Bibliografías temáticas / Visual vernacular

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Literatura académica sobre el tema "Visual vernacular"

Autor: Grafiati

Publicado: 25 de mayo de 2024

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Artículos de revistas sobre el tema "Visual vernacular"

Butsykina, Y. O. "VERNACULAR DESIGN AS VISUAL PRACTICE OF URBAN SPACE ORGANIZATION". UKRAINIAN CULTURAL STUDIES, n.º 1 (6) (2020): 5–8. http://dx.doi.org/10.17721/ucs.2020.1(6).01.

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Article discusses specific status of the vernacular design in the visual style of the modern Ukrainian city, where indigenous dwellers coexist with those who came recently from the country. The vernacular regions in Ukrainian cities are analyzed as complex, eclectic and grass-roots. The vernacular design is understood within the complex cultural environment, where different traditions and cultural identities coexist. The terms "vernacular life", "vernacular landscape" are explicated. The vernacular landscape is interpreted in the context of the everyday human activities brought into the public urban spaces. The crucial characteristic (amateur, brutal, trying to be visible and being invisible, economical, tactical, irrational, anachronistic) and the main principles (constraint, thrift, durability, commonness) of the vernacular design are studied within the interpretive context of urban culture collective identity.

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Godson, Lisa. "Vernacular". Design and Culture 8, n.º 1 (2 de enero de 2016): 135–38. http://dx.doi.org/10.1080/17547075.2016.1142352.

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Hwang sae bom y 정보민. "Study on vernacular expression of visual humor". Journal of Digital Design 7, n.º 4 (octubre de 2007): 241–48. http://dx.doi.org/10.17280/jdd.2007.7.4.025.

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Cleland, Jennifer y Anna MacLeod. "The visual vernacular: embracing photographs in research". Perspectives on Medical Education 10, n.º 4 (2 de junio de 2021): 230–37. http://dx.doi.org/10.1007/s40037-021-00672-x.

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AbstractThe increasing use of digital images for communication and interaction in everyday life can give a new lease of life to photographs in research. In contexts where smartphones are ubiquitous and many people are “digital natives”, asking participants to share and engage with photographs aligns with their everyday activities and norms more than textual or analogue approaches to data collection. Thus, it is time to consider fully the opportunities afforded by digital images and photographs for research purposes. This paper joins a long-standing conversation in the social science literature to move beyond the “linguistic imperialism” of text and embrace visual methodologies. Our aim is to explain the photograph as qualitative data and introduce different ways of using still images/photographs for qualitative research purposes in health professions education (HPE) research: photo-documentation, photo-elicitation and photovoice, as well as use of existing images. We discuss the strengths of photographs in research, particularly in participatory research inquiry. We consider ethical and philosophical challenges associated with photography research, specifically issues of power, informed consent, confidentiality, dignity, ambiguity and censorship. We outline approaches to analysing photographs. We propose some applications and opportunities for photographs in HPE, before concluding that using photographs opens up new vistas of research possibilities.

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Asmal, Atiyah y Michiko Kaneko. "Visual Vernacular in South African Sign Language". Sign Language Studies 20, n.º 3 (2020): 491–517. http://dx.doi.org/10.1353/sls.2020.0010.

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Knorr, Karen. "Vernacular Masquerades". Photography and Culture 3, n.º 1 (marzo de 2010): 107–10. http://dx.doi.org/10.2752/175145110x12615814378478.

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Chavez, Mercedes. "Vernacular Landscapes". Afterimage 48, n.º 1 (1 de marzo de 2021): 37–53. http://dx.doi.org/10.1525/aft.2021.48.1.37.

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This essay employs Anthropocene frameworks to examine United States independent director Kelly Reichardt’s quiet vignettes of American precarity through the interpretive cinematic apparatus. Reichardt’s slow style and lingering gaze are primarily read as affective interpretations of human exhaustion or as a critique of capital temporalities. However, the critical attention paid toward the human in Reichardt’s films overlooks the primacy of landscape as a site of knowledge in the visual aesthetic. It is the entanglement between the human and the landscape in Reichardt’s films that invites an Anthropocene reading based on core concepts of time, scale, and the disruption of the modernist nature/culture binary. In Old Joy (2006) and Wendy and Lucy (2008), local, global, and planetary scales are made explicit and conflict with human structures such as gender and neoliberal economies. Reichardt’s work explores the manufactured landscape of Oregon and the Florida Everglades (respectively) in Night Moves (2013) and River of Grass (1994), pointing toward larger structural issues at play in traditional conservationism and narratives of progress. Finally, in her Western-influenced films Meek’s Cutoff (2010) and Certain Women (2016), Reichardt’s use of environmental sound provides the critique of American expansionist ideology’s depiction of and attempt to consume Indigeneity. Taken together, Reichardt’s filmography presents a compelling case for cinema’s role as mediator of the Anthropocene crisis.

