Thèses : « Visual Dialogue »

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Worley, Taylor. « Theology and contemporary visual art : making dialogue possible ». Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.

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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.

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Eriksson, Malin Ida. « In Dialogue with Clay ». Thesis, Konstfack, Keramik & ; Glas, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7227.

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This paper is about my relationship to the material clay, and how it has affected my creative process. In this text I argue that clay is a material with human properties. I think of my practice as a dialogue between me and the material, an exchange rather than a monologue. This is how I picture clay as my main partner for discussing the deeper questions of what it is to be human, how clay as material can stand as metaphor for what it is to be living. I argue that clay has the poetic strength to communicate these questions of life of a more existential nature. Through the argument of clay being a material with human properties, I reason that a practice in materiality is a study of empathy since we spend much time with our materials to fully grasp how they behave. I firmly believe that this world is in need of an empathic movement, and I think that the field of craft has the possibility to be part of that movement. I see practitioners within the field of craft as practitioners of the sometimes irrational, emotional and indescribable parts of life. As researchers of the more existential qualities of life, I believe that we are important voices in a society that is getting more focused on rationality. With some help from writers, practitioners and philosophers within and outside the field of craft, I reason around the following research question: Can a material based practice stand as lodestar in todays society, to show empathy towards each other as beings as well as our surroundings?

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Aljebreen, Fahad Mohammad. « A Narrative Study about the Transformative Visual Cultural Dialogue beyond Women's Veils ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862731/.

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In this narrative study, I explore the transformative visual cultural dialogue behind the sight of the veil or veiled women in Denton, Texas as a Western culture. The narrative is constructed from the experiences of three Western non-Muslim women participants who wore the veil publicly in the Dallas-Fort Worth area, especially Denton, Texas, for about two weeks, in the spring of 2014. The main question for this study is: How do veiled Western women incite transformative visual cultural dialogue and ideas concerning veiled women? To gather rich data to answer the study's question, I utilized qualitative narrative inquiry to explore the transformative dialogue that the veil, as a visual culture object, can incite in non-Muslim Western women's narratives. The study involves three participants who are non-Muslim American women who voluntarily wore the veil in public and recorded their own and other's reactions. The participants' interviews and diaries demonstrated that the veil incited a particular perceptive dialogue and often transferred negative meanings. For example, the sight of the veil suggested the notion of being Muslim, and consequently, the ideas of not belonging. The reactions the participants received were either negative verbal interactions or physical ones, both of which are limited in this study to face gestures or some form of negative body language that is meant to be a message of disliking. In summation, this study shows that the women's veil is a visual culture symbol that transfers negative meaning in the DFW area in Texas.

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Alexander, Loris, et na. « Visual art dialogue in personal psychological learning a private journey with public relevance ». Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20061006.153107.

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Understanding and managing emotion in psychological therapy is a complex and challenging problem for practitioners and clients. The traditional emphasis on verbal language as the mediating process in therapy is expanding with the inclusion of multimodal creative arts, based on visual, auditory, and kinaesthetic perceptions, to better support the reaccessing of emotion. This can be followed recursively by the use of words to develop narrative and meaning. The main research emphasis in this thesis was on visual art. Studies of other art forms may follow. Philosophical understanding, neuroscience advances and developments in psychological therapy underpin and explain this therapeutic expansion. A qualitative research approach is taken, engaging several different actions from within that research paradigm. The thesis is written as a metaphorical journey and conveys the experience of art dialogue and the experience of researching, as parallel stories. Psychological learning journeys undertaken by its author and a colleague, some clients, therapists and teachers, are described in three encounters. The first encounter explored visual art dialogue as a process addition to a developing experiential phenomenological approach using multimodal creative arts (The MIECAT Process � Lett 2001). The objective was for the colleagues to experience a lengthy creative arts sequence, developing and undertaking the process of visual art dialogue. Multilevel actions and outcomes were recorded throughout the collegial engagement. The collegial encounter required that the co-researchers pursue their own personal psychological meanings and report on their experience of the process. Personal narrative meanings exposed in exploring visual art dialogue, are not discussed, the emphasis being on confirming how actions occurred and their effectiveness for application. Actions stopped where direct verbal therapeutic engagement might occur. Following collegial experience, visual art dialogue was used with clients and other therapists and teachers, to question its broader relevance. The second inquiry, involving three clients of the author, asked how the process would support professional actions in a therapeutic situation. The third encounter engaged other therapists and teachers to expand on questions of by whom and how, art dialogue could be used. Psychological therapy theory suggests process location within a humanistic framework, in an eclectic focus or supporting the development of an experiential, phenomenological psychology process approach based on the known functions of mind and body. The associated personal and professional aspects of the experience of process exploration constituted a step in authorial understanding and may contribute to increasing knowledge of the creative arts applied to psychological therapy.

