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Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.
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Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.
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Choi, Sung Hun. "Graffiti a visual vernacular as graphic design source /." [Ames, Iowa : Iowa State University], 2007.
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Dones, Vera Lúcia. "A estética vernacular como retórica visual da publicidade gráfica." Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/2120.
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Previous issue date: 2012<br>This thesis aims at understanding the role of the vernacular aesthetics as a rhetorical element in advertising messages. We have proposed a reflection on what we has been called 'vernacular', which is characterized as an aesthetical dimension of contemporary culture. In Chapter I, we have both gathered information that contribute to the presentation of the concept of 'vernacular', and presented the contexts and conditions that have given way to its production in graphical communication, based on what has been noticed in graphical pieces, brands, typography, advertisements and visual arts. In Chapter II, we have problematized rhetoric in the field of visual communication in order to find out the persuasive aspects of visual language in advertising. In Chapter III, we have analyzed three advertisements with the aim of determining the type of communicative function of the vernacular in advertising messages, and rhetorical-visual arguments between the different message agents. The appropriations of the vernacular in visual communication have been inserted into the culture of reproduction and copy, and they are related both to the simulacrum that characterizes our time, and to the indexation of forms that have been despised or that are allegedly naïve. We have concluded that the vernacular aesthetics, as visual rhetoric of graphical advertising, is a “metaphor of authenticity”. This occurs when images, letterings, writings constructed with improbable materials, and native graphical expressions, among others, end up fostering a kind of economy of arguments, since the symbolisms presented by the referents say more and convince better than the conventional iconograms used in advertising communication.<br>Esta tese objetiva compreender o papel da estética vernacular como elemento retórico nas mensagens publicitárias. Propõe-se uma reflexão sobre o que chamamos aqui de vernacular, caracterizado como uma dimensão estética da cultura contemporânea. No Capítulo I, reunimos informações que colaboram para a apresentação do conceito "vernacular" e apresentamos os contextos e as condições que deram lugar à sua produção na comunicação gráfica, com base no que vem sendo observado em peças gráficas, marcas, tipografia, anúncios publicitários e nas artes visuais. O Capítulo II problematiza a retórica no campo da comunicação visual para chegar aos aspectos persuasivos da linguagem visual em anúncios publicitários. No Capítulo III, analisamos três anúncios, a fim de estabelecer o tipo de função comunicativa do vernacular nas mensagens publicitárias e os argumentos retórico-visuais entre os diferentes agentes das mensagens. As apropriações do vernacular na comunicação visual inserem-se na cultura da reprodução, da cópia, e dizem respeito tanto ao simulacro que caracteriza nossos tempos, quanto à indexação de formas desprezadas ou supostamente ingênuas. Concluímos que a estética vernacular como retórica visual da publicidade gráfica vem a ser uma “metáfora da autenticidade". Tal ocorre quando imagens, letreiramentos, escritas construídas com materiais improváveis e expressões gráficas nativas, entre outras, acabam promovendo um tipo de economia de argumentos, já que os simbolismos apresentados pelos referentes dizem melhor e convencem com mais qualidade do que os iconogramas convencionais da comunicação publicitária.
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Bainbridge, Jason. "Visual law : an exegesis of vernacular jurisprudence in popular media /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18608.pdf.
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PEREIRA, Natália Cristina Rodrigues. "Design vernacular: a comunicação visual informal no cotidiano da Amazônia." Universidade Federal do Pará, 2018. http://repositorio.ufpa.br/jspui/handle/2011/10019.
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Previous issue date: 2018-03-15<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Esta pesquisa busca refletir sobre o design vernacular como uma experiência comunicacional na Amazônia. Trata-se de uma forma de comunicação materializada em desenhos de letras (lettering) pintados manualmente em placas, fachadas, faixas e outras superfícies espalhadas pela região que, baseados na cultura popular, objetivam suprir as necessidades comunicacionais do comércio informal onde se originam. O foco da investigação partiu da seguinte pergunta: quais as inspirações, particularidades e estratégias que permeiam o universo material e simbólico dessa forma de comunicação visual informal, sem perder de vista o seu potencial mercadológico e suas relações com a comunidade? Para isso, o trabalho apoiou-se em conceitos de Benjamin (1987), Braga (2011), Canevacci (1997), Schutz (2012), Dewey (1980), Durand (1996), Flusser (2013), Kant (2012), Maffesoli (1998) e Paes Loureiro (2008; 2001), dentre outros. A hipótese defendida nesta dissertação é a de que a comunicação visual informal, permeada pelo universo da cultura amazônica, contribui no âmbito simbólico e econômico diretamente para a realidade da comunidade na qual está inserido. A metodologia teve um foco qualitativo a partir de pesquisas de campo, sendo que a coleta de material (registro fotográfico e entrevistas) aconteceu de agosto de 2015 a janeiro de 2018, compreendendo duas visitas em cada uma das três ilhas do município de Belém escolhidas: Cotijuba, Caratateua (Outeiro) e Mosqueiro. Acredita-se que a importância deste trabalho se centra na possibilidade de contribuir com estudos que vão além dos aspectos tecnológicos da comunicação, voltadas assim para o homem em sociedade, assim como, em longo prazo, poder colaborar para uma possível desmistificação de estereótipos sobre a Amazônia.<br>This research reflects on the vernacular design as a communication experience in the Amazon region. The analyzed object in the study is the draws of letters (lettering) painted manually on boards, facades, banners, and other surfaces widespread across the region that, based on the popular culture, aim to supply the communicational necessities of the informal commerce where they originate. The focus of the investigation came from the following question: what are the inspirations, particularities, and strategies that permeate the material and symbolic universe of this type of informal visual communication, without losing sight of its market potential and its relationship to the community? Therefore, this research used concepts of Benjamin (1987), Braga (2011), Canevacci (1997), Schutz (2012), Dewey (1980), Durand (1996), Flusser (2013), Kant (2012), Maffesoli (1998) e Paes Loureiro (2008; 2001), among others. Accordingly, the hypothesis presented here pointed that the informal visual communication, permeated by the universe of the Amazonian culture, contributes in the symbolic and economic scope directly to the reality of the community in which it is inserted. The methodology was based on the qualitative descriptive analysis, starting from field research, being that the collection of material (photography registration and interviews) started from August 2015 to January 2018, including two visits in each one of the three islands of the Municipality of Belém chosen for the study: Cotijuba, Caratateua (Outeiro) e Mosqueiro. It's believed that the importance of this research is focused on the possibility of contributing with studies that go beyond the technical aspects of communication, therefore based on the men in society, as well as, long-term, to be able to collaborate for a possible demystification of stereotypes about the Amazon.
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Liu, Shanshan. "Visual Social Media and Vernacular Responses to Environmental Issues in China." Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/79905.
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This thesis investigates the role of visual social media in providing ordinary Chinese with an alternative space to articulate their opinions on environmental issues. By studying three notable environmental cases, this thesis explores how ordinary Chinese adopt visual social media practices as a response to environmental issues, and to aid in the fight for environmental justice. This thesis provides a new perspective to understand China’s visual social media practices and its networked civic engagement.
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Dones, Vera L?cia. "A est?tica vernacular como ret?rica visual da publicidade gr?fica." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2013. http://tede2.pucrs.br/tede2/handle/tede/4522.
