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Hamilton, Maia D. "The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1566558927880888.
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Lee, Michelle. "Te whatu o poutini a visual art exploration of new media storytelling, 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/419.
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This visual art project has explored the ancient Maori pukorero (oral tradition) of Te Whatu o Poutini (The Eye of Poutini) that articulates the journey of Poutini Taniwha, Waitaiki and Tamaahua from Tuhua (Mayor Island) in the Bay of Plenty, to the Arahura River. An oral geological map, the pukorero also expresses through cultural values, the intimate spiritual relationship Ngati Waewae have with our tupuna, the Arahura River, pounamu stone and each other. Exploring the genres of digital storytelling and video art installation, this project combines them as new media storytelling. The current experience of colonisation and urbanisation emotionally parallel the abduction, transformation and multiple places of belonging experienced by the tupuna Waitaiki at the hand of Poutini Taniwha. The project explores and acknowledges this connection. The survival, restoration and celebration of Ngati Waewae culture and the need to assert control of our own destinies has infused every component of the project.
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Young, Tamlyn. "Animated storytelling as collaborative practice : an exploratory study in the studio, the classroom and the community." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95797.
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Thesis (MPhil)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis investigates stop motion animation as a form of socially engaged visual storytelling. It aims to expand commonly held perceptions that associate animation with the mass media and entertainment industries by investigating three non-industry related contexts: the artist studio, the classroom and the community. In each respective context the coauthoring of stop motion animation was employed as a means to promote collaboration between artists, students and members of the public. This was intended to encourage participants to share their stories regardless of language differences, contrasting levels of academic development and diverse socio-cultural backgrounds. Thus, animation making provided a means of promoting inclusivity through active participation and visual communication. This process is perceived as valuable in a South African context where eleven official languages and a diversity of cultures and ethnicities tend to obstruct an integrated society. My fundamental argument is that animation can be used as a tool to facilitate the materialisation, dissemination and archiving of stories whilst promoting the creative agency of the storyteller.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek stop-aksie animasie as ‘n tipe van sosiaal-geaktiveerde visuele vertelkuns. Die studie is daarop gerig om algemene aannames oor animasie – wat animasie assosieer met die massamedia en die vermaaklikheidsindustrie – te verbreed deur drie nienywerheidsverbonde kontekste te ondersoek: die kunstenaar se ateljee, die klaskamer en die gemeenskap. In elk van die onderskeie kontekste word die gesamentlike skepping van die stop-aksie animasie gebruik as ‘n manier om samewerking tussen kunstenaars, studente en die algemene publiek te bevorder. Die doel is om deelnemers aan te moedig om hul stories te deel, ongeag taalverskille, verskillende vlakke van akademiese ontwikkeling, en diverse sosio-kulturele agtergronde. Daarom verskaf die skepping van animasie ‘n geleentheid om samewerking te bevorder deur aktiewe deelname en visuele kommunikasie. Die proses word veral in die Suid Afrikaanse konteks as waardevol beskou, waar elf amptelike tale, asook ‘n diversiteit van kulture en etniese groepe, dikwels die skep van ‘n geïntegreerde samelewing belemmer. My hoofargument is dat animasie met vrug gebruik kan word as ‘n metode om die skepping, disseminasie en argivering van stories te fasiliteer en terselfdertyd ook die kreatiewe rol van die storieverteller aan te moedig.
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Valdes, Marius I. "The Unwantables: An Exploration of Visual Narrative." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1378.
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The Unwantables is a creative project that has evolved from my lifelong interest in and relationship with visual stories. To me the most compelling aspect of visual storytelling is "imagination". The author possesses the ability to create new worlds, interesting characters, and situations that can have the potential to communicate about any topic. My project explores visual narrative as a communication tool to explain the role of imagination in my life.
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McKillop, Chris. "'Stories about ... assessment' : understanding and enhancing students' experiences of assessment in art and design higher education using on-line storytelling and visual representations." Thesis, Robert Gordon University, 2006. http://hdl.handle.net/10059/230.
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This thesis aims to investigate students’ qualitative experiences of assessment in art and design higher education using storytelling and visual representations. It aims to investigate whether collaborative storytelling can encourage students to reflect on, and learn from, each others’ experiences of assessment. In order to examine these aims, an on-line tool, ‘StoriesAbout… Assessment’ was designed and developed, based on an adapted model of storytelling as a reflective tool in higher education. Visual representations of students’ experiences were also used to identify the affective aspects of the assessment experience. In using these novel methods, the research aimed to highlight the whole student learning experience and how assessment affects that experience. Traditional methods of surveying and evaluation do not usually focus on this, nor do they provide a reflective, learning process for students. The analysis of stories led to a greater understanding of students’ experiences of assessment in art and design by identifying a number of key issues: the impact of negative experiences, the need for greater clarity of assessment criteria due to the subjective nature of the discipline, the tension students perceive between their role as creative practitioners in an educational setting and their role in the wider art world, the value of peer support and appropriate feedback. The storytelling model enabled students to view stories from different perspectives and to consider changes to their practice, and the model has demonstrated its efficacy in supporting reflective thinking and transformative learning. The emotional aspect to students’ experiences was particularly evident in their visual representations which often used strong imagery to depict how the stress of assessment affected them. The drawings also showed stereotypes of assessment, such as images of exams, indicating that these previous experiences had become synonymous with assessment, despite there being few formal exams in art and design. In summary, this thesis contributes two new methods for understanding and enhancing the student learning experience, which have been proven in the context of art and design higher education.
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Proud, Keven Dell. "Visual Storybooks: Connecting the Lives of Students to Core Knowledge." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3386.
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In order to help students find connections to the Core Knowledge curriculum and the principles of Discipline-Based Art Education, the author uses narrative and visual storytelling in the form of altered books to make meaning and relate the lives of students to the art content. The author uses methods of action research to plan a curriculum intervention, work with the students to create their visual stories, reflect on his instruction along with student learning, and collect students' responses through surveys. The author also gathers data through the students' journals and artworks. Through the project the author is able to give students choices and help them turn their learning environment into art practice. Ultimately, the author improves and develops his teaching practice as a result of this project.
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Veloz, Franco. "Embodied narratives : Embodied experiences as a call for action." Thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-750.