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Vellinga, Marcel. "The noble vernacular". Journal of Architecture 18, n.º 4 (agosto de 2013): 570–90. http://dx.doi.org/10.1080/13602365.2013.819813.

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Maghsoudi Nia, Elham, Titi Hajihasani, Mohd Yazid Mohd Yunos y Nordin Abdul Rahman. "Daylighting Strategies in Iranian Vernacular Residential Buildings in Hot and Dry Climate". Applied Mechanics and Materials 747 (marzo de 2015): 329–32. http://dx.doi.org/10.4028/www.scientific.net/amm.747.329.

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Daylighting strategies and control of it, plays a significant role in energy efficiency and provision of visual comforts in buildings. This study conducted a review of literature and observation in a hot and dry region of Iran in order to investigate daylighting strategies and control of it by shading devices in the vernacular residential buildings. The results show thatdaylight in vernacular rooms was provided through door, window, Rozan, Moshabak, and Goljam. These components were equipped with thevertical and horizontalshading devices such as Orsi, Sarsayeh, Tabeshband and Kharakpoushto control the sunlight. The vernacular lighting strategy was in response to the energy efficiency and provided visual comfort.The vernacular concepts and schemes still can be adopted and reused by architects and developers. The study recommends appropriate daylight schemes and shading devices in design phase to achieve energy efficiency in new residential buildings.

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Tharu, Susie. "Notes for a grammar of the visual vernacular". Critical Quarterly 56, n.º 3 (octubre de 2014): 76–91. http://dx.doi.org/10.1111/criq.12139.

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Tesis sobre el tema "Visual vernacular"

Ayers, Drew R. "Vernacular Posthumanism: Visual Culture and Material Imagination". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/communication_diss/34.

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Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery.

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Choi, Sung Hun. "Graffiti a visual vernacular as graphic design source /". [Ames, Iowa : Iowa State University], 2007.

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Dones, Vera Lúcia. "A estética vernacular como retórica visual da publicidade gráfica". Pontifícia Universidade Católica do Rio Grande do Sul, 2012. http://hdl.handle.net/10923/2120.

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This thesis aims at understanding the role of the vernacular aesthetics as a rhetorical element in advertising messages. We have proposed a reflection on what we has been called 'vernacular', which is characterized as an aesthetical dimension of contemporary culture. In Chapter I, we have both gathered information that contribute to the presentation of the concept of 'vernacular', and presented the contexts and conditions that have given way to its production in graphical communication, based on what has been noticed in graphical pieces, brands, typography, advertisements and visual arts. In Chapter II, we have problematized rhetoric in the field of visual communication in order to find out the persuasive aspects of visual language in advertising. In Chapter III, we have analyzed three advertisements with the aim of determining the type of communicative function of the vernacular in advertising messages, and rhetorical-visual arguments between the different message agents. The appropriations of the vernacular in visual communication have been inserted into the culture of reproduction and copy, and they are related both to the simulacrum that characterizes our time, and to the indexation of forms that have been despised or that are allegedly naïve. We have concluded that the vernacular aesthetics, as visual rhetoric of graphical advertising, is a “metaphor of authenticity”. This occurs when images, letterings, writings constructed with improbable materials, and native graphical expressions, among others, end up fostering a kind of economy of arguments, since the symbolisms presented by the referents say more and convince better than the conventional iconograms used in advertising communication.
Esta tese objetiva compreender o papel da estética vernacular como elemento retórico nas mensagens publicitárias. Propõe-se uma reflexão sobre o que chamamos aqui de vernacular, caracterizado como uma dimensão estética da cultura contemporânea. No Capítulo I, reunimos informações que colaboram para a apresentação do conceito "vernacular" e apresentamos os contextos e as condições que deram lugar à sua produção na comunicação gráfica, com base no que vem sendo observado em peças gráficas, marcas, tipografia, anúncios publicitários e nas artes visuais. O Capítulo II problematiza a retórica no campo da comunicação visual para chegar aos aspectos persuasivos da linguagem visual em anúncios publicitários. No Capítulo III, analisamos três anúncios, a fim de estabelecer o tipo de função comunicativa do vernacular nas mensagens publicitárias e os argumentos retórico-visuais entre os diferentes agentes das mensagens. As apropriações do vernacular na comunicação visual inserem-se na cultura da reprodução, da cópia, e dizem respeito tanto ao simulacro que caracteriza nossos tempos, quanto à indexação de formas desprezadas ou supostamente ingênuas. Concluímos que a estética vernacular como retórica visual da publicidade gráfica vem a ser uma “metáfora da autenticidade". Tal ocorre quando imagens, letreiramentos, escritas construídas com materiais improváveis e expressões gráficas nativas, entre outras, acabam promovendo um tipo de economia de argumentos, já que os simbolismos apresentados pelos referentes dizem melhor e convencem com mais qualidade do que os iconogramas convencionais da comunicação publicitária.

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Bainbridge, Jason. "Visual law : an exegesis of vernacular jurisprudence in popular media /". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18608.pdf.