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Previous issue date: 2013-03-05<br>This thesis aims at understanding the role of the vernacular aesthetics as a rhetorical element in advertising messages. We have proposed a reflection on what we has been called 'vernacular', which is characterized as an aesthetical dimension of contemporary culture. In Chapter I, we have both gathered information that contribute to the presentation of the concept of 'vernacular', and presented the contexts and conditions that have given way to its production in graphical communication, based on what has been noticed in graphical pieces, brands, typography, advertisements and visual arts. In Chapter II, we have problematized rhetoric in the field of visual communication in order to find out the persuasive aspects of visual language in advertising. In Chapter III, we have analyzed three advertisements with the aim of determining the type of communicative function of the vernacular in advertising messages, and rhetorical-visual arguments between the different message agents. The appropriations of the vernacular in visual communication have been inserted into the culture of reproduction and copy, and they are related both to the simulacrum that characterizes our time, and to the indexation of forms that have been despised or that are allegedly na?ve. We have concluded that the vernacular aesthetics, as visual rhetoric of graphical advertising, is a metaphor of authenticity . This occurs when images, letterings, writings constructed with improbable materials, and native graphical expressions, among others, end up fostering a kind of economy of arguments, since the symbolisms presented by the referents say more and convince better than the conventional iconograms used in advertising communication.<br>Esta tese objetiva compreender o papel da est?tica vernacular como elemento ret?rico nas mensagens publicit?rias. Prop?e-se uma reflex?o sobre o que chamamos aqui de vernacular, caracterizado como uma dimens?o est?tica da cultura contempor?nea. No Cap?tulo I, reunimos informa??es que colaboram para a apresenta??o do conceito "vernacular" e apresentamos os contextos e as condi??es que deram lugar ? sua produ??o na comunica??o gr?fica, com base no que vem sendo observado em pe?as gr?ficas, marcas, tipografia, an?ncios publicit?rios e nas artes visuais. O Cap?tulo II problematiza a ret?rica no campo da comunica??o visual para chegar aos aspectos persuasivos da linguagem visual em an?ncios publicit?rios. No Cap?tulo III, analisamos tr?s an?ncios, a fim de estabelecer o tipo de fun??o comunicativa do vernacular nas mensagens publicit?rias e os argumentos ret?rico-visuais entre os diferentes agentes das mensagens. As apropria??es do vernacular na comunica??o visual inserem-se na cultura da reprodu??o, da c?pia, e dizem respeito tanto ao simulacro que caracteriza nossos tempos, quanto ? indexa??o de formas desprezadas ou supostamente ing?nuas. Conclu?mos que a est?tica vernacular como ret?rica visual da publicidade gr?fica vem a ser uma met?fora da autenticidade". Tal ocorre quando imagens, letreiramentos, escritas constru?das com materiais improv?veis e express?es gr?ficas nativas, entre outras, acabam promovendo um tipo de economia de argumentos, j? que os simbolismos apresentados pelos referentes dizem melhor e convencem com mais qualidade do que os iconogramas convencionais da comunica??o publicit?ria.
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James, Sule. "Tracing the Idea of African Vernacular-Rooted Art: A Critical Analysis of Selected Contemporary South African and Nigerian Artists (2007-2016)." Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/72462.
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In this study, I seek to explore how contemporary art created by Nigerian and South African artists can be described to be rooted in an African vernacular. To this end, I conducted a comparative analysis of the cultural imageries and symbolisms of four Nigerian and four South African artists. For each of the artists, five of their works produced between 2007 and 2016 were purposively sampled. Thus, the study investigates forty works within the ten year period. The comparative analysis focuses on visual hermeneutics theory and art historical methodologies (formal analysis). Accordingly, the analysis examines the artists’ personal influences, training, frames of reference, knowledge base and philosophy as well as the reception of their works.
Given the fact that most of the selected artists are excluded from mainstream art historical research because their works are said to be outside the normative contemporary art standards, this study establishes that the trend of their art is significant and should be researched. For that reason, the selected artists were included in this study so as to contribute a mainstream art historical discourse on their artworks. In the theoretical underpinning of this study, it is argued that although vernacular arts were produced in a historical African arts context, nevertheless the contemporary modes of cultural appropriations in artworks by the selected academically trained artists are not a continuation of the historical African. Therefore this study establishes that the adoption of the term African vernacular rooted in narrating contemporary African arts produced by Nigerian and South African artists is a rethink in the use of the old term in opening up a new discourse on engagement with cultural imageries and symbolisms. As a result, this research argues that their ideological trends in appropriating cultural imageries in arts are not a different form of contemporary African art. The significance of this research lies in the contribution of knowledge to the existing literature on global contemporary African art, and in initiating the exercise of documenting the visual culture of artists from both countries.
Although the study provides a wider insight into appropriations of cultural symbolism in the works of these artists, it shows that some of the artists focus their visual narratives on specific dominant vernacular tropes or cultural imageries and symbolism in narrating experiences from past and present occurrences in both countries. However, many of the dominant cultural symbolisms are basically depictions of either young black African children or compositions showing African men and women. However, they narrate different experiences and aspects of African socio-cultural life. Significantly, the depictions in the artworks of the contemporary artists demonstrate, in different heterogeneous ways, African identities through cultures, heritage, history, and identity. Furthermore, most of the African vernacular rooted arts discussed in this study reveal influences from environmental factors such as migration, homelessness, African humanism, socio-cultural ceremonies, cultural and racial unity, oppression, ritual murders, and family life.<br>Thesis (PhD)--University of Pretoria, 2019.<br>Visual Arts<br>PhD<br>Unrestricted
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Edwards, Jamie Lee. "Netherlandish vernacular narrative painting in the age of Bruegel : 'entangling the eyes' & 'enlightening the mind'." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7703/.
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This thesis sheds new light on the origins and significance of ‘compositional inversion’ in sixteenth-century Netherlandish art. Taking Pieter Bruegel’s inverted religious narratives as primary examples of a wider phenomenon, it seeks to account for the seemingly paradoxical method of narrative obfuscation evident in these works. It does so by situating them in art theoretical, iconographic, social, political and spiritual contexts. Chapter 1 turns to the art theories of Karel van Mander, contained in the first book of Het Schilder-Boeck (1604): ‘Den Grondt … ’. Here I suggest that Bruegel’s inverted compositions exemplify an entire tradition in Netherlandish history painting – the ‘historien’ – that van Mander retroactively theorised in ‘Den Grondt’. According to his theoretical position, Netherlandish inverted ‘historien’ derive their efficacy precisely because they obscure narrative, for by doing so they ‘entangle’ the beholder’s ‘insatiable eyes’ and so encourage sustained interest in the story. Chapter 2 then examines the visual tradition in Netherlandish art that inspired Bruegel’s inverted narratives, and concludes that these works possess a distinctive formal ‘Netherlandishness’ and as such they offer fertile territory for examining Bruegel’s “vernacularity”. Finally, in Chapter 3, I argue that compositional inversion evolved as a visual counterpart to contemporary biblical exegeses, specifically Erasmus’s.
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Ardinghi, Maria Beatriz. "Glossário visual popular paulista: artefatos memoráveis presentes em residências de famílias de origem rural no estado de São Paulo." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-07032016-190553/.