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Things, spaces and people collaborate in order to create an immersive experience. This project investigates this collaboration in order to combine them for an embodied way of tell and perceive stories. Can a immersive experience help to close the gap between information and the person, the event and the story? In the following essay I am going to analyze the components that are part of the experience. I am interested in the connection between perception, memory, atmosphere and objects. Inquire how they are related and what they represent in order to tell stories with them. I try to question the way we perceive and expand the function of telling and receiving stories to the whole body and everything around us. With these new questions, create my project – Johan’s Room – and experiment with them, trying to connect the audience with the story.
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Ferraro, Tonya. "Letters from an interdisciplinary artist: Illuminating Korean adoptee identity through mentors and metal." ScholarWorks @ UVM, 2014. http://scholarworks.uvm.edu/graddis/5.
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Interdisciplinary integration and practice through meaning making and context can contribute to the reconsideration and revolution of research by supporting narrativesand creating space for public discourse. In researching my heritage as a Korean adoptee, I found that the literature has been predominantly from adoptive parents' perspective,focusing primarily on child and adolescent development. Lacking in the literature is the adult adoptee perspective, and specifically their experiential voices.
This interdisciplinary thesis has three major purposes (1) to explore how transracial transnational Korean adoption affects identity formation, (2) to illustrate how mentoring relationships can be a means to address and reframe the theme of loss as experienced by an adoptee, and (3) to use interdisciplinary inquiry as a means of expression to make meaning and illuminate adoptee identity formation. Drawing from my personal experience as an adoptee, an artist, a researcher, and as an educational mentee I integrate past research findings, Scholarly Personal Narrative (SPN: storytelling), epistolary Scholarly Personal Narrative (eSPN: epistolary storytelling), and visual artistic research through jewelry/sculpture to describe constructing my adoptee identity. Images of the jewelry/sculpture are provided, while a public art opening displayed the series of work.
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Dilworth, Jason Orvis. "Vernal." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1748.
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Culminating with a dream, this project transverses theoretical and geographical boundaries with explorations into the message-carrying potential of video, sound, performance, print, and web. Stories and content are extracted from an autobiographical history of one small western town turned boomtown. That town, the center from which the project emerges, is Vernal, Utah.
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Bengtsson, Lovisa. "Himlen, Havet & Riddaren : Fantasyillustrationer om mobbning och utanförskap." Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20035.
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Information kring mobbing och utanförskap är viktig men kan ofta upplevas som torr och ointressant. Detta kandidatarbete utforskar fantasyillustrationer som ett sätt att hantera svårare ämnen genom berättande och underhållning. Jag har forskat kring berättande och fantasygenren som verktyg för att kunna diskutera svårare ämnen på ett mindre konfronterande och mer lättmottagligt sätt samt hur illustration kan användas som ett medium för att berätta. Detta har lett till min gestaltning, en fantasyberättelse om mobbning och utanförskap vid namn ”Himlen, Havet och Riddaren”. Jag har samarbetat med Lotusmodellen och deras Trygga Klassen arbete för att utveckla en berättelse och sedan genom en process av konceptarbete utvecklat karaktärer och en visuell värld av unga riddare på en ö i ett grönt hav. Jag har använt mig av storyboarding och ett flertal illustreringsbaserade berättarmetoder som färgmening och komposition för att skapa en berättelse som är tydlig trots att den saknar text eller berättare. Jag har testat och använt digitala illustrationsmetoder för att arbeta effektivt och hinna med ett stort arbete under kort tid. Resultatet är en video bestående av 36 illustrationer som tillsammans bildar en berättelse som visualiserar mobbing och utanförskap med ett positivt budskap och en stämning som förstärks med timing, ljudeffekter och musik.Information about bullying and exclusion is important but can often be perceived as dry and uninteresting. This bachelor thesis explores fantasy illustrations as a way to deal with more difficult topics through storytelling and entertainment. I have researched storytelling and the fantasygenre as a tool for discussing more difficult topics in a less confrontational and more receptive way as well as how illustration can be used as a medium for storytelling. This has led to my design, a fantasy story about bullying and exclusion called “Himlen, Havet och Riddaren”. I have collaborated with Lotusmodellen and their Trygga Klassen work to develop a story and then through a process of concept art developed characters and a visual world of young knights on an island in a green sea. I have used storyboarding and a number of illustration-based storytelling methods such as colour meaning and composition to create a story that is clear even though it lacks text or narrator. I have tested and used digital illustration methods to work efficiently and get a great deal of work done in a short time. The result is a video consisting of 36 illustrations that together form a story that visualizes bullying and exclusion with a positive message and a mood that is enhanced with timing, sound effects and music.
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Andreani, Nicola. "Bande dessinée et séquentialité : les formes de la narration par images." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040215.
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Cette thèse porte sur le principe même de séquentialité d’images fixes, pour comprendre la différence entre la Bande Dessinée et les différentes formes de narration par images fixes, même les autres arts. Cela nous aide à comprendre pourquoi la Bande Dessinée est devenue un art autonome, pourquoi la Bande Dessinée s’est plus developpée que d'autres formes de narration par images, et quelles sont plus précisément les origines de la Bande Dessinée.Analyser la naissance de la Bande Dessinée signifie donc tracer un parcours à travers des oeuvres, des auteurs ou des mouvements fondamentaux, et considérer les thèmes, les poétiques, les technologies qui l'ont définie à telle ou telle époque. Ce travail vise donc à identifier les oeuvres qui forment une ligne de partage entre le Moyen Âge et l'Âge Moderne. Une analyse historique, mais également paradigmatique, aidera à mieux comprendre comment la Bande Dessinée a évolué, quelles influences ont eu les autres formes d'art (comme la peinture, la littérature, la caricature ou le théâtre) mais surtout, quelles techniques et stratégies ont été mises en place et ont fait évoluer la Bande Dessinée vers un système narratif à base iconiqueThis thesis focuses to question the very principle of sequentiality of still images, that is to understand how in Sequential Art this dynamic takes different forms, but at the same time, how Sequential Art can be differentiated from other Arts. This help us to understand why it became an autonomous art, why it has developed more than any other sequential art, how and when the Comic was actually created.Analyze the rise of the Comics means tracing a path through the works, authors and the basic movements, considering the new poetics, themes, techonologies, that have defined this. This work aims to identify works which form a connection between the Middle Ages and the Modern Age. A historical analysis, but also paradigmatic one, will help to better understand how Comics evolved, what influences have had other forms of art (such as painting, literature, theater or caricature) but, above all, which techniques and strategies have been implemented and have changed Comics toward a narrative system based on images
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Schappelle, Laura Scott. "Art criticism through storytelling." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3587.
