Dissertations / Theses on the topic 'Drawing 21st century Themes'

Buildings which address space through all the senses, rather than being dominated by ocular centric considerations solely, have become the minority within the discipline of Architecture. This can create an imbalance, perceivable as feelings of estrangement and detachment for the inhabitant. Estrangement is particularly evident within health care architecture, which owes much of its current form to ideas developed during Modernism. In response to this imbalance, Architecture from the past may have lessons which can be applied. This thesis investigates the potential of applying spatial techniques and approaches learned from the 16th century Japanese tea-house. A health care building which benefits from the same kind of reflective and contemplative spaces inherent in the tea-house includes counseling facilities, and therefore an outpatient cancer care center was chosen to apply these lessons. Among the techniques researched and applied, the use of a sequential vision of spatial experience, which reveals the building in stages and facilitates spaces for pause and reflection, was particularly powerful. The result is a building with spaces that take on an almost sacred tone, where one can be at peace with the realities of their current situation, and begin thinking about the path forward.
Master of Architecture

In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.

Orientadores: Anna Paula Silva Gouveia, Ana Paula de Campos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:24:27Z (GMT). No. of bitstreams: 1 Fernandes_Mirla_M.pdf: 111615006 bytes, checksum: 4dacb5c961d742397f77bff07ea4a1c6 (MD5) Previous issue date: 2013
Resumo: Esta dissertação teve como objetivo uma investigação sobre a linha enquanto elemento comum do desenho e da joia. Esta última, é aqui entendida como produto da arte-joalheria, campo que se apresenta como resultado de intercâmbios e contaminações com outras linguagens e práticas em arte contemporânea. A pesquisa envolveu três estratégias de investigação realizadas simultaneamente, e que se influenciaram mutuamente: uma pesquisa bibliográfica, o desenvolvimento de um trabalho plástico, e a realização de entrevistas com artistas-joalheiros, que trazem a linha como elemento em seus trabalho, indicando uma possível fonte de novas e diversas relações desenho/joia. A pesquisa bibliográfica levantou conteúdos pertinentes ao desenho e, sobretudo, à arte-joalheria, buscando trabalhos que se caracterizassem por um diálogo entre linguagens artísticas, configurando produções transversais que se afinam a conceitos levantados por Bourriaud, e a inscrevem no campo da arte contemporânea. A investigação plástica levou ao desenvolvimento ao conjunto de trabalhos Ensaios de Imprecisões, exibidos pela primeira vez em Agosto de 2013, na Galeria da Casa do Lago, Campinas. As entrevistas foram uma solução encontrada para suprir a ausência de literatura específica sobre o assunto, e elucidaram os processos criativos e entendimento das poéticas dos artistas entrevistados: Otto Künzli, Doris Betz e Dani Soter. As reflexões e resultados, levantados nas diferentes estratégias, corroboraram para um entendimento da linha, como elemento comum entre o desenho e a joia, que ultrapassa o sentido formal evidente, ampliando-se em jogos simbólicos e estratégias relacionais. A linha tece novas relações de aproximação entre desenho/joia, reiterando a prática da arte-joalheria, como produção de arte contemporânea
Abstract: This dissertation had as objective an investigation on the line as common element of drawing and jewelry. This last one is here understood as a product of art-jewelry, field that presents itself as a result of exchanges and contaminations with other languages and practices in contemporary art. The research involved three strategies undertaken simultaneously, and that influenced each other: a bibliographical research, the development of an artistic work, and interviews with jewelry-artists, who had the line as an element in their work, indicating so a possible source of new and diverse relationships drawing/jewel. The bibliographical research revealed relevant content about drawing and especially art-jewelry, looking for works that were characterized by a dialogue between artistic languages, configuring crossing over productions that are in tune with the concepts raised by Bourriaud, and are inscribed in the field of contemporary art. The artistic practices led to the development of the body of works Ensaios de Imprecisões, shown for the first time in August 2013 at Galeria Casa do Lago, Campinas. Interviews were a solution to overcome the absence of specific literature on the subject, and elucidated the creative processes and understanding of the poetics of the artists interviewed: Otto Künzli, Doris Betz, and Dani Soter. The ideas and results, raised in the different strategies, corroborated to an understanding of the line, the common element between drawing and jewelry, that exceeds the formal evident sense, extending it into symbolic games and relational strategies. The line weaves new relations of proximity between design / jewelry, reiterating the practice of art-jewelry such as contemporary art production
Mestrado
Artes Visuais
Mestra em Artes Visuais