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O propósito desta pesquisa é contribuir para os estudos da cultura material popular brasileira em relação à possibilidade da existência de identidades regionais do artefato brasileiro popular, sob a ótica do design. Para tanto, foram identificados e analisados, do ponto de vista da percepção, uso e significado, determinados artefatos domésticos considerados memoráveis e notáveis em residências de famílias de origem rural no estado de São Paulo. Tendo em vista o pressuposto de que esses artefatos correspondem à materialidade presente nas memórias afetivas de uma parte significativa da população paulista, foram analisados seus atributos formais, funcionais e simbólicos relevantes e recorrentes, a fim de se identificar uma possível linguagem regional do objeto popular - documentada na forma de um glossário visual, que possa servir de referência e inspiração ao design contemporâneo preocupado com as questões acerca das identidades culturais. O método utilizado partiu de entrevistas e coleta de depoimentos informais para a caracterização dos artefatos chamados memoráveis, isto é, que participaram de vivências afetivas da infância de parte da população adulta selecionada. A partir daí, efetuou-se uma pesquisa de campo a fim de se identificar estes artefatos presentes em residências de paulistas idosos de origem rural, distribuídas por sete regiões do estado de São Paulo, de modo a compor um acervo de artefatos notáveis, fazendo uso de registros fotográficos e entrevistas semiestruturadas para a coleta de dados. Em seguida, foram analisados seus atributos formais e funcionais bem como os significados a eles atribuídos por seus usuários dentro do contexto em que estão inseridos. Como fatores determinantes na escolha do tema destacam-se: a questão da identidade no discurso do design e sua relação com as memórias afetivas e a cultura material popular; a ausência de estudos semelhantes na área do design que abordem temas usualmente discutidos em estudos das ciências sociais e que contemplem as questões pertinentes ao design de artefatos; e, finalmente, um novo objeto de interesse nos estudos folclóricos: o artefato doméstico ordinário de uso cotidiano, comumente encontrado em residências de pessoas idosas de origem rural no interior do estado de São Paulo. Ao final da pesquisa pudemos concluir que é possível caracterizar a identidade do artefato popular paulista de acordo com suas características de uso, percepção e significado, e que esta identidade está intimamente ligada à sua origem sociocultural e histórica.<br>The purpose of this research is to contribute to the study of popular material Brazilian culture in relation to the possibility of regional identities of the popular artifact, from the perspective of design. In order to do so, it was identified and analyzed aspects of perception, use and meaning of a number of domestic artifacts considered memorable that can be found in rural origin family homes in the state of São Paulo Considering that these artifacts correspond to the materiality present in affective memories of a significant part of São Paulo\'s population, it was analyzed their formal, functional and symbolic attributes in order to identify their language - documented in the form of a visual glossary, which can be reference and inspiration to contemporary designers concerned with cultural identities issues. The method used in this study is based on interviews and the collection of informal testimonials to characterize what we call memorable artifacts, which are objects that participated in childhood affective experiences of the selected adult population. After that, a field survey was carried out to identify these artifacts present in São Paulo residences of elderly rural origin, spread across seven regions of the state of São Paulo, through photographic records and interviews. Then, it was analyzed their formal and plastic attributes in order to identify a possible regional language of popular household objects and the meanings given to them by their users. The theme of this research results from the discussion about cultural identity in the design field and its relation with memories and material culture. Another reason for that is due to the lack of similar studies in design to address issues usually discussed in researches from the social sciences. Finally, it represents a new object of interest in the study of folklore: the ordinary household artifacts of everyday use, commonly found in elderly homes of rural origin in the state of São Paulo. At the end of this study, it was concluded that it is possible to characterize the identity of popular São Paulo artifact according to their usage characteristics, perception and meaning. In addition, it is possible to state that this identity is related to their social, cultural and historical origin.
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Bernd, Mariana. "Pinturas de paisagem amazônica e a construção de um imaginário da cultura popular." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-20012012-142416/.
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A Dissertação de Mestrado Pinturas de paisagem amazônica e a construção de um imaginário da cultura popular trata de documentar e analisar as pinturas populares que representam a floresta amazônica, produzidas nos séculos xx e xxi, utilizadas na comunicação visual e na decoração dos interiores e das fachadas de estabelecimentos comerciais e residenciais, localizados no centro de Manaus, capital do Amazonas. É possível encontrar diversos significados nessas pinturas, que se destacam em meio à poluição visual e à agitação da cidade. Evocando reiteradamente o repertório imagético da Amazônia, misturam a mitologia local com ícones universais das cidades contemporâneas, além de incorporarem elementos da estética brega que impera na região Norte do país. As pinturas de paisagem amazônica - termo utilizado pelos próprios pintores para descrever seu ofício - provocam reflexões sobre a produção atual das artes gráficas populares brasileiras e, mais especificamente, sobre como essa expressão pictórica sobrevive e prolifera em Manaus.<br>The Masters thesis Amazonic landscape paintings and the construction of an imaginary popular culture, is an attempt to document and analize everyday paintings that represent the Amazon Forest and were produced in the 20th and 21st centuries for visual communication and decoration of interiors and façades of commercial and residential buildings, located in downtown Manaus, capital of Amazonas State, Brazil. It is possible to find various meanings in these paintings that shine amidst the visual polution and chaos of the city. Repeatedly evoking the repertoire of Amazonian imagery, they fuse local mythology with universal icons common to modern cities and tacky elements of the regional esthetic that dominates Northern Brazil. The amazonian landscape paintings - a term used by the painters themselves to describe their trade, how provoke us to reflect on the current production of popular graphic art in Brazil and more specifically, over how this form of pictorial expression survives and proliferates in Manaus.
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Scammell, Jennifer F. "Domesticating the Virgin : vernacular depictions of Mary and their reception in late medieval society." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1894/.
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This thesis is concerned with the didactic function of fourteenth- and fifteenth-century vernacular religious literature and art in contemporary medieval English society, and particularly the ways in which texts and images participate in emergent lay religious culture and inform social practices of the time. The focus is on apocryphal and legendary depictions of episodes in the Life of the Virgin Mary in vernacular works of the later Middle Ages and special consideration is given to the ways in which certain female audiences in England may have received and responded to Mary narratives. An introductory chapter outlines the process and means by which biblical and extra-biblical knowledge was disseminated to the late medieval laity via the range of literary and pictorial material brought into comparison in this thesis. Additionally, the introductory chapter surveys existing research on the socio-economic and spiritual circumstances that made accounts of Mary’s life particularly useful to ‘merchant-class’ wives whose way of life, it is argued, is emblematic of change in the period. Five central chapters each provide interpretations of common motifs in a key event in Christian history involving Mary and assess their engagement with the experiences and aspirations of lay unlearned audiences, primarily (though not exclusively) domesticated bourgeois women. The events referred to and discussed in chronological order in this thesis are the Annunciation, Nativity, Passion of Christ, and the Death, Assumption and Coronation of Mary. The material analysed comprises biblical drama, sermons, poetry, lyrics, wall-paintings, manuscript illustrations, and tapestries. A number of core works are referred to throughout and, as detailed in the introduction, include texts such as the four extant mystery cycle plays, Nicholas Love’s Mirror, John Mirk’s Festial, the Cursor Mundi, and art works such as contained in the Biblia Pauperum, and books of hours.