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Alexander, Loris. « Visual art dialogue in personal psychological learning a private journey with public relevance / ». Australasian Digital Theses Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20061006.153107/index.html.

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Thesis (PhD) - Swinburne University of Technology, 2006.
Submitted in completion of the degree of Doctor of Philosophy, Swinburne University of Technology - 2006. Typescript. Includes bibliographical references.

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Webb, Julie Marie. « Dialogue During Team Problem Solving Using Visual Representation Boundary Objects : A Case Study ». Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3648.

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Organizations benefit from the knowledge held by individual members as well as knowledge that is shared among those members. In order for knowledge to co-develop between members, and to spread, organizations must provide opportunities for members to collaborate. Organizational teams sometimes require assistance with interpersonal communication, establishing consensus, and sharing knowledge when collaborating. Group facilitators can offer guidance and intervene when teams need support. In addition, teams can find support through the use of visual representation boundary objects (VRBOs) to build trust, improve communication, increase cooperation, and share ideas. This study explores how knowledge is shared between team members and uncovers the importance of social interaction during the co-development of shared knowledge. The role that group facilitators play in team collaboration is highlighted. The results of the study indicate that a positive relationship exists between the use of a VRBO and the development of shared knowledge amongst a team. Patterns emerged from the findings that reveal a structure to the team’s collective meaning making that constitutes an underlying theory of action. The author examines the benefits of using VRBOs for teams and organizations including improved collaboration and communication.

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Webb, Julie M. « Dialogue During Team Problem Solving Using Visual Representation Boundary Objects : A Case Study ». Scholarly Commons, 2020. https://scholarlycommons.pacific.edu/uop_etds/3707.

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Organizations benefit from the knowledge held by individual members as well as knowledge that is shared among those members. In order for knowledge to co-develop between members, and to spread, organizations must provide opportunities for members to collaborate. Organizational teams sometimes require assistance with interpersonal communication, establishing consensus, and sharing knowledge when collaborating. Group facilitators can offer guidance and intervene when teams need support. In addition, teams can find support through the use of visual representation boundary objects (VRBOs) to build trust, improve communication, increase cooperation, and share ideas. This study explores how knowledge is shared between team members and uncovers the importance of social interaction during the co-development of shared knowledge. The role that group facilitators play in team collaboration is highlighted. The results of the study indicate that a positive relationship exists between the use of a VRBO and the development of shared knowledge amongst a team. Patterns emerged from the findings that reveal a structure to the team’s collective meaning making that constitutes an underlying theory of action. The author examines the benefits of using VRBOs for teams and organizations including improved collaboration and communication.

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Chotpradit, Thanavi. « Revolution versus Counter-Revolution : the People's Party and the Royalist(s) in visual dialogue ». Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/180/.

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The People’s Party (Khana ratsadon) or the monarchy: which one is the true begetter of Thai democracy? The people or the King: who possesses sovereign power in Thailand? The thesis Revolution versus Counter-Revolution: The People’s Party and the Royalist(s) in Visual Dialogue explores these core questions of Thai politics through an examination of the dynamism of the People’s Party’s visual culture. Under a royalist hegemony, started in 1947, the People’s Party’s arts and cultural artefacts have been recast as foreign and tasteless. This thesis argues that this royalist accusation highlights the profound significance of the revolutionary visual culture. In fact the People’s Party’s memorials, monuments, architecture and artwork are deeply embedded within a struggle for political legitimisation. They are “sites of memory”, or lieux de mémoire, that take on a performative role in the rivalry between the two ideologies: constitutionalism/democracy and royalism. Between 1932 and 2010 through a series of political incidents they have undergone a series of transformations both in the way they are interpreted and the cultural memory associated with them. This thesis intends to unravel the complexity and web of associations between these cultural icons, political ideologies, class struggle and memory politics.

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Bueno, Delgado Patricia. « Towards a professional learning dialogue in Mexican contemporary art museums ». Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.

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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.

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Brown, Storm Jade. « Art, outrage, dialogue : a McLuhan reading of three visual communicative practices in Cape Town public space ». Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/22031.