The thesis analyses perceptions of news in relation to everyday life as articulated by Greek news audiences and journalists. The model proposed here offers a testing and reconfiguration of an extant theoretical model ('super-themes') (Jensen, 1998b) which connects consumption of news to perceptions of everyday life. The thesis locates the schemes of perception of the Greek audience upon the axes of time, power, space and a threatened identity as they were articulated by the news audience and the newsmakers. A mixed-method approach is used primarily consisting of interviews and analysis of the news text, examining the creation of meaning as a negotiated dynamic process among news audience, news texts and newsmakers. Through thick description, the 'super-themes' of the Greek media landscape surface as underlying explanatory schemes encompassing the reception of television news. The analysis indicates that the Greek audiences perceive the news text and the news media in general as disempowering the individual and it also indicates an intention to apply critical and negotiated readings to the news texts. The 'super-themes' that surface on the basis of this research indicate that Greek news audiences and newsmakers oscillate between perceptions of an 'underdeveloped' and 'developed' self and nation which, however, is disempowered by widespread corruption. At the same time, the contributions of .. _---_._----.- - participants indicate perceptions of Greece as a small and threatened country in the periphery of Europe. The research was carried out in the aftermath of specific events that took place in 2004 and were presented as national successesl!2Jhe Greek media and the thesis analyses them as 'media events' potentially instigating changes in the self-perception of the Greeks at the dawn of the new millennium.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.

The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

This mini-thesis interprets the convergence of food and memory and explores dialectical processes associating food, identity and (post)memory, particularly in the context of post-apartheid South Africa. Considering works by prominent South African Artists Berni Searle and Churchill Madikida as well as my own artistic practise and usage of food as conceptual medium, this study considers the converging effects of food, identity and memory, together with the materiality of food, from a fine arts perspective, as particularly rich and developing arena for memory work

Notre thèse a pour enjeu la poétique de la distance dans les fictions de dix écrivains français et francophones de la seconde génération de la guerre d'Algérie (1954-1962), c'est à dire à distance de cet événement. Leurs fictions, publiées entre 1987 et 2010, interrogent la transmission et la filiation.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

„Sketching the world“ bedeutet entwerfen von Welt mittels analogen und digitalen Zeichenmitteln - auch in Zukunft benötigt es dafür im Design Engineering der Künstlichen Intelligenz (KI) und der Emotionalen Intelligenz (EQ – nach Daniel Goleman). Zeichnen ist Kulturgut seit der Steinzeit und ist für die kulturelle Bildung als auch für das Design Engineering der Zukunft von großer Bedeutung. Zeichnen-Erfahrungen, sei es mit dem Stock im Sand oder mit dem Stift auf Papier, beginnt in der Primarbildung: Bereits hier ist es als Kulturtechnik essentiell für die Gesellschaft, indem der aktive Akt des Zeichnens Selbstausdruck und kulturelles Gedächtnis, Signifikat ist. Zeichnen ist individuelles und kollektives Wissens- und Bildungsmanagement für die Welt von morgen und muss in der Primabildung früh – multidisziplinär – verankert sein, soll es im Skizzieren, im Mapping, als Repräsentation und Projektion wirkungsvoll für das Design Engineering in Europa, auch in der Augmented Reality, eingesetzt werden.