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Malysz, Simone Cristina. "Sistemas de identidade visual como recurso para valorização de produtos artesanais do Brique da Redenção." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/96331.
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Tendo como campo de estudo o Brique da Redenção, um dos mais importantes pontos de comercialização de artesanato em Porto Alegre-RS, esta pesquisa teve como objetivo geral mapear o contexto atual da utilização de identidades visuais por artesãos que ali expõem seus produtos e a possibilidade de inserção do design gráfico junto ao artesanato em ações de comunicação visual. A base teórica aborda o design gráfico vernacular e o institucionalizado, o artesanato, a identidade visual e sua importância para a atividade artesanal. Junto aos artesãos, foram coletados materiais gráficos, nos quais se realizou uma análise dos elementos visuais que representam o nome comercial de seus produtos. Com o intuito de compreender melhor estas identidades visuais, efetuou-se uma análise comparativa com os princípios e normas de composição visual estabelecidas pelo design gráfico institucionalizado. No artesanato, percebeu-se a predominância de linguagem visual vernacular que, para o design gráfico institucionalizado, não é satisfatória de acordo com os padrões tidos como de qualidade. Por meio de entrevistas, buscou-se diagnosticar a percepção que os artesãos têm sobre a comunicação visual de marca, a sua satisfação em relação àquelas que utilizam, bem como investigar se ocorre ou não a participação de profissionais de design gráfico na promoção do artesanato comercializado no Brique da Redenção. Para transcrição, codificação e análise destes dados, os mesmos foram agrupados por temas correspondentes, identificando enunciados em comum e codificando-os. Os resultados apontam uma carência de projetos consistentes de identidades visuais para os artesãos, indicando um rico campo de atuação para o design junto ao artesanato em ações que visem à melhoria da comunicação visual deste segmento.<br>Having Brique da Redenção as the field of study, which is one of the most important points of handicraft commercialization in Porto Alegre - RS, this study aimed to mapping the current context of the use of visual identities by artisans who exhibit their products there and the possibility of insertion of graphic design along with handicraft in actions of visual communication. The theoretical basis approaches the vernacular and the institutionalized graphic design, the handicrafts, the visual identity and its importance to the handicraft activity. Along with the artisans, graphic materials were collected, in which an analysis of visual elements that represent the commercial name of their products was made. In order to understand better these visual identities, a comparative analysis was done with the principles and rules of visual composition established by the institutionalized graphic design. In the handicraft activity, a dominance of vernacular visual language was perceived, which, for the institutionalized graphic design, it is not satisfactory according to the standards taken as quality. Through interviews, the perception that the artisans have regarding the visual communication of their brand was sought as well as their satisfaction with regard to the ones who use them and investigate if the participation of graphic design professionals occur to promote the crafts commercialized at Brique da Redenção. For transcription, coding and analysis of these data, they were gathered by their correspondent themes, identifying statements in common and coding them. The results point a lack of consistent projects of visual identities for the artisans, indicating a rich field of work for design along with the handicraft in actions which aim the improvement of the visual communication of this segment.
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Yoo, Sirah. "Ineffable: Latency in Symbolic Languages." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4814.
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The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.
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Harrington-Watt, Kathleen. "Vernacular Photographs as Privileged Objects:The Social Relationships of Photographs in the Homes of Gujarati/New Zealanders." Thesis, University of Canterbury. Social and Political Sciences, 2011. http://hdl.handle.net/10092/6208.
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Photographs traverse the world in many forms and for many purposes. They follow and trace movements and networks of people, and have become essential objects in linking the past, present, and future of migrating communities. Vernacular photographs found in the home, encompass a substantial field of neglected knowledge and should be accorded greater attention and analysis in social science research. Vernacular images in academic research are often described as ordinary and mundane, their representational aspects are perceived to be repetitive and unremarkable (portraits, family snapshots etc.). However, this thesis argues that vernacular photographs are privileged objects and it is their universality and social embeddedness that elevates their significance in social science research. Unlike public or institutionalised photographic archives, vernacular archives operate within active social contexts and are alive with social agency. In this thesis, I use Alfred Gell’s anthropological theory of Art and Agency as the framework for conceptualising the social agency of photographs. To support these claims, this research examines the personal photographs found in the vernacular archives of a Gujarati migrant group in Christchurch, New Zealand. The photographs presented by members of this group are found at the centre of their social lives, mirroring their experiences and relationships in visual form. I use the Chakra Wheel as a visual metaphor to symbolise the nature of this group and their photographs. This metaphor speaks directly to the phenomenon of transnationalism and acknowledges that, for migrant communities, these transitioning processes are complex and elaborate, where the foundations of kinship and homemaking are constantly shifting. Vernacular photographs are at the centre of these transnational exchanges and networks, shifting from place to place, creating tangible and virtual threads between individuals, families, villages, and communities. They anchor these relationships at various sites, such as the wall in the family home, in albums, wallets, and on the internet. Vernacular photographs mirror these complex processes, and silently record and embody the social lives of people in a visual way.
The mirrored reflection of the vernacular photograph can be both objective and subjective. By using the vernacular photograph as a research medium, in ethnographic research, we can get closer to the lived reality of people’s social lives. To emphasise the privileged position of vernacular photographs, I have chosen to use the methodology of photo-elicitation to position the photograph at the centre of enquiry. The methodology used in this thesis borrows some essential concepts from the discipline of phototherapy. Phototherapy claims that photographs can open up an exploration of us and others and, when the participant has primary agency, the affective force of the photograph is powerful and insightful. This thesis strongly supports these assumptions. Phototherapy uses photographs to explore the thoughts and unconscious processes of individuals. I argue that, in social research, photographs can also be used to explore and ‘open up’ the social world, by positioning the participant as the prime authority of their images, and their images as the vehicle of engagement and communication. By using vernacular photographs in this way, I look at both ‘on the surface’ and ‘below the surface’ of the image, making links with Barthes’ photographic theory and his concepts of ‘studium’ and ‘punctum’. In this thesis, the participants are the curators of their own personal archives. Their photographs give an emic view of their world, emphasising the importance of their migrant history, ancestors, village home, community, and cultural identity. Their photographs mediate agency between persons and places: keeping alive personal and spiritual relationships in the here and now; reinforcing essential familial knowledge systems; and assisting in creating and maintaining community identity and belonging.
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Batool, Ayesha. "Quantifying Environmental Performance of Jali Screen Façades for Contemporary Buildings in Lahore Pakistan." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17931.
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Jali screens are traditional window treatments in vernacular buildings throughout South Asia and the Middle East. Contemporary builders are starting to incorporate Jali screens as decorative façade elements; however, architects and scholars have largely ignored the impact of Jali screens on overall building energy and day-lighting performance. This research evaluates the effect of Jali screens, across a range of perforation ratios, on energy utilization and day-lighting quality in contemporary office buildings. The data collection and analysis is through fieldwork in Lahore, Pakistan, as well as through computational energy modeling. Results demonstrate that Jali screens have a promising positive impact on cooling loads and may improve visual comfort. The findings suggest a holistic perspective combining traditional architecture and performance enhancement by architects and designers.
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Fougère-Danezan, Barbara. "Surdité et cinéma : un choc qui fait empreinte." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H302.
