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1
Lee, Youjung. "A study on the application of contemporary visual art into flagship stores of luxury fashion brands." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/8568.
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Luxury fashion brands face a new challenge as to how to sustain brand growth while maintaining the exclusivity of brands due to the democratisation of the luxury phenomenon which is mainly driven by the emergence of ‘new luxury’ and changes of consumption style ‘trading up’. Luxury consumers are becoming disillusioned with the vulgarisation of luxury goods and prefer exclusive luxurious experiences. In order to keep pace with the changes in luxury consumer needs and promote an image with creative and luxurious connotations, luxury brands increasingly associate with contemporary visual art through diverse kinds of channels. Among the channels, great attention has been given to contemporary visual art exhibitions within a flagship store due to its benefits: geographical location, cutting investment cost and offering direct art experience to consumers. However, there is no theoretical research investigating the main points to be considered in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands. Moreover, there is a need for a systematic approach in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands as relying mainly on a designer’s intuition might pose a problem: delivering different messages from those intended. Through the research, four main propositions were identified which need to be considered when luxury fashion brands apply contemporary visual art exhibitions to their flagship stores: 1) brand communication with consumers, 2) the fit between brand identity and that of an artist, 3) consumers’ value/benefits in the way that enhance consumers’ aesthetic experience of art and 4) artists’ value/benefits. Models including a conceptual model and a design tool kit were developed and tested with experts in this field. The proposed models are decision supporting tools which provide a comprehensive overview regarding the main points to be considered as well as support finding a high fit artist to brand identity. They offer advantages as follows: 1) the conceptual framework improves understanding of the needs/values of the three main stake holders such as luxury fashion brands, consumers and artists for this practice and provides an insight into how to address them in applying contemporary visual art exhibitions to flagship stores of luxury fashion brands 2) the tool kit assists in making a decision when selecting artists or artworks and offers benefits to all the stake holders: 1) luxury brand value by managing their touch points effectively that ultimately lead to enhancing brand communication, 2) consumer value by preventing confusion caused by disharmonious messages from all the touch points within flagship stores, and 3) artist value by finding a matched brand for synergy between brands and artists.
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Silberstein, Rachel. "Embroidered figures : commerce and culture in the late Qing fashion system." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f170232-4836-47ee-a535-901834528b21.
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Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.
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Kim, Pielah. "A New Approach to Co-branding: Visual Artist and Fashion Retailer Ingredient Branding and Hedonic Brand Extension." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436882468.
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Du, Preez Martelize. "The construction of multiple identites in the display of women as objects of desire and submission." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1731.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.As manufacturing jewellery artist, I have found that it is now most often women rather than men who commission or purchase jewellery. These women often earn substantial salaries and therefore they are in a position to indulge freely in what traditionally was considered the frivolous pursuit of beauty. Consequently, women are challenging expectations that they be submissive and desirable display objects, thereby signifying their dependence on male economical power. The aim of this research is to encourage transformation and the development of an individual and independent feminine identity by exposing the pressures placed on women to construct their identities as prescribed by patriarchal institutions, dress codes, fashion, science and therefore also gender stereotyping and gender inequalities. The three chapters of my thesis are titled Restriction, Change and Liberation?, which is followed by a discussion of my practical work in the addendum. The thesis and practical work were developed in support of one another.
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Söderström, Carina. "Garderobstaktik som visuell retorik : En kvalitativ studie av tre Youtube-influencers argumentation för en hållbar personlig still." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444268.
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Under det senaste årtiondet har sociala medier använts av mode-influencers till att sprida sina budskap om personlig stil. Med de senaste årens klimatintresse har början till ett skifte skett från att uppmuntra till konsumtion till att i stället skapa medvetenhet om textilindustrins negativa påverkan på miljön. Syftet med denna masteruppsats är att göra en visuell kulturstudie av tre av dessa influencers argumentation genom de filmer de publicerar på Youtube. Den undersöker hur de använder visuell retorik i filmerna för att göra ett trovärdigt intryck och på så vis locka till sig en allt större följarskara och få betalda samarbeten, utan att uppmuntra till onödig konsumtion. I studien ingår sammanlagt nio filmer som publicerades under 2019 och 2020. Filmerna analyseras med hjälp av visuell retorik som kvalitativ metod och tolkas med visuell retorik och produktion av social och kulturell identitet som teoretiska utgångspunkter. En analys av tittarnas kommentarer på filmerna används för att validera resultatet av tolkningen. De tre studerade Youtube-kanalerna ökade sitt antal prenumeranter med i genomsnitt 64 % under den tid som studien pågick och alla tre influencers får betalda samarbeten som de helt eller delvis kan försörja sig på. De undersöker noga de företag de inleder samarbete med och undviker varumärken som inte är accepterade av deras tittare som etiska och miljömässigt hållbara. Alla de tre influencers som ingår i studien använder samma typ av visuell huvudargumentation för att övertyga sina tittare om vikten av en hållbar garderob. De visar exempel på hur de själva kombinerar sina egna kläder på nya sätt för att skapa en personlig stil utan att behöva köpa nytt. Studien visar dock att filmernas innehåll är mindre viktigt än hur trovärdig influencern uppfattas av sina tittare. En tolkning av tittarnas kommentarer ger att de i första hand är intresserade av hur influencern producerar sin identitet med hjälp av kläder och utseende, för att själva inspireras till att hitta sin personliga stil. Genom att efterlikna deras stil kommunicerar de grupptillhörighet med den influencer de följer och får på så sätt del av samma sociala status.During the last decade, fashion influencers have used social media channels to spread the word about personal style. Due to the global focus on the climate change the content has begun to shift from a consumption culture to creating awareness about the negative influence of the textile industry on the environment. The purpose of this study is to examine three of these influencers’ argumentation in the videos they publish on YouTube. It investigates how the influencers use visual rhetoric to make a trustworthy impression to increase the number of followers and get paid sponsorships, without supporting unnecessary consumption. The study investigates a total of nine videos published on YouTube during 2019 and 2020. The visual content is processed using a qualitative method and analysed with a focus on the theoretical perspectives of visual rhetoric and production of social identity. The written follower comments, of the videos, are used to validate the result of the analysis. The three YouTube channels increased the number of followers with an average of 64 % during the study and the influencers are all in paid collaborations that represent all, or a part of, their total income. They thoroughly research the company before adding a new sponsorship and avoid brands that are not accepted by their followers to be ethical and sustainable. All the three influencers participating in the study use the same principal visual rhetoric arguments to convince the followers of the advantage of a sustainable style. They show a vast variety of outfit combinations using the limited amount of clothes in their wardrobes to create a personal style without the need of adding new clothes. The result of the study indicates, however, that the content of the videos is of less importance than how trustworthy the influencer is perceived by the followers. An analysis of the viewer comments suggest that their primary interest is to get inspiration from how the influencer produces identity through dress and appearance. By emulating their personal style, the followers hope to gain membership of the influencer’s community and achieve similar social status.