The research of a practice led PhD in Fine Arts consists of interrelated artwork and writing (Macleod and Holdridge 2005:197). In the dual practical and theoretical research for this PhD I examined drawing as a generative medium in art making. This thesis constitutes the theoretical aspect of such research, which is rooted primarily in artistic practice and not in theory. As the other, practical aspect of this PhD I have produced and exhibited original art works, namely works in paint and drawing media. The thesis presented here is an integrative text supporting this practical aspect. It examines the role and process of drawing as a contemporary medium of artistic expression, and pays special attention to its generative nature. The focus on drawing stems from the fact that drawing plays a seminal role in all aspects of my art-making. The thesis examines the body of art works produced during this research as well as the artistic process and methodology used to produce it. It also contextualises the research within the contemporary Fine Art field where drawing has become an ascendant, primary and legitimate medium of artistic expression. In the history of mainly Western art since Classical Antiquity, drawing served an essential and predominantly, though not exclusively, preparatory function. In the last fifty years the status of drawing has shifted, so that it has become a legitimate primary medium of expression for many contemporary artists. The historical function of preparation is consequently no longer the primary guiding rationale for drawing. The status of drawing as secondary and incomplete is now also obsolete. As a consequence of this recent radical function and status shift, current drawing discourse and practice is continually open to question and exploration. Moreover, there is little consensus about the nature of drawing among key players in the Fine Art field. This, as well as the ambiguous nature of drawing which allows it to be a constituent of other media as well as an independent medium, complicates any attempt to define drawing strictly. Having given an outline of the parameters of my specific research topic and my rationale for choosing it, the text proffers a working definition of drawing. Notwithstanding the challenging nature of this task a working definition is necessary to discuss the focus of the research—drawing. The thesis next examines my idiosyncratic use of drawing. Lastly, I address the central question of the thesis, namely, what accounts for the generative nature of drawing? The title of the research, Drawing as a Generative Medium in Art Making, may seem to suggest that the generative potential of drawing is peculiar to the medium as a discrete entity. This research concluded that while drawing is indeed eminently suited to such a function, this exploratory and innovative capacity is the likely outcome of a complex of factors. These factors span artistic approach, drawing process and medium. These inextricably connected factors are difficult to treat discretely. Each of them plays an essential role in this non-formulaic, nuanced and dynamic thinking and art making process. It was therefore concluded that media other than drawing, if combined with a similar complex of factors, may have a marked generative potential as well.
Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

I focus on four operas premiered in Europe and the United States between 2009 and 2016 in which elements of the medieval, ritual, ancient, religious, and mystic emerge through their source material: _Adam and Eve: A Divine Comedy_ (2015, Norway), by Cecilie Ore and Bibbi Moslet; _Kalîla wa Dimna_ (2016, France), by Moneim Adwan and Fady Jomar; _Lilith_ (2009, USA) by Anthony Davis and Allan Havis, and _Paradise Reloaded (Lilith)_ (2013, Austria), by Peter Eötvös and Albert Ostermaier. This dissertation argues that these operas, rather than seeking a renaissance or rebirth of the mythic, draw inspiration and narratives from what I am calling “distant pasts,” reimagining universal or “timeless” narratives of humanity through a specific contemporary lens in an explicit and deliberate interrogation of the political present. Mapping out different modes of staging these distant pasts in response to cultural and political change in the twenty-first century, I suggest new modes of conceiving adaptable operatic “networks of comprehension” that encompass the multiple subject positions and geographical and cultural contexts that shape opera today. Each opera is presented as a case study in a single chapter, balancing musical analyses with political, historical, and cultural critique. Interviews with “stakeholders” (composers, librettists, singers, directors), many of which I conducted, form an integral part of this process. My analyses explore these four operas’ unconventional attitudes towards time, narrative, and drama, and in probing each opera’s idiosyncratic relationship with its distant pasts, I chart the complex manifestations of recent political discourse in Europe and the United States, especially concerning the intersection of feminism, race, religion, and secularism.

