ensino Fundamental Valentim Bastianello (escola-núcleo), no município de Dilermando de Aguiar - RS. A metodologia caracterizou-se por uma abordagem qualitativa, balizada pela Investigação Baseada nas Artes (IBA). Os dados foram agrupados por meio de entrevistas semi-estruturadas e narrativas a partir de imagens, além do diário de campo. O marco teórico da pesquisa foi construído a partir do diálogo com autores como EFLAND; FREEDMAN e STUHR (2003); FREEDMAN (2006); HERNÁNDEZ (2000; 2006; 2007; 2008); MIRZOEFF (2003); BREA (2005); MARTINS (2008) e DIAS (2008), os quais discorrem acerca da importância da discussão da cultura visual nos currículos, da discussão desta relação nos planejamentos de ensino, e finalmente a relevância das imagens e as interpretações das representações visuais.
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Monteiro, Tiago Henrique Alencar. "Íntimo e exposto : narrativa autobiográfica em cultura visual e educação." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23652.
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Dissertação (mestrado)—Universidade de Brasília, Departamento de Artes Cênicas, Programa de Pós-Graduação em Artes, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-19T21:21:20Z No. of bitstreams: 1 2017_TiagoHenriqueAlencarMonteiro.pdf: 12725431 bytes, checksum: f3dee3622988dadc6c639535cba87bca (MD5)
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Esta investigação apresenta como objeto a análise da minha formação como Educador a partir do ponto de vista Acadêmico e profissional e do ponto de vista das relações culturais e sociais. Estudo minhas relações com imagens, tanto como produtor quanto como observador, nas quais identifico Dispositivos de Atenção, elementos que trabalham e provocam a percepção visual como prática Educanímica/Educatípica, ou seja, as práticas culturais e simbólicas a partir da Visualidade Cotidiana como meio educacional. A abordagem metodológica escolhida foi a A/r/tografia, que estuda entrelugares e hibridismos com base na arte visual como meio de trabalhar o conhecimento e a Educação. Confluindo ao texto, apresento imagens não ilustrativas, que permitem uma fruição poética. Cada imagem, por si e no contexto desta investigação, se apresenta como dispositivo de atenção e como processo educador/educativo.
This inquiry presents as its object the analisys of my own formation as an Educator, from an academic and professional point of view, as well as from social and cultural relations’s biases. In it, I study my relationship with the images, as their maker and viewer, in which I identify Attention Devices, which are elements that disturb and excite visual perception as an Educanimic/Educatypal practice, I mean, cultural and symbolical practices coming from Everyday Visuality as an educational medium. The chosen methodological approach was A/r/tography, which studies in-betweens and hybridisms, based on visual arts as a way to work knowledge, Education. Converging with the text, I show non-illustrative images that allow the fruition of the poetics that composes this inquiry. Each image, by itself and within this inquiry’s context, presents itself as attention’s device and as educative/educator process.
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Viounnikoff-Benet, Nadia. "Narrativa visual del liderazgo político en campaña electoral." Doctoral thesis, Universitat Jaume I, 2017. http://hdl.handle.net/10803/454982.
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Esta tesis doctoral versa sobre la narrativa visual del liderazgo político en campaña electoral. Pretende profundizar sobre los elementos visuales en la escena política y su intencionalidad. El marco teórico se ha centrado en definir pormenorizadamente el tema tratado, sus bases teóricas, características definitorias, funciones y componentes. El análisis empírico está marcado por una investigación cuantitativa en la que se analizan 684 imágenes según sus componentes visuales: apariencia y actitud del líder, figurantes y escenografías con un total de 100 ítems; y un estudio cualitativo con entrevistas en profundidad a 12 expertos. A partir de los resultados obtenidos, se constata que existe una diferencia entre partidos tradicionales y emergentes, respecto a la gestión de formatos y soportes visuales, mientras que los datos distinguen también entre partidos ortodoxos y heterodoxos desde el punto de vista de narrativa visual.The present thesis deals with visual narrative in political leadership during election campaign. It tries to delve into visual elements and their wilfulness within the political stage. Theory has been focused on a detailed definition of the aforesaid topic, its theoretical basis, its defining features, functions and components. Empirical analysis has been set by a quantitavive research where a total of 684 images have been analyzed depending on their visual components : leader appearance and attitude, extras and scenographies which make a total of 100 items and a qualitative study consisting of in-depth interviews with 12 experts. From the obtained results it has been proved that a difference exists between conservative and emerging parties in terms of format management and visual aid whereas data also make a distinction between conservative and heterodox parties in terms of visual narrative.
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Bach, Hedy Emeline Fynebuik. "A visual narrative concerning curriculum, girls, photography, etc." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22946.pdf.
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Lorenzet, Fabiana Lazzari. "Leitura literária da narrativa visual na educação infantil." reponame:Repositório Institucional da UCS, 2016. https://repositorio.ucs.br/handle/11338/1371.