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Söderström, Carina. "Garderobstaktik som visuell retorik : En kvalitativ studie av tre Youtube-influencers argumentation för en hållbar personlig stil." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444268.
Full textAbstract:
Under det senaste årtiondet har sociala medier använts av mode-influencers till att sprida sina budskap om personlig stil. Med de senaste årens klimatintresse har början till ett skifte skett från att uppmuntra till konsumtion till att i stället skapa medvetenhet om textilindustrins negativa påverkan på miljön. Syftet med denna masteruppsats är att göra en visuell kulturstudie av tre av dessa influencers argumentation genom de filmer de publicerar på Youtube. Den undersöker hur de använder visuell retorik i filmerna för att göra ett trovärdigt intryck och på så vis locka till sig en allt större följarskara och få betalda samarbeten, utan att uppmuntra till onödig konsumtion. I studien ingår sammanlagt nio filmer som publicerades under 2019 och 2020. Filmerna analyseras med hjälp av visuell retorik som kvalitativ metod och tolkas med visuell retorik och produktion av social och kulturell identitet som teoretiska utgångspunkter. En analys av tittarnas kommentarer på filmerna används för att validera resultatet av tolkningen. De tre studerade Youtube-kanalerna ökade sitt antal prenumeranter med i genomsnitt 64 % under den tid som studien pågick och alla tre influencers får betalda samarbeten som de helt eller delvis kan försörja sig på. De undersöker noga de företag de inleder samarbete med och undviker varumärken som inte är accepterade av deras tittare som etiska och miljömässigt hållbara. Alla de tre influencers som ingår i studien använder samma typ av visuell huvudargumentation för att övertyga sina tittare om vikten av en hållbar garderob. De visar exempel på hur de själva kombinerar sina egna kläder på nya sätt för att skapa en personlig stil utan att behöva köpa nytt. Studien visar dock att filmernas innehåll är mindre viktigt än hur trovärdig influencern uppfattas av sina tittare. En tolkning av tittarnas kommentarer ger att de i första hand är intresserade av hur influencern producerar sin identitet med hjälp av kläder och utseende, för att själva inspireras till att hitta sin personliga stil. Genom att efterlikna deras stil kommunicerar de grupptillhörighet med den influencer de följer och får på så sätt del av samma sociala status.During the last decade, fashion influencers have used social media channels to spread the word about personal style. Due to the global focus on the climate change the content has begun to shift from a consumption culture to creating awareness about the negative influence of the textile industry on the environment. The purpose of this study is to examine three of these influencers’ argumentation in the videos they publish on YouTube. It investigates how the influencers use visual rhetoric to make a trustworthy impression to increase the number of followers and get paid sponsorships, without supporting unnecessary consumption. The study investigates a total of nine videos published on YouTube during 2019 and 2020. The visual content is processed using a qualitative method and analysed with a focus on the theoretical perspectives of visual rhetoric and production of social identity. The written follower comments, of the videos, are used to validate the result of the analysis. The three YouTube channels increased the number of followers with an average of 64 % during the study and the influencers are all in paid collaborations that represent all, or a part of, their total income. They thoroughly research the company before adding a new sponsorship and avoid brands that are not accepted by their followers to be ethical and sustainable. All the three influencers participating in the study use the same principal visual rhetoric arguments to convince the followers of the advantage of a sustainable style. They show a vast variety of outfit combinations using the limited amount of clothes in their wardrobes to create a personal style without the need of adding new clothes. The result of the study indicates, however, that the content of the videos is of less importance than how trustworthy the influencer is perceived by the followers. An analysis of the viewer comments suggest that their primary interest is to get inspiration from how the influencer produces identity through dress and appearance. By emulating their personal style, the followers hope to gain membership of the influencer’s community and achieve similar social status.
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Larsson, Josefin. "Exquisite corpse : Exploring the methods of surrealism to challenge the hierarchies of body, dress and accessories." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-13011.
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Just as the surrealistic movement challenged our perception of reality, the present work applies surrealistic methods to challenge our preconceived hierarchies between body, dress, and accessory. Adding to past surrealistic work in fashion design, the present work does not only strive to create surrealistic expressions, but to enhance the creative process through surrealistic methods. Three surrealistic methods were tested: Entopic Graphomani, Frottage, and Exquisite Corpse. The methods ability to challenge hierarchies between body, dress, and accessory was assessed through their ability to result in an element of surprise. For the present work, Exquisite Corpse had the greatest potential. By using participant observation and an adapted version of Exquisite Corpse seven looks were developed. The present work concludes that the surrealistic methods can by used not only to develop surrealistic expressions, but also to enhance the creative process within fashion design.
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Greenidge, Giselle C. M. "The Role of Male Fashion in Protests against the Majority Culture: An Exploratory Study." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538656/.
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Throughout history, the Black Diaspora has used fashion as a form of protest. The element of fashion is often overlooked when considering the history and struggle for Black equality, because it is less tangible or definable in terms of its influence and effect, but it is still important because Black males resist the dominant culture via dress by dressing in military uniforms, creating their own style, and using different colors in their dress. Studying the Black struggle in American history during specific periods is one way to better understand opposition to the majority culture through fashion. We should also consider the mood of a social system when examining the dress of a particular group during conflicts. Hence, the purpose of this study is to investigate the role of fashion as a protest tool against the majority culture, and the social mood that affects the fashion choices of Black males. The study focuses on Black fashion from 1910 to 2015. Text data were collected and analyzed from articles published in The Crisis magazine, and men's fashion was specially examined. Additionally, images were studied via visual ethnography and images were coded based on color choice, fit, and accessories. For conducting sentiment analysis, lexicons were used, and the text was examined for negative sentiment. The overall negative sentiment of the document was obtained. Graphical analyses are included to present the findings. The findings, conclusions, limitations, and future research are discussed.
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Diliwi, Avesta, and Josefin Bäcker. "Are You Creating Socially Responsible Visual Communication? : An Exploratory Study of Fashion Companies’ External Social Responsibility on Instagram: A Marketer’s Perspective." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-21905.
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Background: Following the development of digitalization and the emergence of social media a lot of attention has been drawn upon how these platforms are influencing the fashion industry and fashion marketing. As society is becoming more ethics and health conscious, fashion companies’ visual representations in social media are drawing more attention - who is represented and how are these representations portrayed. Previous research has shown that white and thin models are a recurrent over-representation in media, consumers through these see the ‘ideal’ or stereotypical body types or norms, and not an actual or full representation of society. The issue is, however, not that white or thin people are represented in media. The problem is how companies portray these representations and how the portrayals lead to the exclusion and misrepresentation of other groups in society. Purpose: The purpose of this study is to investigate the CSR practice of fashion companies regarding the body image representations in social media marketing communications, with specific focus on the marketer’s perspective. Methodology: For this study an exploratory cross-sectional case-study research design approach was applied. Four corporate cases of fashion companies were analyzed using data triangulation methods on the basis of content analysis and semi-structured interviews. First, case analysis of social media contents and interviews were conducted, followed by cross- sectional analysis to find out if fashion companies’ practiced social responsibility is aligned with the verbally expressed social responsibility. Findings: The findings of this study demonstrate that fashion companies consider external social responsibility as an important issue, however, a gap between the companies practiced social responsibility and verbally expressed social responsibility remains. The study shows that two of the companies’ practiced social responsibility on their Instagram channel is in alignment with their verbally expressed social responsibility, when it comes to representing diversity in terms of body size, ethnicity and skin color. However, when it comes to the representational conventions it was noted that all the companies are lacking in external responsibility due to the continuous signs of idealization and body-ism on all the companies’ Instagram channels. Conclusion: This study contributes to the research field regarding companies’ external social responsibility on Instagram. The findings provide companies and researchers with awareness of which representational conventions/key social aspects are currently lacking in corporate marketing activities and should become the focus for further improvement. Based on obtained results, a modified framework for image analysis and criteria for image/content creation are suggested. The framework and criteria can assist future researchers, help content creators and other practitioners to understand the complexity of external social responsibility and how to implement it in practice.