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PEREIRA, Natália Cristina Rodrigues. "Design vernacular: a comunicação visual informal no cotidiano da Amazônia". Universidade Federal do Pará, 2018. http://repositorio.ufpa.br/jspui/handle/2011/10019.

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Esta pesquisa busca refletir sobre o design vernacular como uma experiência comunicacional na Amazônia. Trata-se de uma forma de comunicação materializada em desenhos de letras (lettering) pintados manualmente em placas, fachadas, faixas e outras superfícies espalhadas pela região que, baseados na cultura popular, objetivam suprir as necessidades comunicacionais do comércio informal onde se originam. O foco da investigação partiu da seguinte pergunta: quais as inspirações, particularidades e estratégias que permeiam o universo material e simbólico dessa forma de comunicação visual informal, sem perder de vista o seu potencial mercadológico e suas relações com a comunidade? Para isso, o trabalho apoiou-se em conceitos de Benjamin (1987), Braga (2011), Canevacci (1997), Schutz (2012), Dewey (1980), Durand (1996), Flusser (2013), Kant (2012), Maffesoli (1998) e Paes Loureiro (2008; 2001), dentre outros. A hipótese defendida nesta dissertação é a de que a comunicação visual informal, permeada pelo universo da cultura amazônica, contribui no âmbito simbólico e econômico diretamente para a realidade da comunidade na qual está inserido. A metodologia teve um foco qualitativo a partir de pesquisas de campo, sendo que a coleta de material (registro fotográfico e entrevistas) aconteceu de agosto de 2015 a janeiro de 2018, compreendendo duas visitas em cada uma das três ilhas do município de Belém escolhidas: Cotijuba, Caratateua (Outeiro) e Mosqueiro. Acredita-se que a importância deste trabalho se centra na possibilidade de contribuir com estudos que vão além dos aspectos tecnológicos da comunicação, voltadas assim para o homem em sociedade, assim como, em longo prazo, poder colaborar para uma possível desmistificação de estereótipos sobre a Amazônia.
This research reflects on the vernacular design as a communication experience in the Amazon region. The analyzed object in the study is the draws of letters (lettering) painted manually on boards, facades, banners, and other surfaces widespread across the region that, based on the popular culture, aim to supply the communicational necessities of the informal commerce where they originate. The focus of the investigation came from the following question: what are the inspirations, particularities, and strategies that permeate the material and symbolic universe of this type of informal visual communication, without losing sight of its market potential and its relationship to the community? Therefore, this research used concepts of Benjamin (1987), Braga (2011), Canevacci (1997), Schutz (2012), Dewey (1980), Durand (1996), Flusser (2013), Kant (2012), Maffesoli (1998) e Paes Loureiro (2008; 2001), among others. Accordingly, the hypothesis presented here pointed that the informal visual communication, permeated by the universe of the Amazonian culture, contributes in the symbolic and economic scope directly to the reality of the community in which it is inserted. The methodology was based on the qualitative descriptive analysis, starting from field research, being that the collection of material (photography registration and interviews) started from August 2015 to January 2018, including two visits in each one of the three islands of the Municipality of Belém chosen for the study: Cotijuba, Caratateua (Outeiro) e Mosqueiro. It's believed that the importance of this research is focused on the possibility of contributing with studies that go beyond the technical aspects of communication, therefore based on the men in society, as well as, long-term, to be able to collaborate for a possible demystification of stereotypes about the Amazon.

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Liu, Shanshan. "Visual Social Media and Vernacular Responses to Environmental Issues in China". Thesis, Curtin University, 2019. http://hdl.handle.net/20.500.11937/79905.

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This thesis investigates the role of visual social media in providing ordinary Chinese with an alternative space to articulate their opinions on environmental issues. By studying three notable environmental cases, this thesis explores how ordinary Chinese adopt visual social media practices as a response to environmental issues, and to aid in the fight for environmental justice. This thesis provides a new perspective to understand China’s visual social media practices and its networked civic engagement.

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Dones, Vera L?cia. "A est?tica vernacular como ret?rica visual da publicidade gr?fica". Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2013. http://tede2.pucrs.br/tede2/handle/tede/4522.