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Seuls deux ouvrages abordent la question de la surdité au cinéma. Il ne faudrait cependant pas croire que ce sujet manque d'intérêt. Nous postulons même que ce thème offre une richesse insoupçonnée. Notre thèse s'engage ainsi dans l'exploration de la relation complexe et dynamique entre le cinéma et la surdité, en l’observant sous différents angles. En nous appuyant sur les Deaf et disability Studies, nous examinerons les diverses empreintes que la surdité a pu laisser dans l'art cinématographique, ainsi que celles laissées par le cinéma dans la culture sourde. Pour cela, nous chercherons à comprendre comment le cinéma et la communauté sourde se rencontrent, s’influencent mais également entrent parfois en conflit. Des premières réalisations phonoscopiques de Demenÿ jusqu’aux productions grand public contemporaines, en passant par des créations en langue des signes, nous mettrons en lumière le rôle souvent méconnu des personnes sourdes dans l’histoire du cinéma, en tant que sujets, acteur·rice·s, producteur·rice·s et réalisateur·rice·s. Notre exploration nous amènera à nous demander quelles transformations le cinéma subit, tant dans sa forme que dans son fond, lorsqu’il rentre en contact avec la culture Sourde, et vice et versa. Nous examinerons également les efforts déployés par celleux qui cherchent à faire du cinéma un espace « commun » aux sourd·e·s et aux entendant·e·s<br>Despite the fact that, to date, only a couple of books treat of deafness in cinema, we should not hastily conclude that this subject lacks interest. We even postulate that this subject offers unsuspected richness. Our thesis thus engages in the exploration of this complex and dynamic relationship which exists between cinema and deafness, by observing it from different angles. We will therefore rely on Deaf and Disability Studies to examine the various marks that deafness has left in cinematographic art, as well as those left by cinema in Deaf culture. To do this, we will look back in history and seek to understand how cinema and the deaf community meet, influence each other or come into conflict. From Demenÿ's first phonoscopic productions to contemporary mainstream productions, including creations in sign language, we will highlight the often overlooked role of deaf people in the history of cinema, as subjects, actors, producers and directors. Our exploration will lead us to ask ourselves what transformations cinema undergoes, both in its form and in its content, when it comes into contact with Deaf culture, and vice versa. We will also examine the efforts made by those who seek to make cinema a “common” space for deaf and hearing people<br>Https://youtu.be/Evq_Jgd4DBU
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Gaydos, Benjamin. "[ethno]graphic design." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.
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Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.
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Venter, Schalk (Dawid Schalk Willem). "The people's typography : a social semiotic account on the relationship between 'township typography' and South African mainstream cultural production." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20278.
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Thesis (MPhil)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: This thesis presents an analysis of ‘township typography’ as a complex visual dialect
generated by various economic and historical factors within the South African social
landscape. A combination of specific tools, skills-sets and applications has produced a body
of typographic letterforms that can be visually distinguished from standardised letterforms
found in mainstream typography. Due to the origin of these letterforms, as well as their
distinct appearance, ‘township typography’ has the capacity to evoke specific social, cultural
or demographic structures in systems of communication. This study reveals that typographic
features from ‘township typography’ are drawn into mainstream cultural production,
particularly in the field of local advertising, as the result of a complex process of
incorporation and institutional consecration.<br>AFRIKAANSE OPSOMMING: Hierdie tesis bied ‘n analise van ‘township tipografie’ as ‘n komplekse visuele dialek wat
gegenereer word deur verskeie ekonomiese en historiese faktore eie aan die Suid-
Afrikaanse sosiale landskap. Die spesifieke kombinasie van gereedskap, vaardighede en
aanwendings lei tot ‘n liggaam van lettertipes wat visueel onderskei kan word van die
standaard wat in hoofstroom tipografie voorkom. Vanweë hierdie dialek se oorsprong,
asook die kenmerkende voorkoms daarvan, het ‘township tipografie’ die vermoë om
spesifieke sosiale, kulturele en demografiese strukture in kommunikasie op te roep. Hierdie
studie toon hoe eienskappe eie aan ‘township tipografie’ weens ‘n komplekse proses van
inkorporasie en institusionele inseëning in hoofstroom kulturele produksie opgeneem word,
veral op die gebied van plaaslike advertensiewese.
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Deas, Megan Elizabeth. "Imagining Australia: Community, participation and the 'Australian Way of Life' in the photography of the Australian Women's Weekly, 1945-1956." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148424.
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While the cultural history and practices of press photography in Australia have gained scholarly attention in recent years, the contribution of other forms of photography published in magazines—including editorial, advertising and readers’ photographs—to burgeoning concepts of nationhood has been largely overlooked. This thesis examines the role of photography in visualising a post-war ‘imagined community’ in a study of The Australian Women’s Weekly magazine, the highest-circulating weekly publication in the country, between the end of the Second World War in 1945 and the introduction of television in 1956. In its examination of these photographs, the thesis asks: What narratives of national identity were evident in the photographs? What subject matter and framing techniques were frequently employed to construct a national photographic language? And what does this reveal about the values the Weekly’s publisher and editors attached to being Australian? I argue that the Weekly was not passively depicting or reflecting a national community and its ‘Way of Life’, but that it actively constructed an Australian identity through the thousands of photographs it published, while simultaneously instructing its readers what good citizenship looked like—and how to perform their belonging to the nation. Visual analysis of over 200 photographs highlights the predominant narratives during the period, including an emphasis on the practice of family photography to reinforce ideals of urban, family life as centred within the modern home. Representations of immigration and Aboriginal Australians, the repetition of photographs of families participating in community events, and a valorisation of the rural worker’s relationship with the land were intertwined with the concepts of ordinariness and of the ‘Australian Way of Life’. These core ideals were deployed to enable multiple and potentially oppositional narratives to coexist on the pages of the magazine. Analysis of a series of readers’ colour travel photographs published in the later years of the study foregrounds the Weekly’s encouragement of its readers as collaborators by providing them with an opportunity to demonstrate their performance of national identity. The magazine thus became a platform through which readers contributed to the visual narrative of Australianness, via the medium of photography as a form of participatory citizenship. The thesis foregrounds the implementation of a high-speed printing press in 1950 as a turning point at which readers saw a significant increase in the publication of colour photographs of native flora and fauna, and specifically photographs of ordinary Australians within the landscape. I argue that Alice Jackson and Esme Fenston, the Weekly’s editors during the period of study, positioned it as the mediator of knowledge about Australia, and constructed a relationship with readers based on notions of intimacy and authority. Situated within the multidisciplinary field of visual culture, and drawing from photography studies, visual anthropology, cultural history and media studies, the thesis highlights the cultural work of photography in the process of imaging, and imagining, post-war Australia.
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Dion, Élisée. "Penser le monde en langue vulgaire et en images : enjeux sociaux et dimensions visuelles de la transmission du savoir dans l’Image du monde (XIIIe-XVe siècles)." Thesis, Reims, 2018. http://www.theses.fr/2018REIML013.