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Corrêa, Clecius Campos. "Agentes da modernização: os artistas plásticos e suas atuações na arte, na moda e na imprensa brasileiras dos anos 1950 e 1960." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/4061.
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Esta dissertação analisa o papel dos artistas plásticos no processo de modernização ocorrido no Brasil após a Segunda Guerra Mundial, especificamente nos anos 1950 e 1960, apresentando-os como agentes desse movimento, particularmente nos domínios da arte, da moda e da imprensa. As principais referências são as reformas gráficas realizadas no Jornal do Brasil e no Correio da Manhã, pelos artistas Amilcar de Castro e Alexandre Wollner, respectivamente, e a obra da artista plástica Olly Reinheimer — desenvolvida entre a arte e a moda. Por meio desses exemplos, investiga-se como as novas correntes estéticas no período — notadamente o Concretismo e o Neoconcretismo — procuraram promover a integração arte e vida, por meio da estetização do cotidiano e dos novos estilos de vida.
This dissertation analyzes the role of plastic artists in the modernization process that occurred in Brazil after World War II, specifically in the 1950s and 1960s, presenting them as agents of this movement, particularly in the fields of art, fashion and the press. The main references are the graphic reforms carried out in the Jornal do Brasil and Correio da Manhã, by the artists Amilcar de Castro e Alexandre Wollner, respectively, and the artwork of the plastic artist Olly Reinheimer — developed between art and fashion. Through these examples, we investigate how the new aesthetic currents in the period — notably Concretism and Neoconcretism — sought to promote the integration of art and life, through the aestheticization of daily life and new lifestyles.
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Zhu, Li. "Effective visual merchandising in fashion retailing." Thesis, University of Leeds, 2009. http://etheses.whiterose.ac.uk/11290/.
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This investigation attempts to identify the role of window display in today's arena of fashion retailing and formulate a system of approaches that can be considered useful in designing the image of window display. The literature view provides a review of the aspects of knowledge thought to be related to the subject of window display. The review covers the area of fashion marketing with regard to the history of fashion retailing, fashion marketing promotion mix and store atmospherics. Window display shares similar principles with fashion marketing and promotion mix, but demonstrates uniqueness with regard to its aesthetic and commercial functions. The design tactics of window display need to be adopted to gear to the complexity of the fashion market. Designing store window should not only depend upon the creativity of the designer, marketers and designers need to cooperate to create window displays which can attract attention and encourage consumers' patronage. The 'market in' principles have now penetrated into every aspect of fashion marketing. It becomes essentially important to transform the attributes of consumers' preference into aspects of design in order to make the design outcome effective in influencing consumer behaviour. This investigation shows an initial step in investigating the various aspects of window displays. Five experiments and surveys have been taken to attempt on the approaches which can be used to possibly improve the effectiveness of window display. The emphasis of the experiments and surveys were focused on the perspective in viewing a window display. Finally, the implication of the literature reviews and the research findings, together with the recommendations are valued.
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Rahmawati, Aulia. "Faith, fashion and femininity : visual and audience analysis of Indonesian Muslim fashion blogs." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/99707/.
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Although a seemingly trivial subject, fashion blogs could be put into the same categories as other feminine genres such as magazines, soap operas and romance novels that have been shown by feminist scholars to be worthy of scholarly attention. This study argues that Indonesian Muslim fashion blogs are an important and rich cultural text where gender identity, religion, nation and class intersect in contemporary Indonesian society. Using feminist audience ethnography as the methodological approach, this research first analysed why women read Muslim fashion blogs; second, how readers negotiate the articulation of modesty, modernity, motherhood, class and nation; third, the motivations behind the blogging practise; and fourth, how bloggers define and facilitate their female readers’ empowerment. Using individual interviews, FGDs and archival study to gather data which can then be analysed thematically alongside visual analysis of several texts garnered from the most popular blogs in Indonesia, this study illustrates that Muslim fashion blogs are being consumed as leisure and pleasurable activities, and that such activities are also associated with hobbies and youthful activities in which my participants practised more frequently before marriage and children. Reading fashion blogs allows readers to escape from mundane domestic lives and serves as a space of resistance despite the visual representation that still conform to the state’s gender ideology and traditional Islamic discourses of femininity. Indonesian Muslim fashion blogs also illustrate that the integration of modesty (through the interpretation of the hijab and Islamic clothing) and modernity (through the influence of global fashion) is undertaken with ease and fluidity despite readers’ criticisms of certain styles of hijab. Muslim fashion blogs represent the hijab as a middle ground between Islamic identity and modernity that, borrowing from Smith-Hefner (2007), is “neither traditionalist nor anti-modernist reaction”. Finally, this study investigated Indonesian Muslim bloggers as neo-liberal feminine subjects where empowerment may be understood through the construction of self as business, with the private sphere, such as family lives, being treated as promotional tools through personal blogs. This study offers academic contribution to the scholarship of Muslim women and social media by analysing that hijab or modesty as a religious practise is being shaped by the globalisation process and neo-liberalism and furthermore, how such transformation is represented and negotiated in the age of social media.
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Lovar, Anette. "Experiencing visual art." Thesis, Högskolan i Skövde, Institutionen för biovetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-19430.
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Visual art is important for humans. Most people have an interest in visiting art museums, and they spend both time and money on artworks. Appreciating visual art can have an effect on several psychological states, such as pleasure, emotions of wonder, awe, and the sublime. However, the question of what constitutes an aesthetic experience and what mechanisms that are involved in experiencing visual art, are still not fully understood. The discipline neuroaesthetics, which is a subfield of cognitive neuroscience, investigates the biology behind aesthetic experience and aesthetic appreciation. The aim of this thesis is to give an overview of the neural processes involved in experiencing visual art, and to explore how it could be related to components of emotional well-being. As such, neuroimaging studies addressing aesthetic experience and emotional processing are reviewed and discussed. This thesis found a relationship between the neural processes that operate behind a broad range of positive valanced emotions and aesthetic experience. The findings show that experiencing visual art that are aesthetically appreciated by the viewer, induces feelings of hedonic niceness or pleasant well-being and is associated with increased activity in the reward circuit. How aesthetic appreciation affects our emotional and cognitive states respectively and enhances our physiological and psychological well-being remains to be investigated. Understanding the underlying neurobiological processes involved when experiencing visual art is important due to its implications on positive health and well-being.