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Thesis (M.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Dept. of Curriculum and Instruction. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Bodley, Brittany Dee. "Visual storytelling through costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2825.
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Pham, Thien Truong. "Tanizaki Junʼichirō and the art of storytelling." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25504.
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This thesis deals with the storytelling art of Tanizaki Jun'ichirō. An esthete par excellence, this prolific writer produced for over half a century a string of works that are essentially dedicated to the glorification of art and beauty. This glorification in turn enhances the quality of life which, also in the author's view, is both a dream and a game. Art and beauty, dreams and games are virtually the building blocks of Tanizaki's fictional universe in which illusion and reality are meant to be complementary rather than opposing forces that govern human existence. Transplanting this fabulous world into the reader's heart is the result of Tanizaki's special skill in storytelling. An analysis of his four major works will hopefully bring this skill into full view.
Chapter One examines Tanizaki's early short story "Shisei" that marks his brilliant debut. Though marred by technical flaws, "Shisei" succeeds remarkably in luring the reader into a fairy-tale atmosphere where art and beauty are the only raison d'être. A sensuous style characterizes this lively tale and between the lines flows a life force that will become Tanizaki's trademark.
The theme of art and beauty is brought to a climax in "Shunkinshō" which is analysed in Chapter Two. The simple perspective of "Shisei" is now abandoned, giving way to a maze of multiple viewpoints that are there for the single purpose of hypnotizing the reader. The ultimate goal is to make the reader share the passion and devotion of an artist in the pursuit of the Ideal. The monogatari style is a feature of this novella and helps generate the ambiguity needed for the narrative.
Chapter Three deals with "Yume no ukihashi," a tale of dream and sensuality. Man's ambition to create and perpetuate dreams is given full treatment in this story in which illusions are the name of the game. Incest is also a thorny issue but Tanizaki seems to consciously skirt the problem with various devices.
Fùten rōjin nikki, Tanizaki's crowning novel, is the subject of Chapter Four. Everything that the author stands for in his writing is now brought into focus. Using the casual form of a diary, art motifs and erotic scenes are placed at well-calculated points so that structural balance is maintained throughout the story. A game-playing spirit and the overwhelming life force which starts with "Shisei" embody this last tour-de-force that proudly consolidates the author's fame.
This thesis, through the four works that are examined, can be considered an attempt to shed some light on the question of why and how Tanizaki fascinates the reader.Arts, Faculty of
Asian Studies, Department of
Graduate
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SENNA, MARCELUS GAIO SILVEIRA DE. "CONCEPT ART: DESIGN AND STORYTELLING IN ANIMATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2013. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=23902@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
Concept art: design e narrativa em animação tem o objetivo de investigar se existe clareza nas funções que compreendem a atividade do concept art, particularmente na relação entre design e narrativa. A motivação e objetivo geral da pesquisa é ampliar o entendimento a respeito do campo e delinear melhor os contornos da atividade. A referência para a construção deste perfil é o cinema de animação comercial norte-americano. Divide-se a pesquisa em três partes. Na primeira, faz-se uma investigação bibliográfica sobre questões etimológicas, históricas e de linguagem pertinentes ao concept art. Na segunda parte, avalia-se a posição do concept art na indústria a partir de três aspectos: como se difunde o conhecimento a respeito do campo; o contexto de produção do concept art no esquema de grandes estúdios; e quais as características de produção do concept art à luz da metodologia projetual do design. A terceira e última parte concentra-se no profissional da área, investigando o que a indústria busca desse profissional e o que ele pensa sobre concept art. Primeiro, analisa-se o relato de um concept artist atuante na indústria cinematográfica norte-americana, para depois ouvir profissionais que trabalham ligados à função no mercado nacional. Concluiu-se ao final deste trabalho que existe certa clareza nas funções que compreendem o concept art, mas ainda há a necessidade de se definir melhor estas funções. Exatamente por isso não se verificou consenso entre os profissionais entrevistados na relação entre concept art e narrativa, que neste trabalho julgamos como sendo a base do campo.
This work aims to investigate whether there is clarity on the roles that constitute the Concept Art, especially with regard to the relation between the design and the narrative. The motivation and main objective of this research is to enlarge the understanding concerning the field and to define the contours of the practice. The construction of this profile is based on North American commercial animation movies. The research is divided into three parts. The first one illustrates a bibliographic investigation about etymological and historical issues and the specific language concerning Concept Art. The second part assesses the position of the Concept Art in the industry from three aspects: how the knowledge concerning the field is disseminated; the context of the Concept Art production according to the major studios scheme; and which are the features of producing Concept Art in the light of design projective methodology. The third and final part focuses on the professional, investigating what the industry seeks and what the professional thinks about Concept Art. Fist of all, it analyses the report of a concept artist active in the North American film industry, and the professionals related to the practice in the national market then. Finally, the conclusion of this work is that there is certain clarity about the roles that constitute the Concept Art, but it is still imperative to better define those functions. For that reason, there was no consensus among the interviewed professionals concerning the relation between Concept Art and narrative, which is, according to this work, the basis of the field.
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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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Jönsson, Elin. "Storytelling : berättelsestrukturer i samtidskonsten." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-574.