Submitted in partial fulfilment of the requirements for the Masters of Technology in Fine Art Degree, Durban University of Technology, 2017.
The aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art.
M

Thesis: Over the past decade there has emerged a growing body of scholarship concerned with the impacts and influences of automobility. Its purpose has been to understand the dominance of the car not simply as a technology of transport but as a system of actors, materials, objects, ideas and infrastructure. While much of this research recognises the pervasive presence of the car in our lives in terms of different representational formats, relatively little consideration has been given to what creative artists might contribute to this research. Adopting an interdisciplinary framework incorporating contemporary art, visual anthropology and the archaeology of the contemporary past, this study explores the intersection of car cultures and creative practice to consider how cars can operate as a form of art. In doing so the author proposes that artistic engagements with the car provide unique insight into the experiences of contemporary life. This argument follows from the understanding that art is not simply a mirror of or response to the socio-cultural and political context in which it is manifest. Art is also a conceptual tool for thinking about the very substance and conditions of contemporary existence. Incorporating research undertaken across numerous car culture sites and communities along with a detailed analysis of six case studies, the project makes extensive use of photography as a mode of research. Within the accompanying exegesis the author discusses how her own artwork engages with the influence of automobility in our daily lives. She identifies her working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds is informed by her training and sensibility as an archaeologist. The artist explores this idea as a general influence on her practice and more specifically through her investigation of car cultures. The signature of the automobile is all around us, but through its very ubiquity it often goes unnoticed. It is this affect of the everyday - the power to hide in the light - that has especially influenced the artist's approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility the artist aims to reflect on the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. The artist's photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how she came to develop her practice in response to this topic, the artist concludes that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research. Exegesis: This exegesis discusses how I came to develop a body of work that engages with the influence of automobility in our daily lives. I identify my working practice as one that is strongly inspired by objects, images and materials that already exist in the world. This enduring interest in the way people make their worlds in informed by my training and sensibility as an archaeologist. I explore this idea as a general influence on my art practice and more specifically through my very ubiquity it often goes unnoticed. It is this effect of the everyday - the power to hide in the light - that has especially influenced my approach to the subject. How might this presence in our lives be envisaged without representing the car itself? By abstracting the auto from automobility I aim to reflect upon the contradictory ideas and emotions that underlie our relationships to the motor vehicle. The story of the car is also allegorical. From the point of purchase to the aftermath of its obsolescence, the automobile is a site for the projection of our desires. My photographs and video work are an expression of this sweet melancholy; the beauty of hope and the spectre of unfulfilled promise. In discussing how I came to develop my practice in response to this topic, I conclude that many different modes of being and making - from driving, to talking, to photography - may constitute art as practice-based research.

This diploma thesis is written on one of the least investigated and the least known areas of the Russian literature - contemporary Russian poetry. The aim of this thesis is to propose certain perception of, on one hand, the artistic patterns and contents, and, on the other hand, of the historical, cultural, social and aesthetic significance of the contemporary poetry. The key principles of the current poetic scene include the shift of the literary paradigm, aesthetic pluralism, and variety of the artistic styles. This work consists of three parts. The first chapter describes the theory of the forming of the post- Soviet literature, as well as its state after the second half of the 1980's until the present day, in the context of social, cultural and literary factors. The features and certain phenomena of the current literary process are also discussed within the first chapter. The second chapter examines the main aesthetic trends of the contemporary Russian poetry. The last part of the thesis provides the look upon the problematic and thematic characteristics as well as the stylistic features of the contemporary poetry. The research is based on the analysis of the works of some of the most outstanding contemporary Russian poets, which were included in the representative sample of this thesis: A....

Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1
The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)

Text in English
The rise of the biotechnical and genomic revolution has motivated contemporary artists to explore the use of scientific methods as a medium for art-making. The application of these ground-breaking methods within the realm of contemporary art allows for the distortion that exists between life sciences and the imagination to become a reality. This practice is known as transgenic art. With biotechnology as the new playing-field for art comes a myriad of dangerous implications, ethical issues, questions of authorship and responsibilities. The transgenic artworks of Eduardo Kac entitled GFP Bunny (2000) and Genesis (1999) form the basis of the research. The main question posed in this research explores the purpose of transgenic art and the unavoidable impact thereof on society. Social awareness of ethical issues surrounding this type of art-making is addressed. The poignancy of the study lies in debates deliberately introduced by the artist, but also unintended controversial issues that surface from the creation of living artworks.
Art History, Visual Arts & Musicology
M.A. (Visual Arts)

Indiana University-Purdue University Indianapolis (IUPUI)
In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.