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Dorosh, Daria. "Patterning : the informatics of art and fashion." Thesis, University of East London, 2007. http://roar.uel.ac.uk/1236/.
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The latter half of the 20th century saw a massive transition from the analogue way of life to the digital. This thesis compares and contrasts two sets of binary patterns in this transition: the 'grid' and the 'loop', and 'representation' and 'abstraction'. My field of knowledge is Contemporary Conceptual Art practice, and the overlapping areas between three major disciplines: post-1970s visual art, fashion design and production, and digital media tools. The method is process-art analysis, in practice and theory. The thesis looks at several art and fashion case studies engaged with new media and shows that 'Informatics' also shares patterns with these emerging trends. The thesis argues that an important shift in the surface and structure of art and fashion and dynamic patterns in these fields can be relevant to others working in cognate disciplines concerned with patterns of thinking, imaging and coding: i. e., Philosophy, Media Theory, and Computer Science. New insights can be gained from a cross-disciplinary field of vision in this regard. The broad questions addressed in the research are: " Is there a vocabulary of pattern emerging between disciplines? " Why do 'grid, 'loop', 'representation' and 'abstraction' emerge repeatedly as patterns across such a wide set of disciplines: from fashion and art to brain science and pattern mapping in computer science? What can we learn from documenting the apparent shift between product and process in these distinct fields? The research concludes that the patterns in art, fashion, science, and technology all show that we are in a transition from a product-based culture to a process-oriented one. In that spirit, the conclusion projects a collaborative future for fashioning culture.
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Kethro, Philippa. "Pedagogical ways-of-knowing in the design studio." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1004338.
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This research addresses the effect of pedagogical ways-of-knowing in higher education design programmes such as Graphic Design, Interior Design, Fashion, and Industrial Design. One problematic aspect of design studio pedagogy is communication between teachers and students about the aesthetic visual meaning of the students’ designed objects. This problematic issue involves ambiguous and divergent ways-of-knowing the design meaning of these objects. The research focus is on the design teacher role in design studio interactions, and regards pedagogical ways-of-knowing as the ways in which teachers expect students to know visual design meaning. This pedagogical issue is complicated by the fact that there is no agreed-upon corpus of domain knowledge in design, so visual meaning depends greatly on the social knowledge retained by students and teachers. The thesis pursues an explanation of pedagogical ways-of-knowing that is approached through the philosophy of critical realism. How it is that particular events and experiences come to occur in a particular way is the general focus of critical realist philosophy. A critical realist approach to explanation is the use of abductive inference, or inference as to how it is that puzzling empirical circumstances emerge. An abductive strategy aims to explain how such circumstances emerge by considering them in a new light. This is done in this study by applying Luhmann’s theory of the emergence of cognition in communication to teacher ways-of-knowing in the design studio. Through the substantive use of Luhmann’s theory, an abductive conjecture of pedagogical ways-of-knowing is mounted. This conjecture is brought to bear on an examination of research data, in order to explain how pedagogical ways of-knowing constrain or enable the emergence of shared visual design meaning in the design studio. The abductive analysis explains three design pedagogical ways-of-knowing: design inquiry, design representation and design intent. These operate as macro relational mechanisms that either enable or constrain the emergence of shared visual design meaning in the design studio. The mechanism of relation is between design inquiry, design representation and design intent as historical knowing structures, and ways-of-knowing in respect of each of these knowing structures. For example, design inquiry as an historical knowing structure has over time moved from ways-of-knowing such as rationalistic problem solving to direct social observation and later to interpretive cultural analysis. The antecedence of these ways-of-knowing is important because communication about visual meaning depends upon prior knowledge, and teachers may then reproduce past ways-of-knowing. The many ways-of-knowing that respectively relate to design inquiry, design representation and design intent are shown to be communicatively formed and recursive over time. From a Luhmannian perspective, these ways-of-knowing operate as variational distinctions that indicate or relate to the knowing structures of design inquiry, design representation and design intent. This is the micro-level operation of pedagogical ways-of-knowing as relational mechanisms in design studio communication. Design teachers’ own ways-of-knowing may then embrace implicit way-of-knowing distinctions that indicate the knowledge structures of design inquiry, design representation and design intent. This implicit indication by distinction is the relational mechanism that may bring design teachers’ expectation that this and not that visual design meaning should apply in communication about any student’s designed object. Such an expectation influences communication between teachers and students about the potential future meaning of students’ designs. Consequently, shared visual design meaning may or may not emerge. The research explanation brings the opportunity for design teachers to make explicit the often implicit way-of-knowing distinctions they use, and to relate these distinctions to the knowing structures thus indicated. The study then offers a new perspective on the old design pedagogical problem of design studio conflict over the meaning of students’ designs. Options for applying this research explanation in design studio interactions between students and teachers are therefore suggested.
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Björling, Sofia. "Ethnic fashion : begrepp i förändring." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-748.
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Syftet med denna studie är att se på hur begreppet etniskt mode används i praktiken inom dagens modejournalistik och inom den mode- och dräkthistoriska litteraturen, med utgångspunkt i hur etniskt mode och dräkt presenteras i forskningen. Etniskt mode som idag är ett väl använt begrepp som visar sig ha många olika innebörder. För det har visat sig att man med begreppet etniskt mode menar olika saker inom forskningen respektive inom mode- och dräkthistoriska översiktsverk samt inom modejournalistiken.
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Dhariwal, Sumeet. "Unsupervised Learning of Visual Features for Fashion Classification." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-254673.