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This thesis aims at understanding the role of the vernacular aesthetics as a rhetorical element in advertising messages. We have proposed a reflection on what we has been called 'vernacular', which is characterized as an aesthetical dimension of contemporary culture. In Chapter I, we have both gathered information that contribute to the presentation of the concept of 'vernacular', and presented the contexts and conditions that have given way to its production in graphical communication, based on what has been noticed in graphical pieces, brands, typography, advertisements and visual arts. In Chapter II, we have problematized rhetoric in the field of visual communication in order to find out the persuasive aspects of visual language in advertising. In Chapter III, we have analyzed three advertisements with the aim of determining the type of communicative function of the vernacular in advertising messages, and rhetorical-visual arguments between the different message agents. The appropriations of the vernacular in visual communication have been inserted into the culture of reproduction and copy, and they are related both to the simulacrum that characterizes our time, and to the indexation of forms that have been despised or that are allegedly na?ve. We have concluded that the vernacular aesthetics, as visual rhetoric of graphical advertising, is a metaphor of authenticity . This occurs when images, letterings, writings constructed with improbable materials, and native graphical expressions, among others, end up fostering a kind of economy of arguments, since the symbolisms presented by the referents say more and convince better than the conventional iconograms used in advertising communication.
Esta tese objetiva compreender o papel da est?tica vernacular como elemento ret?rico nas mensagens publicit?rias. Prop?e-se uma reflex?o sobre o que chamamos aqui de vernacular, caracterizado como uma dimens?o est?tica da cultura contempor?nea. No Cap?tulo I, reunimos informa??es que colaboram para a apresenta??o do conceito "vernacular" e apresentamos os contextos e as condi??es que deram lugar ? sua produ??o na comunica??o gr?fica, com base no que vem sendo observado em pe?as gr?ficas, marcas, tipografia, an?ncios publicit?rios e nas artes visuais. O Cap?tulo II problematiza a ret?rica no campo da comunica??o visual para chegar aos aspectos persuasivos da linguagem visual em an?ncios publicit?rios. No Cap?tulo III, analisamos tr?s an?ncios, a fim de estabelecer o tipo de fun??o comunicativa do vernacular nas mensagens publicit?rias e os argumentos ret?rico-visuais entre os diferentes agentes das mensagens. As apropria??es do vernacular na comunica??o visual inserem-se na cultura da reprodu??o, da c?pia, e dizem respeito tanto ao simulacro que caracteriza nossos tempos, quanto ? indexa??o de formas desprezadas ou supostamente ing?nuas. Conclu?mos que a est?tica vernacular como ret?rica visual da publicidade gr?fica vem a ser uma met?fora da autenticidade". Tal ocorre quando imagens, letreiramentos, escritas constru?das com materiais improv?veis e express?es gr?ficas nativas, entre outras, acabam promovendo um tipo de economia de argumentos, j? que os simbolismos apresentados pelos referentes dizem melhor e convencem com mais qualidade do que os iconogramas convencionais da comunica??o publicit?ria.

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James, Sule. "Tracing the Idea of African Vernacular-Rooted Art: A Critical Analysis of Selected Contemporary South African and Nigerian Artists (2007-2016)". Thesis, University of Pretoria, 2019. http://hdl.handle.net/2263/72462.

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In this study, I seek to explore how contemporary art created by Nigerian and South African artists can be described to be rooted in an African vernacular. To this end, I conducted a comparative analysis of the cultural imageries and symbolisms of four Nigerian and four South African artists. For each of the artists, five of their works produced between 2007 and 2016 were purposively sampled. Thus, the study investigates forty works within the ten year period. The comparative analysis focuses on visual hermeneutics theory and art historical methodologies (formal analysis). Accordingly, the analysis examines the artists’ personal influences, training, frames of reference, knowledge base and philosophy as well as the reception of their works. Given the fact that most of the selected artists are excluded from mainstream art historical research because their works are said to be outside the normative contemporary art standards, this study establishes that the trend of their art is significant and should be researched. For that reason, the selected artists were included in this study so as to contribute a mainstream art historical discourse on their artworks. In the theoretical underpinning of this study, it is argued that although vernacular arts were produced in a historical African arts context, nevertheless the contemporary modes of cultural appropriations in artworks by the selected academically trained artists are not a continuation of the historical African. Therefore this study establishes that the adoption of the term African vernacular rooted in narrating contemporary African arts produced by Nigerian and South African artists is a rethink in the use of the old term in opening up a new discourse on engagement with cultural imageries and symbolisms. As a result, this research argues that their ideological trends in appropriating cultural imageries in arts are not a different form of contemporary African art. The significance of this research lies in the contribution of knowledge to the existing literature on global contemporary African art, and in initiating the exercise of documenting the visual culture of artists from both countries. Although the study provides a wider insight into appropriations of cultural symbolism in the works of these artists, it shows that some of the artists focus their visual narratives on specific dominant vernacular tropes or cultural imageries and symbolism in narrating experiences from past and present occurrences in both countries. However, many of the dominant cultural symbolisms are basically depictions of either young black African children or compositions showing African men and women. However, they narrate different experiences and aspects of African socio-cultural life. Significantly, the depictions in the artworks of the contemporary artists demonstrate, in different heterogeneous ways, African identities through cultures, heritage, history, and identity. Furthermore, most of the African vernacular rooted arts discussed in this study reveal influences from environmental factors such as migration, homelessness, African humanism, socio-cultural ceremonies, cultural and racial unity, oppression, ritual murders, and family life.
Thesis (PhD)--University of Pretoria, 2019.
Visual Arts
PhD
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Edwards, Jamie Lee. "Netherlandish vernacular narrative painting in the age of Bruegel : 'entangling the eyes' & 'enlightening the mind'". Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7703/.