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Många samtidskonstnärer arbetar idag aktivt med berättelsens struktur, konstverken fungerar som en del i en mer omfattande process som fogar samman det visuella uttrycket med berättande och en övergripande dramaturgi. I detta examensarbete försöker jag synliggöra hur ett konstverks berättelsestruktur kan urskiljas dels genom att använda olika teoretiska perspektiv, där jag bland annat försöker svara på frågan, vad är en berättelse? Men även undersöka hur en berättelses struktur kan urskiljas visuellt, genom mitt gestaltande arbete. I både den teoretiska och gestaltande delen försöker jag visa att en berättelse är under ständig transformation, samt mottagarens roll i skapandet av en berättelse. Jag kommer röra mig mellan den strukturalistiska uppdelningen av ”den klassiska berättelsen” till en mer poststrukturalistisk utvidgad syn. Jag kommer även ha som utgångspunkt att berättelsen är en aktiv deltagare i skapandet av vår sociala praktik. Mitt examensarbete har utgått ifrån frågeställningen: Vilka berättarstrukturer kan urskiljas i samtidskonstnärers konstverk/projekt? Hur arbetar dessa konstnärer med berättelsens egenskaper och villkor? Hur påverkar berättarstrukturen i sin tur konstverket/projektet? Till mitt gestaltade arbete bad jag fem personer välja varsin filmscen, denna filmscen återberättades sedan muntligt för mig (utan att avslöja vilken film) utifrån berättelserna gjorde jag teckningar som sedan blev till fem animerade scener. Scenerna presenteras i en följd.BI/Konst
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Bylund, Jonas, Andreas Enqvist, and Björn Ögren. "Design genom storytelling." Thesis, Konstfack, Industridesign, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-863.
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Vår övertygelse är att en av de viktigaste budbärarna för ett företags identitet är produkterna och att ett långsiktigt varumärkesbyggande sker genom att knyta emotionella band mellan konsumenterna och varumärket. Detta handlar främst om vad konsumenten upplever när produkterna används. Vår målsättning var att bättre kunna förstå helheten runt användarupplevelsen och branding och därigenom skapa bättre verktyg för detta i vår designprocess. Målet var att komma fram till slutsatser kring hur vi som designer kan angripa dessa frågor på ett kreativt sätt. En stor del av vårt arbete har behandlat området branding i förhållande till design, men vi har även berört vissa områden som psykologi, innovation samt kreativa arbetsprocesser.Årets examensarbete 2005, Idesignpriset.se. Frimurarordens stipendie 2005.
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Christian, Dorothy. "Gathering knowledge : Indigenous methodologies of land/place-based visual storytelling/filmmaking and visual sovereignty." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61166.
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This dissertation addresses two questions that examine how localized cultural knowledge informs production practices in visual narratives produced for Fourth World Cinema and how Indigenous visual storytelling/filmmaking styles based in that knowledge determine the film elements, thus the cultural congruency of their selected aesthetics. Secwepemc-Syilx systems of knowledge in British Columbia are used as an exemplar for the development of a localized theory for creating visually sovereign narratives for Fourth World Cinema. This culturally specific ontology formulates a land/place-based identity, specific to Secwepemc-Syilx territories. Land, story and cultural protocols are central to this work and the seamless relational quality is illustrated by emphasizing how integral they are to Indigenous self-representation and identity.
In the film discourse, the researcher brings together Manuel (Secwepemc) and Poslun’s Fourth World (1974) and Barclay’s (Maori) (1990, 2003a, 2003b) assertion of a Fourth Cinema to further develop the notion of a Fourth World Cinema. The ways that Indigenous film aesthetics shape the meaning of visual sovereignty and the concept of cultural congruency in constructing film elements are fundamental for Fourth World Cinema. In the globalization and film discourses the researcher interrogates how the concepts of political identity (indigeneity) and geographical location (deterritorialization) affect the treatment of Indigenous representation.
An Indigenous Inquiry process is set in an Indigenous research paradigm that privileges Indigenous systems of knowledge. Indigenous and Euro-Western systems of knowledge(s) are juxtaposed to reveal the philosophical differences that affect land, story, and cultural protocols. Archibald’s (2008) seven Indigenous storywork principles of respect, responsibility, reciprocity, reverence, holism, interrelatedness, and synergy set the framework for the shared conversations of 13 Indigenous knowledge keepers. The findings of the knowledge gathered illustrate the commonalities in the cosmologies within the diverse expansive Indigenous worldviews. Another layer of investigation documents a peer-to-peer discussion between the researcher who is a visual storyteller and a diverse group of 17 Indigenous filmmakers who shared stories from their film production experiences. Their perspectives affirmed the role of culture in contemporary film production practices and led to the development of the concepts of story, land, cultural protocols, and Indigenous identity in Fourth World Cinema.Education, Faculty of
Educational Studies (EDST), Department of
Graduate
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Cattoni, Jan Maree. "Bearing Witness: The Art of Telling Difficult Stories." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365321.
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This exegesis and the accompanying studio work poses the question of whether there
is value in telling difficult stories in the documentary context for the person who has
experienced the difficulties, as well as for those who may subsequently listen to such
stories as viewers. The studio work, a one-hour broadcast documentary, follows a
family for two years after the death of their daughter. The exegesis examines the risks
involved for those who are telling and listening, and also examines the role of the
filmmaker within such contexts. The filmmaker critically reflects on her professional
experiences as a paediatric intensive care nurse, examining how these experiences
came into play in her role as documentary-maker in the submitted work. The notion
that there is value in producing stories that deal with difficult subjects is considered in
light of research that looks at individual responses to trauma. New practices in digital
and participative storytelling are scrutinised as offering alternative frameworks for
difficult storytelling.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Griffith Film School
Arts, Education and Law
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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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Peterson, Caroline. "Man ville vara modern : En analys av modernistiska strömningar i svenska stumfilmsaffischer." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-70295.
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Purpose of this essay is to conduct a style analysis of Swedish silent film posters with visual storytelling and cultural memory as a theoretical basis. Concepts such as design, color and technique are studied to highlight the historical context of Swedish silent film posters.
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Kelly, Shelly. "Not so/visual art." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35925/8/Shelly%20Kelly%20Thesis.pdf.
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Vision and language provide closure to a work and no reinstatement for the artwork's future. Vision and language make the investigative process seem replete; therefore other possibilities are not pursued. Subsequently, there is a need to investigate the
perceptual and interpretative process as currently this is dominated by the visual and communicated through language. An examination of this, will show that a gap exists between our perception and our interpretation of an artwork. This gap is dependent on spatial and temporal conditions as the determining factors in our interpretative relationship with artwork. Examining and altering these conditions will lead to a fresh approach in our relationship with art. The qualities of these conditions are inseparable from the way we constitute space, in other words, what we know is inseparable from what we do. Therefore to change our directness in our application of perceiving will inevitably change what we know of an accepted process. Looking at ways of extending this gap between perception and interpretation will empower the space in this gap, and enable meaning to be dislocated and dispersed. This will be achieved by embracing a more experiential approach and allowing the artwork to sustain a more heterogeneous field.