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Deep Learning has changed the way computer vision tasks are being solved in the current age. Deep Learning approaches have achieved state-of-the-art results in computer vision problems like image classification, image verification, object detection, and image segmentation. However, most of this success has been achieved by training deep neural networks on labelled datasets. While this way of training the neural networks results in classifiers with better accuracies, but it might not be the most efficient way to solve computer vision problems. This is so because it is a resource consuming process to manually label the images/data-points and can cost a lot of time and money to the organizations that employ deep learning for developing various products and services.Fashion and e-commerce is one such domain where there is a need to leverage the image data without relying too much on labels. This process can be beneficial to automatically label the category, attributes and other metadata of images, generally used to show the inventory digitally, without relying on humans to manually annotate them.The aim of this master thesis is to explore the effectiveness of unsupervised deep learning approaches for fashion classification so that the data can be classified by only relying on a few labelled data points. Two unsupervised approaches, one based on clustering of features called DeepCluster and the other based on rotation as a self-supervision task, are compared to a fully supervised model on DeepFashion dataset.Through empirical experiments, it has been shown that these unsupervised deep learning techniques can be used to attain comparable classification accuracies (~1-4 % lesser than that achieved by a fully supervised model) and thus making them as suitable alternatives to supervised approaches.Deep Learning har förändrat hur datorvisionsuppgifter löses under nuvarande ålder. Deep Learning-metoder har uppnått toppmoderna resultat i datorvisionsproblem som bildklassificering, bildverifiering, objektdetektering och bildsegmentering. Emellertid har det mesta av denna framgång uppnåtts genom att träna djupa neurala nätverk på märkta dataset. Medan detta sätt att träna de neurala nätverken resulterar i klassificerare med bättre noggrannhet, men det kanske inte är det mest effektiva sättet att lösa problem med datorens syn. Det här beror på att det är en resurskrävande process för att manuellt märka bilderna / datapunkterna och kan kosta mycket tid och pengar till organisationer som använder djupt lärande för att utveckla olika produkter och tjänster.Mode och e-handel är en sådan domän där det finns behov av att utnyttja bilddata utan att förlita sig för mycket på etiketter. Denna process kan vara till nytta för att automatiskt märka kategorin, attribut och andra metadata för bilder, vanligtvis används för att visa inventeringen digitalt, utan att förlita sig på människor för att manuellt annotera dem.Syftet med denna magisteruppsats är att undersöka effektiviteten av oövervakade djupt lärande tillvägagångssätt för modeklassificering så att data kan klassificeras genom att endast förlita sig på några märkta datapunkter. Två oövervakade tillvägagångssätt, en baserad på kluster av funktioner som kallas DeepCluster och den andra baserat på rotation som självövervakningsuppgift, jämförs med en helt övervakad modell på DeepFashion dataset.Genom empiriska experiment har det visat sig att dessa oövervakade djupa inlärningstekniker kan användas för att uppnå jämförbara klassifikationsnoggrannigheter (~1-4 % mindre än det som uppnås genom en helt övervakad modell) och därigenom göra dem till lämpliga alternativ för övervakade tillvägagångssätt.
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Taylor, Kristin Vanderlip. "Visual Art Communities of Practice| Cultivating Support for Beginning Visual Art Teachers." Thesis, Pepperdine University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816921.
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Visual art teachers, from beginning to veteran, often report experiencing feelings of professional isolation and a desire for content-specific support and collaborative professional learning experiences. Mentoring and Induction Programs (IPs) offered by schools and districts continue to fall short of meeting the needs of beginning visual art teachers in particular. There are a large number of visual art teachers in the state of California, especially in Los Angeles County, yet there are no visual art specific support networks for beginning visual art teachers to help them navigate their first years teaching. Collaborative learning groups, such as communities of practice (CoP), may offer visual art teachers opportunities to learn together and support one another in shared learning, yet none have been formally documented in Los Angeles County as a means of supporting novice art educators. The Exploratorium in San Francisco, CA has established a community of practice called the Teacher Induction Program (TIP) to support beginning science teachers with content-specific pedagogy during their first two years of teaching. Using the TIP as a framework, a visual art professional growth support community was outlined for this study based on the needs and concerns of visual art teachers reported throughout the literature. Beginning visual art teachers in Los Angeles County were interviewed to help the researcher better understand their existing and desired supports, as well as their individual needs and concerns as new teachers. The visual art CoP was proposed to them to elicit feedback about its anticipated values (immediate, potential, applied) based on their lived experiences as first or second year PK-12 public school visual art teachers in Los Angeles County.
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Karlsson, Annika. "Communication of sustainable fashion : To communicate sustainable fashion through the label." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-538.
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The purpose in this thesis is to analyse which information about the sustainable impacts in fashion supply chain is the most important for the consumer. To find out how the eco-label can be designed with information and messages about the sustainable producing process, and to make the consumer more safe and satisfied with the fashion industry’s communication about sustainability and their sustainable products. - How to define sustainability in fashion supply chain? - What information about eco-labeled clothes does the fashion consumers require? - What are the conditions for creating and designing sustainable messages on the clothing’s eco-labels? In the final definition of sustainability according to this study, the focus falls on four distinctive expressions, which are, good working conditions, profitability, comfort and human needs. To explain this further, the good working conditions and the human needs have to do with wellbeing and health for the consumer and workers. Profitability has to do with the economy for both companies and consumers, and comfort is something both consumers and workers strive for. So the finally definition of sustainability in this thesis is to strive for better health, economy and comfort for all people. The information about eco-labeled clothes that the consumers require, have actually nothing to do with sustainability. However, the consumers require information about price, quality, and comfort. Moreover, if the product would be eco-labeled, the consumer should wish to get reliable information about the working conditions and chemicals, which gives the consumer a chance to know what they are paying for. To be able to create a message the focus should be on significances that increases the consumers self-interests, which in this case would be long lasting quality, health and price. These significances are similar to the earlier presented definition of sustainability, which is to strive for better health, economy and comfort for all people. Here comfort can be a part of the long lasting quality or a part of the good working conditions in the supply chain. Therefore, a sustainable message with reliable information about price and quality should be the symbol that explains how it affects the health, economy, and comfort for both the consumers and the employees in the fashion supply chain.
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Edwards, Jennifer Somerville 1967. "Louise Dahl-Wolfe: A fashion photographer redefined." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/291450.
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Dahl-Wolfe (1895-1989) is best-known as a fashion photographer, her photographic life encompassed a pattern of art and documentary ideas interwoven over a forty-year period. This thesis describes her early art influences and explores her photography career in regards to the historical and cultural developments from World War I through the 1950s. Dahl-Wolfe is compared with her contemporaries such as Consuelo Kanaga, Dorothea Lange, Edward Weston, Richard Avedon, and Henri Cartier-Bresson. The study reveals how Dahl-Wolfe's work reflects photography's evolution over a specific period and how traditional constructions affect the reception of commercial photographers. Conclusively, Dahl-Wolfe's oeuvre straddles such an array of constructed arenas that she virtually fell through the cracks and has been narrowly defined as a result of art historical definitions.
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Malmgren, De Oliveira Stefanie. "On seeing : in fashion design." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-8656.
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In fashion design, the designer strives for the development of ideas in view of significant visual goals. The process of specifying and developing ideas is a highly visual process. Based on what has been ‘seen’ as for example in a reference material or in explorations, designers define possible tracks to follow, decide which ideas to deepen or which ones to reject. Their activities can thus be described as a process of seeing. There is nothing novel about the importance of seeing as an act in the design process; on the contrary, seeing, is usually an intuitive act that any designer explicates throughout the process of shaping his/her vision. However, the systematisation of seeing in the design process in order to advance ways of working in the field of fashion design is still very much an area that is open for further research. In this thesis, possible ways of seeing are explored through experiments in different stages of the design process. Based on an image serving as a point of departure, seen elements were derived and put in relation to a body in a two-dimensional photographic sketching stage, in accordance with different ideas of dress. Selected ideas were then further elaborated and explored in terms of their design possibilities. The results of the experiments are propositions of design ideas that have been ‘seen’ in a single sketch or a series of sketches. The contribution of this licentiate thesis are: 1) A thorough mapping of two design stages (point of departure and two-dimensional sketching stage), and how they provide a deeper understanding of the design process, leading to 2) an improved sensibility with regard to design possibilities, their value and developments, and finally 3) the establishing of a methodology with which to discern the composition of a visual language/vision in fashion design based on ‘seeing’. The act of seeing is presented as the fundamental tool of designing for shaping a vision. By delving into the systematisation of the notion of seeing in a fashion design process, a methodology of seeing is introduced, which aims to enhance the possible ways of visualisation when designing.