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This thesis sheds new light on the origins and significance of ‘compositional inversion’ in sixteenth-century Netherlandish art. Taking Pieter Bruegel’s inverted religious narratives as primary examples of a wider phenomenon, it seeks to account for the seemingly paradoxical method of narrative obfuscation evident in these works. It does so by situating them in art theoretical, iconographic, social, political and spiritual contexts. Chapter 1 turns to the art theories of Karel van Mander, contained in the first book of Het Schilder-Boeck (1604): ‘Den Grondt … ’. Here I suggest that Bruegel’s inverted compositions exemplify an entire tradition in Netherlandish history painting – the ‘historien’ – that van Mander retroactively theorised in ‘Den Grondt’. According to his theoretical position, Netherlandish inverted ‘historien’ derive their efficacy precisely because they obscure narrative, for by doing so they ‘entangle’ the beholder’s ‘insatiable eyes’ and so encourage sustained interest in the story. Chapter 2 then examines the visual tradition in Netherlandish art that inspired Bruegel’s inverted narratives, and concludes that these works possess a distinctive formal ‘Netherlandishness’ and as such they offer fertile territory for examining Bruegel’s “vernacularity”. Finally, in Chapter 3, I argue that compositional inversion evolved as a visual counterpart to contemporary biblical exegeses, specifically Erasmus’s.

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Ardinghi, Maria Beatriz. "Glossário visual popular paulista: artefatos memoráveis presentes em residências de famílias de origem rural no estado de São Paulo". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-07032016-190553/.

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O propósito desta pesquisa é contribuir para os estudos da cultura material popular brasileira em relação à possibilidade da existência de identidades regionais do artefato brasileiro popular, sob a ótica do design. Para tanto, foram identificados e analisados, do ponto de vista da percepção, uso e significado, determinados artefatos domésticos considerados memoráveis e notáveis em residências de famílias de origem rural no estado de São Paulo. Tendo em vista o pressuposto de que esses artefatos correspondem à materialidade presente nas memórias afetivas de uma parte significativa da população paulista, foram analisados seus atributos formais, funcionais e simbólicos relevantes e recorrentes, a fim de se identificar uma possível linguagem regional do objeto popular - documentada na forma de um glossário visual, que possa servir de referência e inspiração ao design contemporâneo preocupado com as questões acerca das identidades culturais. O método utilizado partiu de entrevistas e coleta de depoimentos informais para a caracterização dos artefatos chamados memoráveis, isto é, que participaram de vivências afetivas da infância de parte da população adulta selecionada. A partir daí, efetuou-se uma pesquisa de campo a fim de se identificar estes artefatos presentes em residências de paulistas idosos de origem rural, distribuídas por sete regiões do estado de São Paulo, de modo a compor um acervo de artefatos notáveis, fazendo uso de registros fotográficos e entrevistas semiestruturadas para a coleta de dados. Em seguida, foram analisados seus atributos formais e funcionais bem como os significados a eles atribuídos por seus usuários dentro do contexto em que estão inseridos. Como fatores determinantes na escolha do tema destacam-se: a questão da identidade no discurso do design e sua relação com as memórias afetivas e a cultura material popular; a ausência de estudos semelhantes na área do design que abordem temas usualmente discutidos em estudos das ciências sociais e que contemplem as questões pertinentes ao design de artefatos; e, finalmente, um novo objeto de interesse nos estudos folclóricos: o artefato doméstico ordinário de uso cotidiano, comumente encontrado em residências de pessoas idosas de origem rural no interior do estado de São Paulo. Ao final da pesquisa pudemos concluir que é possível caracterizar a identidade do artefato popular paulista de acordo com suas características de uso, percepção e significado, e que esta identidade está intimamente ligada à sua origem sociocultural e histórica.
The purpose of this research is to contribute to the study of popular material Brazilian culture in relation to the possibility of regional identities of the popular artifact, from the perspective of design. In order to do so, it was identified and analyzed aspects of perception, use and meaning of a number of domestic artifacts considered memorable that can be found in rural origin family homes in the state of São Paulo Considering that these artifacts correspond to the materiality present in affective memories of a significant part of São Paulo\'s population, it was analyzed their formal, functional and symbolic attributes in order to identify their language - documented in the form of a visual glossary, which can be reference and inspiration to contemporary designers concerned with cultural identities issues. The method used in this study is based on interviews and the collection of informal testimonials to characterize what we call memorable artifacts, which are objects that participated in childhood affective experiences of the selected adult population. After that, a field survey was carried out to identify these artifacts present in São Paulo residences of elderly rural origin, spread across seven regions of the state of São Paulo, through photographic records and interviews. Then, it was analyzed their formal and plastic attributes in order to identify a possible regional language of popular household objects and the meanings given to them by their users. The theme of this research results from the discussion about cultural identity in the design field and its relation with memories and material culture. Another reason for that is due to the lack of similar studies in design to address issues usually discussed in researches from the social sciences. Finally, it represents a new object of interest in the study of folklore: the ordinary household artifacts of everyday use, commonly found in elderly homes of rural origin in the state of São Paulo. At the end of this study, it was concluded that it is possible to characterize the identity of popular São Paulo artifact according to their usage characteristics, perception and meaning. In addition, it is possible to state that this identity is related to their social, cultural and historical origin.