The aim of this thesis is to demonstrate alternative possibilities in approaching and interpreting a work of art by shifting conditional limitations.
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Kusoffsky, Madeleine. "Leveraging storytelling in visual analytics by redesigning the user interface." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-96724.
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Storytelling is a way of packaging the knowledge and insights gained from analyzing statistical data. The knowledge is transformed into a format that lends itself to be understood by non-experts more easily. The story with links to interactive diagrams. The purpose of this design study was to improve the interaction design of the storytelling feature. The target audience for the new design was intermediate users. Evaluation of the current design by interviewing and observing beginner and intermediate users gave valuable understanding about the users goals related to the storytelling feature. The new design is a product from design goals derived from the user data and research through design. Sketching and exploring possible solutions was a process that meant producing multiple sketches, documenting design decisions through annotations and a way of keeping track of trade-offs and compromises. Screenshots from the application containing the redesigned interface of the storytelling feature was used during a final evaluation. Developers, a user and the designer evaluated the new design through a pluralistic usability walkthrough. The result showed that the new design had improved the storytelling feature in some aspects but that new problems had emerged. This indicates that interaction design processes should contain iterations. Designs should be tested, redesigned and tested again together with users and stakeholder to ensure that user goals are fulfilled, that design goals are reached and that the feature will deliver a positive user experience.
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Staton, David. "A Beautiful Death: Visual Representation in Death With Dignity Storytelling." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20522.
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This dissertation takes as its central topic visual narratives in Death with Dignity Storytelling and posits the author’s ideas of a beautiful death and the heard gaze. Its methodology includes a textual analysis of such images, which in turn leads to a typology, and the use of a digital tool to “sum images” to test the veracity of the typology. What creates the impulse to look at images of pain, suffering the withering body, the compulsion to bear witness to misery? That question is in part answered by Sontag (2003) Regarding the Pain of Others—“we are spectators of calamities” (p. 18)—and is evident in the indefinite pronoun that hangs at the end of the slim volume’s title. Because it is in those others, that we see ourselves. A Beautiful Death: Visual Representation in Death With Dignity Storytelling considers two case studies as examination and proofs of its claims.
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Garman, Keli L. "The Art of Designing a Meaningful Landscape through Storytelling." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32181.
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Meaning in the landscape is a concept that is receiving attention from many landscape architects asking the questions: how is meaning found in the landscape, or what makes a landscape meaningful? While there are many design processes that incorporate meaning into the design, it is the art of storytelling that the thesis investigates. The research for the thesis and a comparison analysis is performed on three texts, which explore meaning in the landscape. The three texts are Marc Treibâ s â Must Landscapes Mean?â ; Matthew Potteiger and Jamie Purintonâ s Landscape Narratives, and Mark Francis and Randolph T. Hester, Jr.â s The Meaning of Gardens: Idea, Place, and Action. Applying these approaches to case studies has resulted in the finding of common ideas between the three texts. The commonalities led to my position that storytelling can be used as an approach to design, and that landscapes designed as a story narrative can be meaningful. The design project investigated the strength of the position on a site in the West Potomac Park in Washington DC. The story for the project is a Japanese folktale that communicates the culture of Japan. The project is a case study that explores if the set of design principles within the storytelling approach can invest meaning into a landscape.Master of Landscape Architecture
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Rontani, Maurizio. "Patrimonito: a visual storytelling of World Heritage from and for children." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23123.
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This is a brief research investigating issues such as world heritage and sustainable development in their existing links with youth and local communities, tourism and identity. Some heritage related narratives created by youngsters worldwide are considered.Connections among education, participation and heritage preservation, in the framework of a communication for development perspective, are investigated. Specifically, winning storyboards of a UNESCO Patrimonito competition are analyzed. The analysis on the collected media texts was conducted using a qualitative approach, including semiotics and visual methods.The findings emerged from the study made clearer the researched topic and allowed to formulate some final recommendations for further studies on the subject.
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Frohling, Michael Peter. "Visual Storytelling: The Lighting Design of A Raisin in the Sun." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/242.
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MICHAEL P. FROHLING, for the Master of Fine Arts degree in Theater, presented on 29 March 2010, at Southern Illinois University Carbondale. TITLE: VISUAL STORYTELLING: THE LIGHTING DESIGN OF A RAISIN IN THE SUN MAJOR PROFESSOR: Mark Varns Visual Storytelling: The Lighting Design of A Raisin in the Sun is a culmination of the lighting design for the play Raisin in the Sun, by Lorraine Hansberry. This production by Southern Illinois University Carbondale's Department of Theater was produced in February 2009. This thesis chronicles the design process in all aspects from beginning to end. The document begins with a textual analysis of the script along with accompanying research. The second chapter focuses on design meetings and the process of coming to decisions about "Raisin". These decisions were arrived at through careful considerations of metaphoric analysis and through imagistic research using internet search engines and volumes of different artists. It also describes the implementation of those decisions. Chapter three focuses on the goals and evaluations of the production. A series of appendices contains image research, light plot, applicable paperwork, and production photos.
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Peterson, Megan L. "Telling Stories About Monsters Through Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/86.
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This study is about how the research of monsters and contemporary artists who create monster-related work can help create monsters from my own imagination using the process of synthesis. In it I discuss how the monsters I created in my artwork tell a story. I also talk about how this study can be used to relate art to other fields of study such as English and History, and the idea of Visual Culture.
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Evans, Alyssa Joyce. "The Art and Evolution of Genre and Storytelling in Videogames." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/320089.
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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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He, Yin. "Immersive Storytelling for Environmental Communication." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-158200.
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As one of the earliest attempts to apply immersive technology in environmental communication, this design research project tries to answer the following research question: how do we communicate the connections between food-related behaviors and environmental impacts through immersive storytelling? During the project, an immersive story called "Trik’s' Party" for dome shows and a journey map of an immersive visitor experience are created. These design outcomes and this paper are built on the knowledge of scientific findings, communication methods, content creations, and service design. To support the creation process, new sketching, storyboarding and prototyping methods were developed for dome content creations. The core message of this paper is that effective environmental communication is not just about informing the public about facts and data from scientific studies. It is also about giving individuals and communities the knowledge, tools and spaces to develop a vision of their own future. Immersive storytelling is one of the methods for creating these spaces. It has a large potential to raise public empathy with other people and their future-self when the long-term and abstract impacts of the environmental problems become more visible and comprehensible in an imaginary space.