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Eriksson, Kajsa G. "Concrete fashion : dress, art, and engagement in public space /." Göteborg : HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009. http://hdl.handle.net/2077/21545.
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Gaudyn, Weronika. "Study of Haute Couture Fashion Shows as Performance Art." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1543249777154531.
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Ozturk, Turker Anthony. "Ezra Pound and visual art." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253814.
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Kjolberg, Torunn. "Visual research practice in fashion and textile design higher education." Thesis, University of Brighton, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.643553.
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This thesis is concerned with visual research in the context of fashion and textile design education. Utilising an ethnographic methodology, this study followed a group of self-selected fashion and textile design students throughout their first two years of study at a higher education institution in the south of England. Drawing on a series of personal interviews, participant observation and analysis of course documents, the research examines how visual research practices are structured through teaching, student engagement and participation, as well as through various forms of reification. Two key theoretical perspectives inform this thesis: Lave and Wenger and Wenger's concepts of legitimate peripheral participation and communities of practice, and Winnicott's notions of transitional phenomena and object-use. Their mutual relevance and complementarity is considered to explicate the dynamic between subjectivity, materiality and the social world in this study. This thesis argues that the tacitness of visual research practices presents a problem for many learners, as confusion and self-doubt arise due to the lack of articulation and a perceived instability of meaning behind these processes. Meanwhile, the students' reconciliation of their own practices with those endorsed through teaching was identified as key to successful participation on the course. Whilst some students were able to navigate these ambiguities and, in Winnicott's sense, put them into use, for other students this entailed alignment of practices without mutual negotiation. Results were identities of non-participation or compliance without negotiation of meaning. Although the tacitness of visual research poses an obstacle, I conclude that a universal definition of visual research is problematic or even impossible. These practices are mutable, contextual and situated. Therefore, in this study, learning visual research entails participating on the course, which can be conceived of as a community of practice, and which acts (potentially) as a facilitating environment where students can put the sources, tools, materials and practices of visual research into use.
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JUNIOR, JOAO DALLA ROSA. "BETWEEN IMAGE AND FASHION: A STUDY ABOUT THE VISUAL HABITUS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29983@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A tese apresenta o olhar como objeto de pesquisa de um estudo sobre o campo da moda. Aborda o modo como as instâncias de comunicação, por meio da mídia, incitam disposições visuais nos agentes, tendo por base as práticas de representação do produto de vestuário que estão em consonância aos suportes de visualização das imagens de moda. Através de uma pesquisa de campo realizada em uma turma do curso de Design de Moda da Faculdade SENAI CETIQT – RJ, durante o semestre de 2015/01, foram analisadas as formas de apropriação das convenções visuais em jogo na comunicação de moda. Fotografias e questionários foram utilizados para a construção dos dados de pesquisa. Pelo exame das experiências de campo, as informações obtidas foram postas em diálogo com referências teóricas da sociologia da arte e da moda, bem como da história da arte. A partir do emprego de vitrines e revistas de moda, delimitou-se o contexto das práticas de comunicação da moda. As disposições visuais foram analisadas de acordo com as imagens e a interação entre os agentes responsáveis por sua produção. Três padrões visuais de percepção foram identificados. O primeiro se refere à frontalidade como característica resultante da relação entre as práticas da fotografia e a pose das modelos. O segundo se estabelece pela elegância como um significado atribuído ao conjunto de elementos visíveis nas imagens. E, o terceiro se relaciona ao espaço dos desfiles e ao modo como se instaura uma perspectiva monocular devido aos ângulos de registro das passarelas.
The thesis presents the look as object of research of a study on the field of fashion. It discusses the way in which the media incites visual dispositions to the agents, based on the practices of representation of the clothing product that are in line with the supports of visualization of the fashionable images. Through a field research carried out in a class of Fashion Design course at SENAI CETIQT College - RJ, during the semester of 2015/01, the forms of appropriation of visual conventions at play in fashion communication were analyzed. Photographs and questionnaires were used to construct the research data. By examining the field experiences, the information obtained was put into dialogue with theoretical references of the sociology of art and fashion, as well as the history of art. From the use of shop windows and fashion magazines, the context of fashion communication practices was delimited. The visual dispositions were analyzed according to the images and the interaction between the agents responsible for their production. Three visual patterns of perception were identified. The first refers to frontality as a characteristic resulting from the relationship between the practices of photography and the pose of models. The second is established by elegance as a meaning attributed to the set of elements visible in the images. And, the third is related to the space of the fashion shows and the way in which a monocular perspective is established due to the angles of the catwalks.
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Fullerton, Jeanay. "VISUAL STAMP." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4017.
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I create images in a painterly manner illustrating a visual dialog, which suggests simultaneous moments, yet are actually a separated collision of moments and time. I have stretched these ideas from a slowed manipulation of time, to a calculated capture of segmented moments. My work undermines the importance of the decisive moment theory. This theory was the catalyst for my new series, VISUAL STAMP. "The decisive moment, it is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression." - Henri Cartier-Bresson I am conveying space and time on a single plane in a similar way to how we perceive, process, and retain information visually. The discarded moments in our perception are what I am interested in capturing. We do not view life in a frozen millisecond. Contemporary modes of perception involve the sensorial experience of viewing thousands of movements in small bursts of time that are often left behind, and forgotten. By layering images I am illustrating gaps from one moment to the next. My interest in using the insignificant event to create an aesthetic has become a personal visual stamp. This series embraces the discarded aspects of our visual interpretation of the objects and places we see in everyday life.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Black, Edward A. "Verve for the visual Reformed and Presbyterian churches and visual display art /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.
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Alexandersson, Elin, and Rasha Matlak. "Cultural Differences in Fashion Magazines : Targeting Vogue." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12715.
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The purpose of this study is to examine how different cultures within clothing and fashion are featured in the magazine Vogues fashion reportages. The aim is to enlighten editors with infashion media of these cultural differences in order to increase diversity. To pursue the purpose of the study a qualitative approach was chosen where photographs were used as the data that later on was studied through an image analysis. The study looks at six different editions of the fashion magazine Vogue, which indicates a chosen research design as multiple case studies. The six Vogue editions are: US, Japan, Paris, Arabia, India and Brazil, in which clothes, color and context have been analyzed in each editions reportages. The editions Vogue US, Vogue Japan, Vogue Paris, Vogue Arabia, Vogue India and Vogue Brazil reportages wa sanalyzed and compared, and distinct cultural differences was seen in terms of color, cultural clothing and fashion contexts. While Vogue US, Vogue Japan and Vogue Brazil had a widerange in diversity regarding models with different appearance, which were light-skinned anddark-skinned, Vogue Arabia, Vogue India and Vogue Paris had not. Vogue Arabia, Vogue India, Vogue US and Vogue Japan were however diverse in the cultural clothing, where clothes that was shown in the reportages was a mix of different cultural clothes. The researchers therefore found Vogue US and Vogue Japan the most diverse.