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Libros sobre el tema "Visual vernacular"

Couto, Nasbahry. Budaya visual seni tradisi Minangkabau. Padang: Universitas Negeri Padang Press, 2008.

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Couto, Nasbahry. Budaya visual seni tradisi Minangkabau. Padang: Universitas Negeri Padang Press, 2008.

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Alzate, Adriana Gómez. Expresión visual en las ciudades del bahareque. Manizales, Colombia: Universidad de Caldas, 1994.

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University of California, Berkeley. Center for Environmental Design Research, ed. Theoretical models for visual and textual representation. Berkeley, CA: Center for Environmental Design Research, University of California at Berkeley, 1991.

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A visual dictionary of Chinese architecture. Mulgrave, Vic: Images, 2002.

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Pangarsa, Galih Widjil. Arsitektur untuk kemanusiaan: Teropong visual culture atas karya-karya Eko Prawoto. Surabaya: Wastu Lanas Grafika, 2008.

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Vanakyurā modanizumu to shite no eizō bunka: Vernacular modernism in visual cultures / Hase Masato. Tōkyō: Tōkyō Daigaku Shuppankai, 2017.

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Guo, Qinghua. [Zhongguo jian zhu Ying Han shuang jie ci dian] =: A visual dictionary of Chinese architecture. Mulgrave, Vic., Australia: Images Pub., 2002.

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Sajin ŭro p'urŏbon Han-Il chŏnt'ong kŏnch'uk: Architectural visual comparison between Korea and Japan. Sŏul-si: Koryŏ, 2009.

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Powell, M. C. The re-use of vernacular farm buildings with reference to visual character and the rural economy. Oxford: Oxford Brookes University, 1997.

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Capítulos de libros sobre el tema "Visual vernacular"

Jha, Sadan. "Vernacular Visual". En Seeing South Asia, 27–47. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003276753-3.

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Haltman, Kenneth. "Cartographic Representation in the Age of Vernacular Landscape". En Cartographic Expeditions and Visual Culture in the Nineteenth-Century Americas, 60–75. Other titles: Cartographic expeditions and visual culture in the 19th century Americas Description: First Edition. | New York: Routledge Taylor & Francis Group, 2020. | Series: Routledge studies in the history of the Americas; volume 17: Routledge, 2020. http://dx.doi.org/10.4324/9780429319211-5.

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Krase, Jerome y Timothy Shortell. "Story-Making and Photography: The Visual Essay and Migration". En IMISCOE Research Series, 141–59. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_8.

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AbstractIt can be argued that migrants express their own agency, via spatial practices, to change the meanings of the spaces and places they occupy and use. Although they are not the most powerful agents in our glocalized world, they nevertheless sometimes consciously and more often unconsciously, compete with others to visually define their micro-worlds for themselves and, therefore, for more powerful others as well (Krase & Shortell, 2015). Of course, migrants move, but they also settle and can establish more or less permanent enclaves. As students of mid- to large-scale urban change, we focus on commercial neighborhood vernacular landscapes which we argue have the greatest visual impact on observers. As we argue here, special attention should be paid to the visible products of their settlement which are enacted in local vernacular landscapes. For example, markets, places of worship, and even the patterns of dress of people on the street can serve as powerful semiotics or “markers” of change due to migration. It must be noted at the outset that social scientist, like ordinary observers, must avoid the common tendency to essentialize these visible signs that contribute to the problem of stereotyping social groups.

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Brown, Neil C. M. "Distinguishing Artistic from Vernacular Performances in the Visual Arts: A Classroom Perspective". En Studies in Philosophical Realism in Art, Design and Education, 179–87. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42906-9_13.

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Ishisaka Yreijo, Estefania Alexandra Ami y Byungkeun Oh. "Application of Vernacular Design for Emotional Communication: Focus on Visual Arts of Ancient Peruvian Inca". En [ ] With Design: Reinventing Design Modes, 216–37. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4472-7_15.

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Vandi, Loretta. "The Visual Vernacular: The Construction of Communal Literacy at the Convent of Santa Maria in Pontetetto (Lucca)". En Medieval Women: Texts and Contexts, 171–89. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.mwtc-eb.5.105530.

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Berry, Marsha. "Playing with Visual Vernaculars". En Creating with Mobile Media, 25–43. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65316-7_2.

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"Vernacular". En The Visual Dictionary of Typography, 264. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2010. http://dx.doi.org/10.5040/9781474293488.0248.

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"Vernacular". En The Visual Dictionary of Illustration, 249. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2009. http://dx.doi.org/10.5040/9781474293754.0237.