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Rédigée en 1246 par un clerc nommé Gossuin de Metz, l’Image du monde est considérée comme la première encyclo-pédie de langue française. Elle constitue à ce titre l’une des premières entreprises de transmission écrite d’un ensemble de savoirs sur le monde d’origine cléricale et latine à destination d’un public laïc et aristocratique. Trois versions furent produites, deux en vers et une en prose, dont il n’est pas certain qu’elles soient le travail d’une seule et même personne. Signe de son très grand succès, l’Image du monde est conservée dans 110 manuscrits. Elle constitue donc un objet de recherche idéal pour l’étude des phénomènes de transmission de savoir entre clercs et laïcs dans les trois der-niers siècles du Moyen Âge. Pour ce faire, la présente thèse envisage l’Image du monde à partir des représentations du monde et de l’ordre social transmises par son discours. Ces représentations ne sont pas seulement produites par le texte mais également par l’iconographie (miniatures, initiales historiées, drôleries) ornant une quarantaine de manus-crits, qui forment le corpus de recherche. Dans un premier temps, c’est d’abord l’économie du savoir de l’Image du monde, qui sous-tend la transmission du savoir et en détermine les modalités, ainsi que les implications sociales de la transmission de ce savoir hautement valorisé qui est analysées. La seconde partie de la thèse se concentre quant à elle sur la forte dimension visuelle de la transmission des savoirs opérée par l’Image du monde, à savoir le cycle de vingt-huit figures cosmographiques intégrées par l’auteur lui-même à son ouvrage et qui constitue une pièce maîtresse de sa stratégie didactique<br>Written in 1246 by a cleric named Gossuin de Metz, L’image du monde is considered to be the first French language encyclopedia. It is thus one of the first attempts to diffuse to a secular and aristocratic audience a body of knowledge concerning the world, originally coming from a clerical and Latin culture. Three versions were written -two in verse, one in prose- none of which are proven to be the work of only one person. 110 manuscripts were conserved, which can be considered as a proof of its great success. It is thus an ideal research object to study the knowledge transmission phenomena between the clerks and the laity during the Middle Ages’ last three centuries. To that end, this doctoral dissertation considers L’image du monde from the world and social order representations that are transmitted by its discourse. These world’s representations are not only transmitted by the text but also by the pictures (diagrams, minia-tures, historiated initials, drolleries) that adorn some forty manuscripts that constitutes my body of research. This study thus addresses both the text and the iconography. First off, the knowledge economy of L’image du monde will be analyzed, considering the discourse as determining the terms of knowledge transmission and its social implications. The second part of this dissertation focuses on the strong visual dimension taken by knowledge transmission in L’image du monde, relying on a cycle of twenty-eight cosmographic figures that were originally included in his manu-script by the author himself, and that represents the masterpiece of his didactic strategy
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Larcher, Jonathan. "Des arts filmiques en anthropologie. Enquête, expérience et écologie des images en "tsiganie"." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH045/document.
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Cette recherche s’est initialement constituée autour de la réalisation de films documentaires et d’une collecte d’images vernaculaires produites dans le « quartier tsigane » (une « ţigănie ») du village de Dițești, au sud de la Roumanie. Dès le début de l’enquête, mes interlocuteurs m’indiquent que leur tsiganie est peuplée d’images ; des telenovelas, des images domestiques, des « films de commande familiaux », etc. Chaque situation filmée fait ainsi l’objet d’intenses négociations entre des pratiques et des expériences filmiques contrastées. Ce travail de description et de reconstitution de l’expérience vécue et sédimentée des images de mes interlocuteurs, par l’observation de ses ramifications à la fois dans le monde social et dans une histoire et une écologie des images, a successivement pris la forme d’une enquête par les arts filmiques, d’une histoire visuelle et numérique des figures tsiganes des industries culturelles roumaines, et enfin d’une archéologie des pratiques filmiques vernaculaires en ţigănie.Bien que l’échelle de l’analyse soit celle de la monographie, l’enjeu de ce travail est de montrer combien cette forme d’expérience reconfigure la pratique des arts filmiques et élargit le champ phénoménal des différentes traditions de recherche qui composent le domaine de l’anthropologie visuelle (« ethnographie expérimentale », Indigenous media et film ethnographique). En somme, cet ensemble de propositions visuelles et manuscrites considère les arts filmiques comme des outils analytiques permettant de comprendre et faire comprendre l’expérience vécue des personnes filmées et l’agentivité des images dans le monde social que nous habitons. Ce qui implique, c’est à la fois la conclusion de cette recherche et le postulat du manuscrit, de considérer les cinéastes et les interlocuteurs de l’anthropologue comme de véritables observateurs et théoriciens des images et des réalités vécues. Ainsi, en appréhendant les images au prisme de l’expérience des images des enquêtés, cette recherche expose la manière dont les arts filmiques – en tant que pratique et discipline – produisent de nouveaux questionnements anthropologiques. Complémentairement, et de manière plus critique, ce savoir des images invite à reconsidérer avec attention la manière dont les anthropologues (et les cinéastes) délèguent parfois aux technologies de l’image des fonctions descriptives, mémorielles, ou transactionnelles<br>This research initially consisted of the production of documentary films and a collection of vernacular images produced in the "Gypsy Quarter" ( "ţigănie") of Diţeşti, a village in the south of Romania. From the start of this investigation, my interlocutors informed me that their ţigănie is populated by images; telenovelas, domestic pictures, “commissioned home movies”, etc. Each filmed situation is therefore the subject of intense negotiations between practices and contrasting filmic experiences. This work is based on a description and the reconstruction of the lived experiences, sedimented with images of my interlocutors. By observing the ramifications of this work, both in the social world and in a history and ecology of images, it has progressively taken the form of an investigation by the filmic arts, a visual and digital history of Gypsy figures of the Romanian cultural industries and an archeology of vernacular film practices in ţigănie. Although the scale of the analysis is that of a monograph, the challenge of this work is to show how this form of experience reconfigures the practice of filmic arts and broadens the phenomenal field of different research traditions that constitute the field of Visual Anthropology ("experimental ethnography", Indigenous media and ethnographic film). In short, this set of visual and textual proposals considers the filmic arts as analytical tools for understanding and making understood the lived experience of filmed people and the agentivity of images in the social world we inhabit. What this thesis proposes, both in its hypothesis and conclusion, is to consider both filmmakers and the anthropologist’s interlocutors as true observers and theoreticians of images and experienced realities. Thus, by understanding images through the experience of the respondents’ images, this research demonstrates the way in which the filmic arts - as a practice and a discipline - generate new anthropological questions. In addition, and more critically, this knowledge of images invites us to reconsider attentively the way in which anthropologists (and filmmakers) sometimes delegate the descriptive, memorial or transactional functions of images to visual technologies
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Córdova, Manzor Manuel. "Recopilación y reinterpresentación visual de la gráfica funcional vernacula de Santiago de Chile : libro modesto estupendo." Tesis, Universidad de Chile, 2004. http://www.repositorio.uchile.cl/handle/2250/111685.
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Riboni, Ulrike Lune. ""Juste un peu de vidéo" : la vidéo partagée comme langage vernaculaire de la contestation : Tunisie 2008-2014." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080074.