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Smith, Natalie D., and n/a. "Fashion and the artworld : intersection, interplay and collusion since 1982." University of Otago. Department of History, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070417.122533.
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Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice.
The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface.
This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.
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Muirheid, Amanda J. "Visual Culture within Comprehensive Art Education and Elementary Art Curriculum." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/80.
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This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.
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Betz, Jennifer. "ASSESSMENT PRACTICES INELEMENTARY VISUAL ART CLASSROOMS." Doctoral diss., University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2625.
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The purpose of this research study was to investigate the attitudes and usages of assessment methods by elementary visual art teachers in two southeastern school districts. Data consisted of responses to a mailed survey instrument that included relevant demographic information pertaining to respondent’s educational preparation experiences, tabulation of classroom activities, assessment usage, and a construct set of questions which addressed an attitudinal scale about the effectiveness of evaluation and measurement within their visual art classrooms. The primary focus of attitudinal orientation toward assessment centered upon the types of role models respondents encountered regarding assessment during initial teacher preparation and the resulting paradigm of belief concerning measurement art teachers experienced in varied educational settings. Results indicate that study respondents had a strong positive response to the construct attitudinal statements about accepting evaluation as a normative practice in their classrooms. The survey item "multiple choice tests are appropriate to use in visual art classrooms" had a strong relationship to the total reliability and had the greatest impact on the factor analysis. Further relationships were identified in the use of newly adopted textbook curricula to the acceptance of the statement "learning could be measured in visual art," suggesting that if art teachers embraced a textbook curriculum (developed through an outside, expert entity) they were more likely to accept the possibility that learning in elementary visual art classrooms was possible to be measured.
The relationship between the statements regarding the acceptance of multiple choice tests as a valid method of assessment and the recentness of either graduation from teacher preparation coursework or specific in-service professional development about assessment also suggests that pedagogy at the university and district level after The No Child Left Behind Act of 2001 was more likely to include instruction or role models in the practical use of assessment techniques for respondents.Ed.D.
Department of Educational Studies
Education
Curriculum and Instruction EdD
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Kay, Lacey. "Fashionable Art." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3337.
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My final thesis exhibition, Fashionable Art, opens up a link between art and fashion. I used clay as my primary medium to create hyper-realistic handbags in the style of Trompe l'oeil. I am interested in placing art in fashion settings and fashion in art settings. In the show, I placed many purses on pedestals for a gallery setting, in a glass case for a purse shop setting and also placed large photos in a fashion photo shoot setting. I am concerned with creating an environment that celebrates the handbag from just an accessory to an art object. By using clay as my primary media, the purse becomes a more permanent representation. I am able to freeze in time a small piece of our cultural timeline. I am interested in creating these hyper-realistic works because I want the viewer to be led into thinking these are real purses and to explore the idea of fashion being more than just a piece of clothing or accessory, but also the history and affect it has on each of us, big or small.
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Balkir, Nur Chanda Jacqueline. "Visual culture in the context of Turkey perceptions of visual culture in Turkish pre-service art teacher preparation /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9935.
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Butler-Roberts, Jessica. "Fashioning distinction| construction of identity through dress and photography in nineteenth-century Paris." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10252491.
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In mid-nineteenth-century Paris those associated with the intellectual and artistic sectors used distinction in dress as a defining characteristic in the creation of their social image and identity. With the growing bourgeois masses due to the vast expansion and modernization of the city, distinction became the way in which one could separate from the crowd to emerge as an individual. This notion grew out of two specific factions: the awareness of dress as an outward reflection of the self, and the newly developed medium of photography as a tool for capturing one’s likeness. This thesis will trace the utilization of these concepts by examining Nadar’s portraits of Charles Baudelaire, Théophile Gautier, and Sarah Bernhardt, as well as Countess de Castiglione’s collaborative portrait work with the photographer Pierre-Louise Pierson.
Baudelaire and Gautier, both prolific poets and art critics, were some of the first to bring about critical discourse on the distinction of clothing, as well as the importance of inserting modern dress into art. Both men implemented these methods when making their individual choices for representation, with Gautier often presenting himself far outside the sartorial norm. While most women of Parisian society abided by strict moral rules of dressing, Bernhardt and Castiglione instead challenged these norms and used dress to represent themselves as individuals apart from family or a husband. More than solely focusing on everyday dress, this thesis will concentrate on the utilization of distinction in their public image captured through photography.
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Bechiňová, Markéta. "Fashion merchandising a jeho aplikace ve vybrané firmě." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-19253.
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The thesis is divided into two parts. The firts part deals with theoretical description of fashion merchandising, including specification of visual merchandising, sensoring merchandising and other aspects of shopping environment. The second part is dedicated to description of practical application of those principles in a selected shop of an international fashion retailer.
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Marini, Ludovica Orsola Adriana. "Perception and representation in the visual brain and in visual art." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428716.
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Huang, Li Ti. "Fashion and a critique of cultural identity: the implication for art education." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407141397.
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Kirby, Lynne M. "Puppetry in the Visual Arts Classroom." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268103635.
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Johansson, Alva. "Bodydressed : BA IN FINE ARTS; FASHION DESIGN." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-640.
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Bodydressed: Investigate alternative forms of wearing garments in relation to the body trough questioning garments fixed position and bodily relationship, using the own body and a bodystocking as a tool for draping.
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Lutz, Constance A. "Visual Art Teachers’ Ranges of Understanding and Classroom Practices of Assessment for Student Learning In Visual Art Education." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397567104.
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Dubinsky, Lon. "Canadian visual art magazines as cultural formations." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39279.
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This study explores the relationships between four exemplary Canadian art magazines and the art world they inform and in which they are situated. The principal claim is that the visual art world has become a textual community by virtue of the premium placed on the printed word and the ties that have developed among individuals, such as artists and curators, and organizations, such as the magazines, funding agencies and the academy.For theoretical direction the multidisciplinary study draws on communication theory, art history, the sociology of organizations and culture as well as management studies. Of principal importance are the media theories of Innis (1972, 1973) and the organizational formulations of DiMaggio (1985). Three types of investigation support the claims: (a) an historical account of the four magazines, which includes tracking the strategies the editors undertook, (b) a consideration of each periodical's rhetorical features and (c) a description of several networks in the art world which involve individuals and organizations.
The study then considers the deliberate and unintended consequences of the visual art world becoming a textual community, some of which are liberating while others are disabling. The study concludes by suggesting how the research undertaken contributes to current debates about the analysis of communications and culture.
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Bradshaw, R. Darden. "Visual Culture Art Integration: Fostering Student Voice." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301706.