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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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Stenliden, Linnéa. "Visual Storytelling Interacting in School : Learning Conditions in the Social Science Classroom." Doctoral thesis, Linköpings universitet, Lärande, Estetik, Naturvetenskap (LEN), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-106885.
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The aim of this compilation thesis is to understand how technology for visual storytelling can be shaped and used in relation to social science education in primary school, but also how social dimensions, technical and other matters create emerging learning conditions in such an educational setting. The visual storytelling technology introduced and used in the study is ‘the Statistics eXplorer platform, a geovisual analytics. The choice of theoretical perspectives to inform and guide the study is a socio-cultural view of human action, but also actor network theory is used to take account also of activities of technology and other matters. The study builds on three empirical materials that generate data from 16 social science teachers, and 126 students from five social science classrooms, in three Swedish primary schools. It contains field notes from the introduction of the technology; focusgroup interviews with teachers; think-aloud interviews with students and two kinds of video recordings from the classrooms (with an ordinary video camera and with software that capture activities at the computer screen, students’ activities and the audio as well). The analysis shows that the visual storytelling technology is shaped in relevant ways for social science teachers. The analysis also illustrates that the visual educational material are usable for primary school students in their social science education. They illustrate further how teachers, students, technology, information, tasks, data types, etc. together and in in close relation create highly complex learning conditions. The technology can therefore be seen as appropriate for the educational practice, but the complexity together with students’ apprehension of how to announce knowledge distribute severe problem spaces in the learning activities. The technology can therefore be assumed as a catalyst for educational change, but to achieve its potentials, reflections on didactic design and knowledge formation is requested to support the quality of students’ knowledge in relation to visual analysis.Syftet i denna avhandling är, att förstå hur teknik för visual storytelling kan vara utformad och användas i relation till samhällsorienterande undervisning i grundskolan (årskurs 4 – 6), men också hur sociala dimensioner, tekniska och andra faktorer skapar villkor för lärande i ett sådant undervisningssammanhang. I studien introduceras datavisualiseringsteknik för visual storytelling: ‘the Statistics eXplorer platform’, ett geovisual analytics. Den teoretiska referensramen har sin grund i ett social konstruktionistiskt synsätt Ett socio-kulturellt perspektiv används för att analysera social aktivitet, men även aktörnätverks teori används för att analysera både sociala och materiella aktörer. Avhandlingen bygger på tre empiriska material som genereras med hjälp av 16 lärare i samhällsorienterande ämnen, och 126 elever tillhörande fem olika klassrum i tre olika svenska grundskolor. Materialet innehåller: fältanteckningar ifrån introduktion av tekniken, fokusgrupps-intervjuer med lärare, ‘tänka högt’-intervjuer med elever och två sorters videoinspelningar ifrån klassrum (dels med vanlig videokamera och dels med mjukvara som spelar in aktiviteter på datorskärmen och elevernas aktiviteter vid datorn, liksom ljudet). Analysen visar hur lärare, elever, teknik, information, uppgifter, data-typer, etc. tillsammans, i nära samarbete i de studerade klassrummen, skapar mycket komplexa villkor för lärande. De läraktiviteter som uppstår i klassrummen där teknik för visuell analys inkluderas, erbjuder elever support att: hantera stora datamängder, bli delaktiga i olika läraktiviteter och uppnå olika utbildningsmål, men även andra sorters elevrelaterade mål. Därför kan tekniken sägas vara relevant för denna sorts undervisning. Vidare visar analysen hur komplexiteten tillsammans med elevernas uppfattningar av hur kunskap skall visas, skapar påtagliga ‘problem spaces’ i läraktiviteterna. Lärandevillkoren kan därför förstås som en klassrumspraktik som inte fullt ut överensstämmer med den introducerade teknikens erbjudanden för visuell analys. Därför efterfrågas en förändrad syn på didaktisk design och elevers kunskapsformering, vilket blir betydelsefullt för kunskapens kvalitet i förhållande till visuell analys.
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Larsen, Morten. "When Colour Narrates: Colour as a Narrative Tool in Audio-visual Storytelling." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-371144.
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This thesis explores the use of colour as a narrative tool within the realm of cinema. Even though colours have taken up a considerable role in the history of film, colour theory and colour aesthetic have not received reasonable attention in film studies compared to other fields. The thesis reflects upon why this might be the case based on the hypothesis by David Bachelor that a history long “chromophobia” has existed in the arts in the Western world. The paper then seeks to give an overview of relevant theory of colour that tries to shed light on the multiplex nature of colour itself, and in continuation to that, its ability to convey meaning within audio-visual story-telling. Finally, this paper shall investigate the selected works by three directors - Eric Rohmer, Rainer Werner Fassbinder and Alfred Hitchcock - that utilize colour narratively within their work but in various ways. It is the aim of this thesis that the analysis supported by theory shall prove the quality and unique property of colour in audio-visual storytelling.
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Voshell, Todd Jeffrey. "Reinterpreting the role of civic architecture using the art of storytelling." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ31656.pdf.
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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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Maiti, Dipayan. "Multiset Model Selection and Averaging, and Interactive Storytelling." Diss., Virginia Tech, 2012. http://hdl.handle.net/10919/28563.
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The Multiset Sampler [Leman et al., 2009] has previously been deployed and developed for efficient sampling from complex stochastic processes. We extend the sampler and the surrounding theory to model selection problems. In such problems efficient exploration of the model space becomes a challenge since independent and ad-hoc proposals might not be able to jointly propose multiple parameter sets which correctly explain a new pro- posed model. In order to overcome this we propose a multiset on the model space to en- able efficient exploration of multiple model modes with almost no tuning. The Multiset Model Selection (MSMS) framework is based on independent priors for the parameters and model indicators on variables. We show that posterior model probabilities can be easily obtained from multiset averaged posterior model probabilities in MSMS. We also obtain typical Bayesian model averaged estimates for the parameters from MSMS. We apply our algorithm to linear regression where it allows easy moves between parame- ter modes of different models, and in probit regression where it allows jumps between widely varying model specific covariance structures in the latent space of a hierarchical model.