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Du soulèvement survenu en Birmanie en 2007 aux révoltes qui ont traversé les pays de la Méditerranée en 2011, les usages de la vidéo partagée sur internet n’ont cessé de se développer au cœur des manifestations et des émeutes. À partir d’observations menées sur internet et d’une enquête de terrain en Tunisie, la thèse s’attache à décrire l’évolution des usages de l’image animée sur le temps long du processus révolutionnaire tunisien entre 2008 et 2014, et à questionner la place et le rôle de ces pratiques dans un monde social en ébullition. L’analyse des contenus mais aussi des tensions socio-politiques qui ont présidé et succédé au moment insurrectionnel, suggère que la prise d’images n’est pas seulement une pratique utilitaire et stratégique destinée à sensibiliser ou à produire une information alternative, mais qu’elle sert des objectifs complexes traversés par les enjeux de lutte qui ont animé les différentes périodes. Des premiers usages en période autoritaire aux productions en plan-séquence dans le temps de l’urgence insurrectionnelle, des montages et mises en scènes accompagnant les mobilisations pour la reconnaissance des acteurs de la révolte à ceux réaffirmant les revendications des populations marginalisées, la vidéo partagée s’est affirmée comme le langage vernaculaire de la contestation<br>From the Burma uprising in 2007 to the revolutions of the Arab world in 2011, the uses of digital video have continued to grow, from the heart of demonstrations and riots to the internet. Based on observations conducted on the internet and on a field survey in Tunisia, the thesis describe the evolution of moving image uses in the Tunisian revolutionary process between 2008 and 2014, and interrogates the place and role of these practices in a social world in turmoil. Content analysis combined with analysis of the socio-political tensions that led and succeeded the uprising, suggests that taking pictures is not only a strategic utility practice to raise awareness or to produce alternative information, but that it serves complex objectives marked by the struggle issues of the different periods. From the first uses in authoritarian period to the uses during riots weeks, from edited clips for recognition of revolutionary actors to productions for the recognition of marginalized populations, shared videos revealed as the vernacular language of protest
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Riboni, Ulrike Lune. ""Juste un peu de vidéo" : la vidéo partagée comme langage vernaculaire de la contestation : Tunisie 2008-2014." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080074.
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Du soulèvement survenu en Birmanie en 2007 aux révoltes qui ont traversé les pays de la Méditerranée en 2011, les usages de la vidéo partagée sur internet n’ont cessé de se développer au cœur des manifestations et des émeutes. À partir d’observations menées sur internet et d’une enquête de terrain en Tunisie, la thèse s’attache à décrire l’évolution des usages de l’image animée sur le temps long du processus révolutionnaire tunisien entre 2008 et 2014, et à questionner la place et le rôle de ces pratiques dans un monde social en ébullition. L’analyse des contenus mais aussi des tensions socio-politiques qui ont présidé et succédé au moment insurrectionnel, suggère que la prise d’images n’est pas seulement une pratique utilitaire et stratégique destinée à sensibiliser ou à produire une information alternative, mais qu’elle sert des objectifs complexes traversés par les enjeux de lutte qui ont animé les différentes périodes. Des premiers usages en période autoritaire aux productions en plan-séquence dans le temps de l’urgence insurrectionnelle, des montages et mises en scènes accompagnant les mobilisations pour la reconnaissance des acteurs de la révolte à ceux réaffirmant les revendications des populations marginalisées, la vidéo partagée s’est affirmée comme le langage vernaculaire de la contestation<br>From the Burma uprising in 2007 to the revolutions of the Arab world in 2011, the uses of digital video have continued to grow, from the heart of demonstrations and riots to the internet. Based on observations conducted on the internet and on a field survey in Tunisia, the thesis describe the evolution of moving image uses in the Tunisian revolutionary process between 2008 and 2014, and interrogates the place and role of these practices in a social world in turmoil. Content analysis combined with analysis of the socio-political tensions that led and succeeded the uprising, suggests that taking pictures is not only a strategic utility practice to raise awareness or to produce alternative information, but that it serves complex objectives marked by the struggle issues of the different periods. From the first uses in authoritarian period to the uses during riots weeks, from edited clips for recognition of revolutionary actors to productions for the recognition of marginalized populations, shared videos revealed as the vernacular language of protest
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Drimmer, Sonja. "The Visual Language of Vernacular Manuscript Illumination: John Gower's Confessio Amantis (Pierpont Morgan MS M.126)." Thesis, 2011. https://doi.org/10.7916/D8FN1BZP.
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The Confessio Amantis, a poem completed in 1393, opens with its author's pledge to: wryte of newe som matiere essampled of these olde wyse [write anew some matter modeled on these old wise books]. Expressing a commonplace among writers of vernacular literature in late medieval England, John Gower describes authorial activity as the process of translating and assimilating pre-existing narratives. This dissertation argues that such conceptualizations of authorship were embraced by illuminators of vernacular literature in their burgeoning notion of invention before the ascendance of print: as translation and compilation provided a model of creativity founded on the alteration of models, illuminators located an ideal congenial to both the restrictions and freedoms of their own profession. The centerpiece of the study is Pierpont Morgan MS M. 126, a manuscript of the Confessio Amantis produced c.1472 and made for Edward IV and his Queen Consort, Elizabeth Woodville. Although it has been acclaimed as one of the most impressive extant manuscripts of Middle English literature, it has never been the subject of a major study. The aim of the dissertation is to recognize and restore to the illustrator the power of his position between the conception of a text and the consumption of a book. Part One focuses on the illustrator's interactions with the textual voices of the Confessio Amantis, demonstrating how the images in nineteen manuscripts of the poem, including the Morgan Confessio, address the identity of the author of the poem (Chapter One); and how miniatures in the Morgan Confessio reinterpret its Ovidian narratives (Chapter Two). Part Two shifts attention to the illustrator's confrontation with his patrons. Although their impact on the production of this manuscript appears to have been minimal, I observe how, as patrons they furnished a visual context for the Morgan Confessio from within their own library of illustrated historical manuscripts (Chapter Three) and books on science (Chapter Four). Produced just before Caxton printed his first book in Westminster in 1476 and standing at the threshold of standardization, this manuscript offers a complex glimpse into the variance that epitomized creative activity in illustrated vernacular manuscripts.
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Moreira, Eugenio Paccelli Paiva. "Vistas do Oriente – Território imaginado: Fotografia vernacular e mediação do orientalismo no Séc. XIX." Master's thesis, 2021. http://hdl.handle.net/10362/134980.
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– Esta pesquisa busca refletir sobre fotografias vernaculares do século XIX, com o propósito de explorar questões suscitadas pela sua mediação na construção do olhar ocidental sobre o Oriente Médio. Procura também descrever o impacto cultural que a prática fotográfica e essas imagens produziram nas relações sociais e culturais entre as duas civilizações. Apoia-se na análise conjunta das 181 imagens dos álbuns Vistas do Oriente I e II, encontrados na Fazenda Santa Maria do Monjolinho, interior do estado de São Paulo/Brasil, empregando fundamentos teóricos e metodológicos da antropologia visual. O trabalho avalia os recursos materiais e intelectuais utilizados pela fotografia na tarefa de viabilizar e ampliar a visão colonialista do mundo representada pelo orientalismo. Relaciona o papel mediador — representativo e interpretativo — da fotografia na criação do Outro oriental. E aborda a maneira como o orientalismo transferiu-se e reproduziu a si mesmo articulado pela visão dos fotógrafos.<br>– This study intends to reflect on 19th century vernacular photographs, aiming to explore the issues raised by their mediation in the construction of the Western point of view on the Middle East. It also seeks to describe the cultural impact that the photographic practice and these images produced in social and cultural relations between the two civilizations. My starting point will be to consider, together, the 187 images from the albums Vistas do Oriente I and II, discovered at Fazenda Santa Maria do Monjolinho, in the interior of the state of São Paulo / Brazil, using theoretical and methodological fundamentals of visual anthropology. This research addresses the material and intellectual resources used by photography in the task of enabling and expanding the colonialist vision of the world represented by the Orientalism. It lists the mediating role — interpretive and representative — of photography in the creation of the Oriental Other. Takes into account how didOrientalism transfer and reproduce itself articulated by the photographers' vision.