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Art integration research has received much attention of late, yet the focus generally examines ways integration practice and pedagogy support or enhance outcomes of high stakes testing. Serving as a counterpoint, this qualitative action research study, grounded in my experiences as a middle school arts integration specialist, addresses the value of visual culture art integration as a site of youth empowerment. Working collaboratively over a period of four months with three non-art educators to create and teach a series of social justice art integration units with sixth graders, I examined ways an integrated art and visual culture curriculum fostered safe spaces for students to take risks by deconstructing and reconstructing their identities, beliefs and understandings of others and their world through artmaking. In chapter one, I recount early teaching experiences that prompted the research questions in which an examination of which arts integration pedagogies best stimulate students to examine visual culture, articulate voice, and question power relationships that perpetuate social inequities. I address the theoretical lens of social justice art education as it frames the study and examine and discuss the current literature surrounding visual culture and art integration in chapter two. Chapter three delineates methodologies employed in the action research study including data collection measures of visual journaling, artmaking and photography. In chapters four, five, and six, I recount the process in which students engaged with, responded to, and created artwork through three curricular units--in social studies examining the intersections of culture and visual culture as evidenced through advertising, in language arts class collaboratively exploring persuasion through environmental and ecological art installations, and in math class integrating Fibonacci's theories through art making. Findings, discussed in chapter seven, indicated that visual culture art integration, used by teachers is often mislabeled out of insecurity and is a viable methodology for increasing student engagement. When students work collaboratively a space is created for them to regain power in the classroom and increase empathy awareness for themselves and others. Furthermore, art making, within a non-art classroom, can be a particularly successful arena through which middle school students articulate and clarify their voices.
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Arslan, Dogan. "Visual surreal languages in western poster art." Thesis, University of East London, 2006. http://roar.uel.ac.uk/1238/.
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In this thesis, I investigate the main characteristics and techniques of the visual language of Dada and Surrealism and how they have survived and evolved in the realm of graphic design, especially in contemporary poster art. I also analyzed how Dada and Surrealist irrational humor has been transformed and activated into today's poster art, to support my claim that there are unique parallels and similar visual relationships. In my thesis methodology, I used one-on-one interviews with some of the poster artists whose work I analyzed. I also compared the work of specific artists with aspects of the visual language of Dada and Surrealist art. In my first section, I explored Dada's anarchistic and destructive juxtaposed photomontages, which created certain visual forms like hybridization, metamorphosis, and the contrast between large and small and high and low. I analyze how these visual languages and techniques like photomontage have been transformed and used in contemporary poster art. In my second section, I discuss paintings of Magritte in relation to mystery, the absurd and the irrational, some of the basic feature of Surrealism. Magritte's artwork also used similar visual languages and approaches to Dadaists like Heartfield in his photomontages. I also found that contemporary poster artists like Olbinski and Glaser interpreted Magritte's visual approaches and methods in their poster designs. 11 In the last section, I argue that the absurdness, irrationality and subversive humor found in Dada and surrealism, and formed by juxtaposed type of images and created by means of the collage principles, had parallel in contemporary poster art. I believe that my findings, outcomes and identifications based on comparisons, analysis and investigations will help design students, practitioners, scholars, and art enthusiasts in understanding and conceiving certain visual languages, methods, and approaches that I found to exist among Dada, Surrealism and the modem poster.
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Ganani-Tomares, Dafna. "Mimesis : Judith Butler, visual practice, tragic art." Thesis, Goldsmiths College (University of London), 2007. http://research.gold.ac.uk/178/.
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The project grounds the use of mimesis in my video art practice. In the written element I query equivalence between mimesis and performativity in Judith Butler's conception; I consider the tragic and hyperbolic faculties of these, as ways of promoting expansion of context in received convention. My video clips have performance in them and mime destructive regimes in mainstream conventions of visual culture, of sexual identity and of political position, to challange these. They mobilize convention and deviation from it, through ineptitude of performance or my ambiguous relation to the convention that I use. Butler conceives the generative possibility in regulation (prohibition and/or "law). This is my source for prioritizing failure, and conceiving mimesis a practice of power in modification. Philippe Lacoue-Labarthe is an additional source in my writing, and Luce Irigaray a hovering presence. They are deployed to support my conviction that speculative theory mimes tragic art; Hegelian dialectical philosophy and Freudian psychoanalytic discourse founded in tragic art endow a mutual system of logic and belief that mobilizes rejection of 'difference'. In these tragic discourses mimesis links death and desire. As a force in hyperbole and the constitutive site of all discursive and artistic conventions or tropes, mimesis may suspend as much as confirm the very truths it promotes. Mimesis may turn or exceed anything that can be mimed - I propose. Throughout the project (art practice and written element) I ask - 'how is it possible to re-conceive the terms of the representational conventions to which I object without sharing in the mechanisms that demote those terms?'
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Viljoen, Vida Alexandra. "Socio-spatialities of visual art in Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96804.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses. The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town.
AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is. Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.
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Betz, Jennifer W. "Assessment practices in elementary visual art classrooms." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002738.
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Crowley, Elliott Joseph. "Visual recognition in art using machine learning." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:d917f38e-64cb-4b09-9ccf-b081fe68b187.
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This thesis is concerned with the problem of visual recognition in art - such as finding the objects (e.g. cars, cows and cathedrals) present in a painting, or identifying the subject of an oil portrait. Solving this problem is extremely beneficial to art historians, who are often interested in determining when an object first appeared in a painting or how the portrayal of an object has evolved over time. It allows them to avoid the unenviable task of finding paintings for study manually. However, visual recognition of art is a challenging problem, in part due to the lack of annotation in art. A solution is to train recognition models on natural, photographic images. These models have to overcome a domain shift when applied to art. Firstly, a thorough evaluation of the domain shift problem is conducted for the task of image classification in paintings; the performance of natural image-trained and painting- trained classifiers on a fixed set of paintings are compared for both shallow (Fisher Vec- tors) and deep image representations (Convolutional Neural Networks - CNNs) to exam- ine the performance gap across domains. Then, we show that this performance gap can be ameliorated by classifying regions using detectors. We next consider the problem of annotating gods and animals on classical Greek vases, starting from a large dataset of images of vases with associated brief text descriptions. To solve this, we develop a weakly supervised learning approach to solve the correspondence problem between the descriptions and unknown image regions. Then, we study the problem of matching photos of a person to paintings of that person, in order to retrieve similar paintings given a query photo. We show that performance at this task can be improved substantially by learning with a combination of photos and paintings - either by learning a linear projection matrix common across facial identities, or by fine-tuning a CNN. Finally, we present several applications of this research. These include a system that learns object classifiers on-the-fly from images crawled off the web, and uses these to find a variety of objects in very large datasets of art. We show that this research has resulted in the discovery of over 250,000 new object annotations across 93,000 paintings on the public Art UK website.
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MacKarrell, Peter M. "Implications of visual disturbance for art education." Thesis, University College London (University of London), 1985. http://discovery.ucl.ac.uk/10019568/.
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