The Storytelling algorithm [Kumar et al., 2006] constructs stories by discovering and con- necting latent connections between documents in a network. Such automated algorithms often do not agree with userâ s mental map of the data. Hence systems that incorporate feedback through visual interaction from the user are of immediate importance. We pro- pose a visual analytic framework in which such interactions are naturally incorporated in to the existing Storytelling algorithm through a redefinition of the latent topic space used in the similarity measure of the network. The document network can be explored us- ing the newly learned normalized topic weights for each document. Hence our algorithm augments the limitations of human sensemaking capabilities in large document networks by providing a collaborative framework between the underlying model and the user. Our formulation of the problem is a supervised topic modeling problem where the supervi- sion is based on relationships imposed by the user as a set of inequalities derived from tolerances on edge costs from inverse shortest path problem. We show a probabilistic modeling of the relationships based on auxiliary variables and propose a Gibbs sampling based strategy. We provide detailed results from a simulated data and the Atlantic Storm data set.Ph. D.
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Klimas, Matthew L. "Argent Sound Recordings: Multimodal Storytelling." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/795.
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ARGENT SOUND RECORDINGS explores the integration of visual, written and sonic elements to tell a story. "The Silver Bell," a fairy tale, is delivered through the internet providing users an opportunity to experience and interpret a constructed narrative under the guise of an independent record label website.
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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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Trainer, Janette. "Art and ecology : a visual exploration." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/852.
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Within the broad theme of art and ecology, local ecological issues were explored through studio practice involving digital imagery, print making, and mixed media. The frame of reference for the creative project included a discussion of the representations of natural, social and cultural environments' by visual artists. As an art educator interested in developing "best practice" including interdisciplinary approaches across the curriculum with an emphasis on visual arts education, the researcher explored the connections between art and ecological concerns. The Curriculum Framework for Kindergarten to Year 12 Education in Western Australia (1998) provided a sound basis for action. In particular, the Values Outcome, Environmental Responsibility and the Present and Future Condition, Global Environmental Issues have significance for this project. Further, The Arts Outcome, Communicating Arts Ideas is a reminder to visual arts educators that ideas, thoughts and feelings may be transformed into art works. In the primary school setting, engagement with ecological issues has the potential to involve students in both group and individual projects. As an art maker, the creative arts project draws on an area of personal significance. The property, Toodyay Gums, at Lot 11 on the Northam/Toodyay Road, in the Avon Valley, north east of Perth became the site for investigation, research and the generation of artworks. The roles of art educator and art maker are brought together in a research question that forms the 'focus of the Creative Arts Project; To what' extent does visual arts practice give rise to a fuller understanding of ecological issues and new insights into a specific site? Documentation for the creative project takes the form of an exegesis, journal entries, visual diaries, and art works. The techniques of print making, digital imagery and mixed media provided the means of representing concepts and layers of experience. The art works produced during the course of the Creative Arts Project were exhibited at The Churchlands Studios, Edith Cowan University, 12•19 December 2002.
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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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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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Wilson, Robyn Joan. "Last man hanging a book of pictures : this thesis [exegesis] is submitted to the Auckland University of Technology in partial fulfillment for the degree of Master of Art and Design, August 2007 /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1359/.
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Exegesis (MA--Art and Design) -- AUT University, 2007.Disk includes covers, a book of pictures, fold-out page, exegesis and Appendix 3 entitled 31 months (Appendix 3 not in print). Includes bibliographical references. Also held in print (xv, 75 leaves : ill. ; 27 cm. + CD-ROM) in City Campus Collection (T 707 WIL)
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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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BORGHI, ALESSANDRA. "Storytelling e autismo. Uno studio teorico ed empirico." Doctoral thesis, Università degli studi di Modena e Reggio Emilia, 2020. http://hdl.handle.net/11380/1200397.
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L’antropologia filosofica, le neuroscienze e la fisica quantistica concordano nel definire l’essere umano come un essere intrinsecamente sociale, naturalmente volto alla relazione e alla condivisione delle proprie emozioni. Talvolta, però, questa dimensione socio-emotiva tipicamente umana sembra essere fortemente compromessa, come nel caso dei soggetti con disturbi dello spettro autistico (ASD), i quali faticano a stabilire relazioni e un contatto visivo con le altre persone. Baron-Cohen descrive il cervello autistico come un Systematic brain, caratterizzato da una scarsa o assente familiarità con emozioni ed empatia, a differenza del cervello Empatico delle persone a sviluppo tipico (TD).
Alcuni autori, tra cui il neuroscienziato Antonio Damasio, individuano un nesso fondamentale tra emozioni e coscienza, definendo quest’ultima come l’apice di un processo di progressiva emergenza di un senso del Sé compiuto (o autobiografico) dall’inconscio. Le emozioni e i sentimenti costituiscono due stadi intermedi fondamentali di questo processo e, quindi, una chiave di accesso privilegiata al pieno risveglio della propria coscienza emotiva. Da tale punto di vista, lo storytelling si rivela essere uno strumento terapeutico, in quanto capace di attuare nei partecipanti un processo di progressivo risveglio interiore.
A conclusione della prima parte di questa ricerca, a carattere teorico, si propone un confronto tra le varie forme, già sperimentate, di storytelling educativo per bambini autistici in età scolare, tra cui: storie a computer (Emotiplay, di Baron-Cohen), Storie Sociali e conversazioni a fumetti. La seconda parte, invece, a carattere empirico, presenta un progetto di storytelling sperimentale personalmente ideato e attuato per due fratelli gemelli autistici nel corso di due anni scolastici successivi (quarta e quinta elementare), in un contesto classe inclusivo.
Il progetto vantava un obiettivo euristico, di accrescimento delle conoscenze nell’ambito dello storytelling terapeutico, e un obiettivo educativo, consistente nel fornire a tutti i partecipanti gli strumenti necessari per maturare una buona consapevolezza emotiva e imparare a riconoscere e verbalizzare emozioni e sentimenti personali.