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This mini-dissertation places a specific focus on the City of Cape Town and considers the space between aesthetics, commercial interest and social relevance in public visual communication practices. Instead of making a general statement or providing a value judgement, this research examines the nature of the debate surrounding public artistic practices by referring to three main artists; namely Michael Elion, The Tokolos Stencil Collective and Freddy Sam. The basis of the discussion is centred around the recent controversy surrounding Michael Elion's Sea Point public art sculpture, Perceiving Freedom (2014) and the respective questions it raised about what public space means, who has the right to represent themselves, and what that looks like. By drawing a comparison with Perceiving Freedom (2014) to the visual communicative practices of Freddy Sam and The Tokolos Stencil Collective, this research examines the progression of the debate. This encompasses the ways in which each artist and their work serve to illuminate the different visual modes of engagement in Cape Town's public spaces. Due to the contemporary nature of the subject matter, this debate is engaged with on three different levels. The first level examines the context of this debate and each artist, whereas the second level considers the points where their respective visual communicative practices intersect and engage in dialogue with each other as well as the general public. The last level considers an alternative way of reading the content, context and form of visual communicative practices so that their resulting effect can be better understood. This is done with the use of Marshall McLuhan's (1964) total effect media theory. Although several other prominent South African artists are mentioned in the scope of this research, it is important to note that the focus still pertains to the aforementioned themes of aesthetics, commercial interest and social relevance in public visual representative practices. Therefore Michael Elion, The Tokolos Stencil Collective and Freddy Sam remain the specific focus of discussion, as their respective works are used to illustrate these three themes. The first level of engagement offers a theoretical background to the reader by briefly familiarising them with international street art and graffiti practices. This brief yet concise background allows for a better understanding of the history and politics surrounding unsanctioned public visual practices and how they differ to formal sanctioned and funded ones.

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Koulouri, Theodora. « Gender differences in navigation dialogues with computer systems ». Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/8752.

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Gender is among the most influential of the factors underlying differences in spatial abilities, human communication and interactions with and through computers. Past research has offered important insights into gender differences in navigation and language use. Yet, given the multidimensionality of these domains, many issues remain contentious while others unexplored. Moreover, having been derived from non-interactive, and often artificial, studies, the generalisability of this research to interactive contexts of use, particularly in the practical domain of Human-Computer Interaction (HCI), may be problematic. At the same time, little is known about how gender strategies, behaviours and preferences interact with the features of technology in various domains of HCI, including collaborative systems and systems with natural language interfaces. Targeting these knowledge gaps, the thesis aims to address the central question of how gender differences emerge and operate in spatial navigation dialogues with computer systems. To this end, an empirical study is undertaken, in which, mixed-gender and same-gender pairs communicate to complete an urban navigation task, with one of the participants being under the impression that he/she interacts with a robot. Performance and dialogue data were collected using a custom system that supported synchronous navigation and communication between the user and the robot. Based on this empirical data, the thesis describes the key role of the interaction of gender in navigation performance and communication processes, which outweighed the effect of individual gender, moderating gender differences and reversing predicted patterns of performance and language use. This thesis has produced several contributions; theoretical, methodological and practical. From a theoretical perspective, it offers novel findings in gender differences in navigation and communication. The methodological contribution concerns the successful application of dialogue as a naturalistic, and yet experimentally sound, research paradigm to study gender and spatial language. The practical contributions include concrete design guidelines for natural language systems and implications for the development of gender-neutral interfaces in specific domains of HCI.

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Stotzer, Talhy. « Photography and the medium : a photographic dialogue in China ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/598.

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Using documentary photography with an ethnographic approach, this practice-ledbresearch project focuses on a case study of a Han-Chinese woman called Zai yu who practices mediumship in urban China. It aims to explore the relationships between herbmediumship practice and the medium of photography. During a mediumship session, a spirit is represented as temporarily displacing the agency of the medium by entering his/her body and causing a change of identity. For the duration of the episode, the spirit can potentially provide access to divine powers and knowledge in order to counsel and to heal. In China the use of mediumship appears since the Shang dynasty (1600-1046 B.C.E.) and despite modernization, rationalization, and the severe persecutions of the Cultural Revolution (1966-76), mediumship and other divinatory practices have remained prevalent. Over two field trips to China in 2009 and 2010, I witnessed many of these mediumship sessions when Zai yu was embodied by various spirit entities. I became interested in Zai yu’s mediumship practice as a form of meta-communication and representation because this practice raises some interesting parallels and differences with the medium of photography. Inspired by both contemporary and ancient ideologies, Zai yu’s practice provides a link between the past, present and future, the material and the spiritual, the living and the dead – concepts that have been explored in relation to photographic theory by cultural critics such as Benjamin (1931), Sontag (1978) Barthes (1981) and Cadava (1997). Zai yu’s mediumship practice provides a visually rich avenue to further explore these concepts, among others. I argue that analysing some of the parallels between divination (in particular mediumship) and photography can facilitate a re-engagement with photography’s intrinsic qualities. This is especially valuable in a digital age when the medium is being radically redefined and some of these qualities, which Benjamin already declared were in decline after photography became mechanically reproducible in the 1850s, are further anesthetized. This research project includes a book of photographs of Zai yu and her daily life entitled Medium and a written component contextualizing the images and explicating the theoretical imperatives that motivated the project. As well as contributing to photographic theory by exploring concepts related to time, death and absent-presence, this research also aims to add to the knowledge of divination practices such as mediumship in urban China, a neglected field of inquiry. By using an ethnographic approach, the research project also aims to add to the development of using documentary photography ethically as a research tool and as a form of expression and representation.