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"Vernacular". En The Visual Dictionary of Graphic Design, 265. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. AVA Publishing (UK) Ltd., 2007. http://dx.doi.org/10.5040/9781474293761.0252.

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Actas de conferencias sobre el tema "Visual vernacular"

Cardoso, Fernanda de Abreu. "An analysis of the translation of the vernacular graphic design’s symbolisms through their visual representations". En 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-72.

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Ali, S. Omar. "Collective Domestic: Theorizing the Intermediate Commons". En 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.64.

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This paper introduces research from a special topics seminar that explores the incorporation of collective intermediate space (also referred to as gray space and the intermediate commons), as a possible alternative to the isolated condition of most housing design arrangements in North America. Gray space is most easily understood as the transitional intermediate space prior to entering or after exiting a domestic space to the public domain. These spaces often blur the line between public and private space; inside and outside; formal and informal; are truly multi-functional and can be defined by the end user. One of the primary objectives of this course is to understand the historic and vernacular foundations of housing and architecture’s relationship to public space and the commons through its various conditions and to grasp how this relationship has changed across various contexts over time. This research aims to have the following impact. (1) To visually analyze and assess spatial challenges and opportunities within three vernacular types. This analysis evaluates the social and material qualities of space provided within the domestic type, and the clarity of its connection to the intermediate commons. (2) To examine the local context of these types and how architecture has had a role in cultivating the shared cultural identity and community of the place. (3) To expand upon the use of visual research and visual communication to tell a cohesive narrative of place. In short, the intermediate commons can be understood as spatial, architectural, and tactile, but must also be recognized as a space for social innovation and radical openness. Collective Domestic: Theorizing the Intermediate Commons asserts that the sequestered and heteronormative condition of current developer-driven housing trends can be countered through the proper activation of gray space in housing.

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Ferrer Forés, Jaime J. "Binibeca Vell. Interpreting tradition". En HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15325.

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Following the visual and volumetric bases extracted from the traditional Mediterranean architecture, Francisco Juan Barba Corsini (1916-2008) and Antoni Sintes Mercadal (1921-1981) designed Binibeca Vell (1964-1972) a respectful complex with the environment and the constructive traditions. The integration in the site, the built forms, the materials used and the urban structure reflect the organization of a traditional village. The research aims to analyze the architectural features, the reinterpretation of vernacular elements and the local traditional construction crafts involved in the complex and the details, symbolism and aesthetics. Binibeca consists of 165 townhouses, shopping center, hotel, social club, church and a small marina, all arranged in the form of a fishing village. The urban structure, the different typologies and the construction process is considered an alternative to the block of apartments of tourist promotion, reinterpreting a model of traditional settlement. The initial proposal was to recreate a traditional fishing village that would inspire the work of intellectuals, painters and writers. Barba Corsini stated that he had felt closer to the way a fisherman builds than to an architect: “I have met Alvar Aalto on several occasions and I came to understand the superiority of the beauty of a wall made by a fisherman or a farmer compared to that of a specialist technician” (Barba Corsini, 2005). With the reinterpretation of an architecture of the past, Binibeca Vell recovers the autochthonous values of the Mediterranean coast. The resonance between topography and architecture, the harmony with the constructive traditions, the plasticity of organic integration and the picturesqueness of the access route characterize Binibeca, which incorporates the adjective "Vell" to the toponym to distinguish itself from new constructions.

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Zavidovskaia, Ekaterina y Dmitrii Maiatskii. "COMPARATIVE STUDY OF THE ILLUSTRATIONS OF THE NOVEL INVESTITURE OF THE GODS BASED ON WOODBLOCK EDITIONS AND POPULAR PRINTS NIANHUA". En 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.13.

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The authors of this paper discuss visual material based on the plot of the Ming dynasty novel Investiture of the Gods (Fengshen yanyi, 封神演義), formed on the basis of large corpus of written historical works and Song-Yuan vernacular literature. Various illustrated woodblock and lithographic editions of the novel (published before 1911) are discussed in chronological order with focus on the special features and artistic level of their illustrations, whose content and technique are compared. Popular woodblock prints nianhua from Russian collections are examined in order to trace whether connections with book illustrations exist and what episodes of the novel became more popular and for what reason. The paper refers to materials stored in prominent libraries, museums and research centers of Russia, Europe, US and Asia.

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Naik, Niyati S. y Ihab Elzeyadi. "External Dynamic Screens for Thermal Delight and ‘Alliesthesia’". En 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.12.

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External dynamic screens, inspired from geometric patterns of vernacular screens, are popular building facade treatments because of their aesthetic significance. Their potential to impact building cooling energy demand and visual comfort has been well-realized, However, their impact on occupant com¬fort has been under-researched. This study is part of a larger research problem that investigates the impact of external dynamic screens on occupants’ thermal comfort and ‘alliesthesia’/thermal pleasure. This paper focuses on investigating the sensitivity of predicted thermal comfort to geometric parameters of a screen using computational simulations. Results from this sensitivity analysis were used to address the question, as to how can external dynamic screens be designed to create transient yet comfortable thermal environments. The present study formed a basis to inform the design and development of screen prototypes and experiments involving human subjects. It provides architects and architecture students with an approach, where design intentions impact occupant thermal delight, beyond aesthetics.