Si è scelto di adottare un metodo fenomenologico, sospendendo quindi il giudizio sulle persone autistiche come soggetti incapaci di provare emozioni, e un approccio dialogico, che ha permesso ai partecipanti di lasciare emergere il loro sapere implicito sulle emozioni e alcune esperienze emotive significative registrate a livello inconscio.
Nella prima fase del progetto, i due bambini ASD sono stati coinvolti in un ciclo di sei incontri, incentrati sull’esplorazione delle loro emozioni a partire dalle rispettive manifestazioni esteriori (approccio occidentale). Ciascun incontro rispettava la medesima sequenza di attività: lettura di un episodio della storia scritta dalla ricercatrice per i bambini (Il mulino dei colori di Leo e Cloe), conversazioni socratiche o conversazioni a fumetti, produzione di un racconto autobiografico da parte di ciascun bambino. La seconda fase del progetto (cinque incontri) è stata concepita per aiutare i bambini a riconoscere i sentimenti generatori delle proprie emozioni e ad acquisire così una maggiore capacità introspettiva (approccio orientale). A tal fine, le attività di storytelling, incentrate sulla lettura di Raffi l’aquila bianca, sono state accompagnate da attività di Mandala Art Therapy.
L’analisi qualitativa di tutti gli elaborati ha permesso di corroborare la tesi secondo cui il deficit emotivo tipicamente autistico si configura non tanto come una mancanza di emozioni, quanto piuttosto come una mancanza, peraltro riducibile, di consapevolezza dei propri vissuti emotivi.Philosophical anthropology, neuroscience and quantum physics agree that human being is characterized by an innate predisposition to socialize and share emotions with other persons. Despite that, some people seem to lack this social and emotive competence. This is the case of children and adults with autism spectrum disorders (ASD). They generally find it very difficult to interact with other persons and even to look them in the eyes. The British neuroscientist Simon Baron-Cohen defines their brain as a Systematic brain, characterized by extremely poor familiarity with emotions, empathy and social interactions, at odds with typical development (TD) persons’ Empathetic brain. Some important authors, such as the neuroscientist Antonio Damasio and the psychiatrist Francesca Erica Poli underline a fundamental link between our emotions and our awareness, which they define as the summit of a process of gradual emergency of a complete and autobiographical Sense of Self from our subconscious. Emotions and feelings represent two fundamental levels of this process and, therefore, a preferential key of access to the full awakening of our own emotional consciousness. In the light of this, storytelling can be consider as a therapeutic instrument, that means an instrument able to activate a process of gradual inner transformation and awakening in the participants. In the first part of this research, developed on the theoretical grounded, I compare different type of educative storytelling for autistic school-age children, most of all computer-based stories, such as Emotiplay, by Baron-Cohen, Social Stories and comic conversation by Carol Gray. By contrast, the second part is an empirical one and describes a project of experimental storytelling personally implemented with two autistic twin brothers, aged nine, for two consecutive school years (fourth and fifth grade). The project was meant to achieve two objectives: an euristic one, which was defining the fundamental characteristics of a therapeutic storytelling specific for autistic children, and an educational objective, which was promoting the growth of a self-emotive consciousness in all the participants, autistic and non, and educating them to verbalize their emotions and feelings. I used a phenomenological method, to investigate autism spectrum disorders suspending the judgment about autistic people (children in particular) as persons with poor social skills (especially empathy) not able to feel complex emotions, and I adopted a dialogical-socratic approach, which let all the participants’ emotional experiences naturally emerge from their subconscious. In the first phase of the project, the autistic children and their TD classmates were involved in a series of six sessions focused on exploring their own emotions starting with their exterior manifestations (occidental approach). Each session consisted in three moments: reading an episode of the story that I specifically wrote for the children (Leo and Cloe’s mill of colours); conversing in circle (Socratic method) or drawing comic conversations and writing a personal emotional experience (autobiographical account). The second phase of the project was articulated in five sessions aimed to lead children to recognize the sentimental cause of their emotion and to develop a greater introspective faculty (oriental approach). For this purpose, storytelling activities, focused on the story Raffi l’aquila bianca, were combined with those of Mandala Art Therapy. The qualitative analysis of all children’s works allowed me to corroborate the thesis according to which autistic emotional deficit doesn’t consist in an irretrievable lack of emotions, but in a correctable/reducible lack of emotional consciousness.
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Brownfield, Kristi. "VENI, VIDI, VIDS: TRANSFORMING CULTURAL NARRATIVES THROUGH THE ART OF AUDIOVISUAL STORYTELLING." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1100.
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The focus of this research is “fanvids” which are the creative work of fans that combine clips or images from a visual “canon” source (usually a television series or movie) to music to create an alternative narrative. By using qualitative content analysis methods, I sampled from the television show Supernatural and the 2009 film Star Trek to understand the ways diverse characters were presented and what types of cultural narratives existed. Then I sampled from seven different vidding communities, collecting a total of 105 vids and 6509 comments on those vids as the second part of my sample. Then drawing on the sociological subfields of social psychology, gender, cultural studies, as well as the broader literatures of media and film studies, I analyzed both the data from canons and fanvids. My analysis centered on the following research questions: a) What are the cultural narratives present in the canon sources and how are those narratives rejected, accepted, replaced, or otherwise transformed within fanvids? (b) How do the narratives present within the canon source and within the vids reflect the ideologies and spirit of the culture that produces those narratives? (c) Are these vids and discussions a sign of potential change in cultural ideologies and narratives and, if so, what change is taking place? My findings within the two canons include an emphasis on a masculinity that maintains control through violence and aggression; in contrast vids reject this type of masculinity and the larger cultural narratives that support it, except when that violent masculinity is sexualized in the context of homosexual relationships. Further, vids predominantly reject the heteronormativity found in both Supernatural and Star Trek in favor of presenting queer relationships. Within this dissertation, I have used the transformation from canon to fandom as a narrative proxy for cultural change. The differences and similarities between canon and vid point to deficiencies both in narrative and in representation in the media we are producing in the U.S. as well as narratives that are stable and enduring, so much so that fans add them even when they are not present in canon. These are the stories our culture, right now, is built on; essentially, these are the narratives that are part of the cultural ideologies that reflect hopes, dreams, beliefs, and ideologies of the people within our society.
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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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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.
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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.