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Com a meta de contribuir para os processos de letramento de crianças de 4 anos, esta dissertação investiga peculiaridades acerca do modo como crianças dessa idade leem narrativas visuais presentes em acervos destinados à Educação Infantil do Programa Nacional Biblioteca da Escola (PNBE) 2014. O texto discute a presença da literatura infantil, imbuída pela experiência, imaginação da criança pequena e pela mediação com os títulos disponibilizados às escolas públicas brasileiras. A pesquisa justifica-se em virtude da necessidade de promover estudos e divulgação de obras literárias enviadas às escolas públicas brasileiras como também pela necessidade de estudar processos de mediação literária com crianças pequenas. A investigação primeiro discute como as narrativas visuais selecionadas se constituem discursivamente, apelando ao seu destinatário. Em seguida, realiza-se pesquisa empírica com crianças em grupo, a fim de analisar como atuam no processo de construção de sentido de narrativas visuais, a partir de situações de mediação planejadas intencionalmente pela pesquisadora. A relevância social e científica da pesquisa consiste em promover estudos acerca de obras distribuídas as escolas pelo Governo Federal, como também subsidiar profissionais e pesquisadores que trabalham com a Educação Infantil, a fim de qualificar a presença da literatura nesse ambiente formal de aprendizagem. A fim de sustentar teoricamente a pesquisa, no que diz respeito à interação, mediação, linguagem e aprendizagem, buscamos apoio teórico de Vygotsky (1998, 2000 e 2007) e Bakhtin (1981); para estudar a infância, usamos Ariès (1981) e Postman (2011); para fundamentar o conceito de literatura infantil, referendamos Zilberman (2003), Ramos (2010), Cosson (2006) e Colomer (2003, 2007); como aporte teórico para estudar a estrutura narrativa, buscamos apoio na obra de Adam (2008); por fim, para atender as questões da visualidade de narrativas por imagem, valemo-nos de Oliveira (2008) e Panozzo (2001). A pesquisa tem abordagem qualitativa. A pesquisadora realizou e mediou as sessões de leitura em turma de Educação Infantil as quais foram registradas em videogravações. Inicialmente foram selecionados cinco livros de narrativas por imagem, escolhidos pelo PNBE 2014 - Categoria 2, Educação Infantil - 4 a 5 anos –, para serem trabalhados com turma de 13 crianças de 4 anos em Escola do município da serra gaúcha. De posse dos dados obtidos e das categorias que deles emergiram, o estudo encaminhou-se para análise. Nesse propósito, os resultados apontam para as contribuições da leitura literária do livro de imagens no cotidiano escolar de crianças em idade pré-escolar. Verificamos que as crianças, em situações de interação, auxiliam, complementam, convergem, divergem, expressam suas opiniões quer seja pela fala ou outras formas de expressão. O livro de imagens mostrou-se valioso objeto cultural que promove autonomia, interação e liberdade de compreensão.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2016-11-21T18:23:06Z No. of bitstreams: 1 Dissertacao Fabiana Lazzari Lorenzet.pdf: 4615675 bytes, checksum: 1fdfde49bb53cb6d844c7c99aaa42f61 (MD5)
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Aiming at contributing to processes of literacy in 4-year-old children, this study investigates peculiarities about the way in which children of this age read visual narratives present at collections destined to Children Education in National Program of School Library (PNBE) 2014. The text discusses the presence of children literature, imbued with experience, with imagination of young children, and with mediation with the titles made available to Brazilian public schools. The research is justified by the need of promoting studies and dissemination of literary work in Brazilian public schools, and by the need of studying processes of literary mediation for young children. This research discusses, at first, how selected visual narratives constitute discursively, appealing to their recipient. After this, empiric research is done with groups of children, aiming at analyzing how they act in the process of building sense to visual narratives, departing from mediation situations intentionally planned by the researcher. The social and scientific relevance of the research consists of promoting studies about books distributed to schools by the Federal Government, as well as of subsidizing teachers and researchers who work with Children Education, to qualify the presence of literature in this formal learning environment. To theoretically support the research, with respect to interaction, mediation, language, and learning, we base on Vygotsky (1998, 2000 and 2007), and Bakhtin (1981); to study childhood, we use Ariès (1981) and Postman (2011); to buil the concept of child literature, we make reference to Zilberman (2003), Ramos (2010), Cosson (2006), and Colomer (2003, 2007); as theoretical support to study the narration structure, we find base in Adam (2008); finally, to support questions on narrative visuality through images, we make use of Oliveira (2008) and Panozzo (2001). The research presents a qualitative approach. The researcher did and mediated reading sessions in a group of Children Education, which were registered in video registers. Initially, five narrative image books were selected; they are books chosen by PNBE 2014 - Category 2, Children Education – 4 to 5 year-old –, to be worked in a group of 13 four-year-old children in a school of “serra gaúcha” (mountain area of Rio Grande do Sul). From the data obtained and from categories emerged from them, the study proceeded to analysis. In that regard, results point at contributions of image books to reading in everyday school life of pre-school-aged children. We verified that children, in interaction situations, help, complement, converge, diverge, and express their opinions by talking or other forms of expression. The image book revealed itself as a valorous cultural object that promotes autonomy, interaction and freedom of comprehension.