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Bullen, Leah Louise. "Virtual Nature: A practice-led enquiry into the relationship between painting and vernacular photography through the process of the painted monotype." Phd thesis, 2018. http://hdl.handle.net/1885/157027.
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My practice-led research explores the relationship between painting and vernacular photography through the process of painted monotypes. This project has developed from an ongoing fascination with the visual qualities of photography and what happens when you translate photographs into other material forms, such as painting. The aim of this project is to develop images that interrogate how painted monotypes provide a distinctive interpretation of embodied experience through their visual, material and sensory qualities. Today, like no other time in history, photography is embedded in our daily lives through hand-held devices and the interface of the digital screen. My research examines how this embedded experience of the photographic relates to the processes and visual qualities of the painted monotype. The project is focused on three primary locations as subject matter: the aquarium, the botanical glasshouse and the habitat diorama. Through my research I explore how these sites function in optically and conceptually similar ways to the world of images, through shared notions of virtuality and indexicality. This research is informed by the work of Édouard Vuillard, Mamma Andersson, Peter Doig, David Hockney and the landscapes of Gustav Klimt. These painters interrogate the territory between painting and lens-based images in very specific ways, relating to visual perception, embodied vision, figure and ground relationships, and visual textures. In a theoretical context, my examination of the relationship between painting and photography has been motivated by the writings of Elizabeth Wynne Easton, Aaron Scharf, John Berger and Russell Ferguson; while Anne Friedberg, Rob Shields, Nicholas Mirzoeff, Geoffrey Batchen, Kris Paulsen and Johanna Love have been instrumental in determining a connection to the virtual and the index in my research.
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HUANG, HSIU-HUI, and 黃修慧. "A study on the vernacular art applying in the primary school's high grade visual art course - Taking the local temple colored drawing as examples." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/41018040167977936473.
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碩士<br>國立臺北大學<br>民俗藝術研究所<br>94<br>The building colored drawing or pattern in the temple contains compatriot's traditional aesthetics , space , religion view, far different with the building of western culture, we should value this culture resource , from to seek by unique view not aesthstic not such Chinese.
To now in the past, the temple was closely linked with the people's life, the ornament thing in the temple is revealing the psychology that people earnestly hope everywhere. The dense integral folk art of these and people, should be known very well by people, but like this , on primary school that I teach in fact but speech, the students do not find out about the basic artistic intension in the temple , can't realize the ancestors great pain naturally , so should continue passing on , extending art of the temple, must from the moment that the pupil of primary school sets up basic aesthetic conceptions, cause it value emotion , temple of art.
This research passes the document discussion , apply visual art artistic to probe into with humane field , vernacular art , temple colored drawing or pattern apply visual art teaching ,etc. theme to for key structure. Build and construct the theme of regarding temple colored drawing or pattern as , as teaching resources , pass the form of the vernacular art, apply visual art course to. By the community temple around the primary school of Sanxia where the author teaches in order to probe into the target mainly first, and then expand and Taipei every temple, documents which carries on relevant resources are analysed and investigated. Implement it in the teaching activity further by this.
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Oldfield, Christina. "Picturing home : home as represented in vernacular image making : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington." 2010. http://hdl.handle.net/10179/1536.
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This project grew out of an interest in notions of ‘home’, what ‘home’ is and its relationship to the ‘house’ as a physical place of dwelling. Specifically, this project explores how the home is represented in vernacular image-making, such as the photographs in the family album and craft methods such as cross-stitch. This lead to an investigation into vernacular photography, collections and archives, and contemporary craft methods. An archive of photographs collected follows the text, as well as drawings and embroideries made during the project. The final work consists of a large-scale projection of a cross-stitch and the photograph it originated from.
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McLeod, Heather Skye. "The art of the everyday: experiences of a house." Thesis, 2009. http://hdl.handle.net/1828/1552.
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The purpose of this study was to document and understand the meanings associated with the visual elaboration (Painter, 2002a), of a particular house i.e. what was done to it after it was built and why, in Victoria, British Columbia, Canada, by successive occupants, including myself, over a period of nine decades. I used a case study, involving documents and artefacts and interviews with key informants. Taking an interpretive epistemological stance, I employed a narrative approach to inquiry (Kramp, 2004, Johnson-Bailey, 2004).
The individual narratives resonated with recent anthropological findings. The house saw home managers exert their agency (Pink, 2004). Additionally, inhabitants left a signature on the structure (Dominy, 1997), and carried with them mementos from the home they had made there (Marcoux, 2001). Over time, through transformation processes, both individuals and the house were changed (Miller, 2001a). Further, the design legacy left by previous inhabitants acted as a form of agency on successive residents (Miller, 2001b), and through reciprocal accommodation the house and its occupants came to terms with each other (Miller, 2002).
Additionally, six common themes emerged: epistemological orientation, economics, male and female, reminiscences and affect, childhood to adulthood and history and presence. My finding that an individual’s epistemological stance was related to her/his artistry supports an emerging vision in art education, that of art practice as research (Sullivan, 2005). This has implications for both research and practice. Firstly, the processes through which non-specialists work need to be more fully explored. Secondly, we require a changed view of art history where art images are understood as part of a productive visual culture (Marshall, 2007). This is a concept-focused analysis of art where meaning is demonstrated to be contextual and intergraphical, and is manifest in artworks that can be scrutinized across cultures and time. Thirdly, our concept of visual literacy must expand; if we construct knowledge and reality through making images as well as by decoding the meaning of existing visual images, then art practice is schools is imperative (Marshall). Finally, visual thinking is integrative (Marshall), and thus art integration and a new approach to art and learning are essential.
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Mashigo, Kgomotso. "Interrogating rapid design ethnography : a strategy for exploring the indigenous visual vernaculars of the Ghanaian Adinkra symbols." Diss., 2016. http://hdl.handle.net/2263/51379.
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This study introduces rapid design ethnography as a research strategy that may be used in design as an alternative to conventional ethnography. It interrogates this strategy by means of a study of the Ghanaian Adinkra symbols. Adinkra is an indigenous graphic language that carries specific cultural narratives that embody proverbs and or poetic messages. In view of this, this study discusses how a collaboration between ethnography (and rapid ethnography) and design can be merged to create appropriate visual communication with specific reference to this indigenous visual vernacular. The study also highlights the evolution of rapid ethnographic techniques in comparison to conventional ethnography, as well as the way that these techniques may be of assistance to both designer and ethnographer.<br>Mini Dissertation (MA)--University of Pretoria, 2016.<br>Visual Arts<br>MA<br>Unrestricted