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Martinez Cousinou, Pablo. "El archivo fotográfico Atín Aya, claves para una interpretación." En I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6895.

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Esta comunicación pretende dar a conocer el archivo fotográfico Atín Aya, su proceso de inventariado y catalogación así como analizar sus principales ejes temáticos. Atín Aya documentó extensamente la realidad social de Andalucía durante el último cuarto del siglo XX, un período caracterizado por el salto a la modernidad y al concurso internacional de España: integración europea, Expo 92, Juegos Olímpicos, etc... Su legado alberga abundante documentación visual de la creación y primeros años de la autonomía andaluza, de la transformación urbanística de Sevilla con motivo de la Exposición Universal, de las políticas de preservación del patrimonio vernacular andaluz, de los avances económicos, sociales y en infraestructuras que aquella integración trajo consigo, pero al mismo tiempo, Aya supo recoger, con una extraordinaria sensibilidad y mirada antropolsu paisanajez más minoritarios, car cada vez moger a lo largo de su carreraógica, aquellas formas culturales en desaparición que el desarrollo relegaba a escenarios cada vez más minoritarios, prestando especial interés a la cultura del trabajo y a su paisanaje. Su obra nos permite dialectizar la modernidad en Andalucía con una mirada crítica, a la vez que establecer conexiones entre la función social de la práctica documental y la construcción de la democracia en nuestro país. Los fondos del archivo fotográfico Atín Aya se encontrarán disponibles próximamente en acceso abierto en www.atinaya.es facilitando así cualquier posterior trabajo de consulta o investigación sobre el mismo.

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Whelan, Debbie. "Light Touch on the land – continued conversations about architectural change, informality and sustainability". En HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15043.

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Including ‘informally constructed’ buildings in the cornucopia of ‘vernacular’ has its opponents. They are not visually compelling, strongly represent the ‘other’, and their unpopularity derives from worldviews that prioritise ‘architecture’ as modernity rather than, perhaps, ‘buildings’ as humanity. However, it is argued that informal settlements are not only the kernel of new cities (using modern materials), but are inevitable and sanitized by health legislation, with slum ‘clearing’ having different potentials, to ‘slum building’. Considering informal settlements in Pietermaritzburg, South Africa in the early 1920s, and subsequent slum clearances due to post-War health legislation, tracking their continued negative, (and ambivalent connotations at the end of apartheid), and most extensive manifestations in current times, this paper considers informal settlements as recyclers of matter, distinct representations of cultural change (from the rural to the urban) and vectors of opportunity (driven by early health legislations). For the a global north which assumes culturally static societies, advocates for carbon-neutral construction, and renewable construction materials and recycling, there is possibly much we can learn from informal settlements, addressing complex and diverse world views, recycling, political organization and spatial planning. Also, viewed from the lofty perspective of the global north, such vernaculars are viewed derisively, are the focus of multiple, globally-crafted sustainable development goals, and are considered as ‘problems’ rather than, ‘solutions’. Thus, migratory trajectories, social and cultural change, and the continued use of existing and found materials is real for many millions of people globally. These constantly negotiated territories provide compelling ground for re-assessment, reflection and repositioning, interpretation of the vernacular.

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Sandipan Mandal, Biswajit Das y Pabitra Mitra. "Shruti-II: A vernacular speech recognition system in Bengali and an application for visually impaired community". En 2010 IEEE Students Technology Symposium (TechSym). IEEE, 2010. http://dx.doi.org/10.1109/techsym.2010.5469156.

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Raval, Vishwas y Apurva Shah. "iCu□e — An IoT application for Indian currency recognition in vernacular languages for visually challenged people". En 2017 7th International Conference on Cloud Computing, Data Science & Engineering - Confluence (Confluence). IEEE, 2017. http://dx.doi.org/10.1109/confluence.2017.7943217.

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Marques, Patrícia Sousa, Filemon Alves Tiago y Fabíolla Xavier Rocha Ferreira Lima. "Architecture, Permaculture and Bioconstruction". En ENSUS2023 - XI Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/2596-237x.ensus2023.v11.n1.p97-109.

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In this work, we seek to discuss and understand the concepts of permaculture and sustainability in architecture and urbanism, based on bibliographical research on sustainable construction alternatives. The methodology presents viable solutions for architectural practice permeating bioconstruction techniques and methods. Based on these concepts, the architects and biobuilders of the ArqViva Project, with the participation of collaborators, volunteers and residents, carried out the architectural project and the beginning of the construction of a day care center in the urban occupation Alto da Boa Vista, in Aparecida de Goiânia - GO. The results show the importance of returning to vernacular practices as a sustainable construction alternative and the benefits reverted to the community.

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