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Cox, Carole A. "Narrative through cartoon : a study in visual drafting." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/10019142/.
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This study is designed to explore the use of visual images In combination with the teaching of narrative In the classroom. The theoretical background establishes the need for different modes of thinking to create the optimum conditions for the development of metacognition. Ideas concerning the relation of children's drawing to their overall cognitive growth are drawn from Bruner, Vygotsky, Lambert-Brittain and Freeman. More recent research by Cross and Balchin and Coleman into the role of graphicacy in conceptualising and the development of logico-spatial thinking suggests that without a proper visual education children could lack effective visual-verbal interactive possibilities for promoting certain verbal modes of thought. Metaphor, given its visual component, is seen as key to language development. The exploration of creative metaphor and "abstractive seeing" lead to the work of Paivio and Osgood which demonstrated how dual coding allows the abstract to be concretized by metaphorically linked 'mediators' - images. Gombrich's distinction between knowing and seeing was precursor to a discussion of recent theories of perception. Bruce and Green concluded that perceptual learning is an increase in specificity - features of which can be seen in many of the children's texts. The gathering of data followed a cyclical, action research pattern, having three main stages and going cross-phase with an age range of 10-13 years. The first two samples were from Year Eight cartoons and writing. The second stage was a more general exploration of Year Sb work while the third used samples from a top band Year Eight English group. This comprised a more structured experiment involving selection of candidates and further development of the analytic method with two types of sam ple taken; one selected and one random. The main concern was to examine transference of detail and the development of metacommunicative ideas through the visual-verbal interaction.
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Weilander, Johan. "På väg till en narrativt fantasifull skola : Inlevelse, visuell litteracitet och narrativ kompetens i årskurs 4–6." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85380.
Full textAbstract:
Den svenska skolans undervisning i det svenska språket har för avsikt att göra eleverna narrativt kompetenta, det vill säga, de ska kunna förstå och skapa berättande texter. Inom läroplanen finns dock en öppning för ett mer vidgat textbegrepp där det inkluderas visuell litteracitet, att eleverna exempelvis ska kunna förstå filmiska berättelser. Denna studies syfte är att undersöka på vilka sätt mellanstadieelever kan arbeta med en dokumentär filmberättelse om fyra skolbarn för att utveckla sina förmågor att skriva berättelser och vidga sina vyer av omvärlden. Begreppet narrativ fantasi, myntat av den amerikanska filosofen Martha C. Nussbaum, är framträdande i undersökningen. Med det menas en slags förmåga till inlevelse, att läsandet av olika texter vidgar läsarens förståelse för sin omvärld. Eleverna är uppmanade att välja karaktär och typ av berättelse. Genom både kvalitativ och kvantitativ textanalys visar deras berättelser på en varierad, men ändå utbredd narrativ fantasi. Denna förmåga är dock beroende av både visuell litteracitet, att förstå filmen, och narrativ kompetens, att skapa en egen berättelse.
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Paz, Thaís Raquel da Silva. "PROCESSOS DE SUBJETIVAÇÃO E NARRATIVA AUTOBIOGRÁFICA DE UMA PROFESSORA DE ARTES VISUAIS." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/7068.
Full textAbstract:
Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThe present research presents the subjectification processes which arise from the self-biographic narrative of a visual arts teacher. Based on Hernández and Rifà (2011)‟s referential, I have tried not to talk about me‟ but to talk from myself‟ in order to produce narratives which involve incompleteness and a provisory nature, because they are always open to new connections, perceptions and inventions. Thus, the narratives that constitute the research are not understood as visual arts teachers‟ descriptions with a confession nature or with the intention of clarifying who we really are in relation to teaching. It is not about discovering, apprehending the totality, but it is about gathering what we have already heard, read, and said about this context, aiming at keeping making ourselves‟. The authors Foucault, Deleuze, Guattari and Rolnik led me through a distant way of the idea of universal features in human existence, by pointing to a constant production of the profession, full of fixed lines and representational in several moments, but that also consists of unstable lines and is open to new courses.
Esta pesquisa apresenta os processos de subjetivação que emergem da narrativa autobiográfica de uma professora de artes visuais. A partir do referencial de Hernández e Rifà (2011), experimentei falar não de mim, mas a partir de mim, de modo a produzir narrativas que compreendem a incompletude e o caráter provisório, pois estão sempre abertas a novas conexões, percepções e invenções. Desta forma, as narrativas que constituem a pesquisa não são entendidas como descrições dos professores de artes visuais, com um caráter de confissão ou com a intenção de esclarecer quem realmente somos na docência. Trata-se não de descobrir, apreender a totalidade, mas de reunir o que já ouvimos, lemos e dissemos sobre este contexto no intuito de seguirmos nos fazendo. Os autores Foucault, Deleuze, Guattari e Rolnik impulsionaram-me para um caminho distante da ideia de características universais na existência humana, apontando para uma produção constante da profissão, abarrotada de linhas fixas, e em muitos momentos representacionais, mas que também se compõe com linhas inconstantes e abertas a novos percursos.