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Andersen, Gorm Simon. « Suppe og andre aspekter : Soup and other aspects ». Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-145.

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The essay a small papper book, deals from a personel angle with different aspekts of the artist practice. Up against a suppelogik the essay jumps from subjekt to subject. The first chapter talks about the link between making a snowball and the painting process. Next chapters are working up against the paintingdialogue with the canvas, here are some historical referangser to Guston and Hans Hoffmann. After this the essay have to chapters, one about the potential of humor and one chapter about artistic seduction linked to the artistic production trying to find the border, between the necessary and seduction.

Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet för den gestaltande delen.

The master work includes a written essay and a forming part. The alternative title is the name of the forming part.

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Mindedal, Annika. « Texter i NO - finns de ? : En studie om textanvändning och textrelaterade samtal i ett fysiktema i skolår 5 ». Licentiate thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-54727.

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This thesis describes a field study in which one teacher and one class in Grade 5, with special focus on four pupils, are observed throughout four lessons of about 80-minutes in Physics. The lessons together deal with a project on Magnetism. The main aim of the thesis is to investigate how the teacher uses texts as a resource when designing and implementing Science lessons (Learning Design Sequences). A further aim is to study what texts are used and produced by both the teacher and the pupils, and how these texts are used. The four lessons were recorded with a video camera and the recordings supplemented by field notes and interviews. All the texts used were copied or photographed. A design theoretical frame and a sociocultural perspective have been applied to analyse both the presence of texts during different stages (activities) of the lessons, and to analyse the text-related interaction and communication that has taken place in the classroom. The results confirm several previous studies and show that the teacher is the main producer and consumer of texts before and during the Science lessons. Textbooks, and texts on the Internet, are only used by the teacher to design the lessons, and are then mediated by the teacher during classroom interaction. The pupils mainly read questions, which they write brief answers to, and also read and copy texts written by the teacher on the white board. One interesting finding is that dialogue concerning texts increases the scientific content, which means more empirical or theoretical descriptions and explanations. To become scientifically literate it is therefore argued that pupils need more practice reading and writing in combination with dialogue and activities in the science classroom.

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Modrei, Karen. « Craft Fiction ». Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7814.

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In this paper I introduce and explain the construct of ‘Craft Fiction’ as a setting for my own artistic work. Within a fictional framework, I am mediating between the field of craft and the contemporary environment of relocated materialities and digital worlds I find myself in. Using the vehicle of language and analyzing those dialogue that are ongoing in craft processes, I am assessing the intimate relationships between maker and its tools/machines, in order to discuss hierarchies and purpose of crafting.

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Albannai, Talal N. « Conversational Use of Photographic Images on Facebook : Modeling Visual Thinking on Social Media ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849631/.

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Modeling the "thick description" of photographs began at the intersection of personal and institutional descriptions. Comparing institutional descriptions of particular photos that were also used in personal online conversations was the initial phase. Analyzing conversations that started with a photographic image from the collection of the Library of Congress (LC) or the collection of the Manchester Historic Association (MHA) provided insights into how cultural heritage institutions could enrich the description of photographs by using informal descriptions such as those applied by Facebook users. Taking photos of family members, friends, places, and interesting objects is something people do often in their daily lives. Some photographic images are stored, and some are shared with others in gatherings, occasions, and holidays. Face-to-face conversations about remembering some of the details of photographs and the event they record are themselves rarely recorded. Digital cameras make it easy to share personal photos in Web conversations and to duplicate old photos and share them on the Internet. The World Wide Web even makes it simple to insert images from cultural heritage institutions in order to enhance conversations. Images have been used as tokens within conversations along with the sharing of information and background knowledge about them. The recorded knowledge from conversations using photographic images on Social Media (SM) has resulted in a repository of rich descriptions of photographs that often include information of a type that does not result from standard archival practices. Closed group conversations on Facebook among members of a community of interest/practice often involve the use of photographs to start conversations, convey details, and initiate story-telling about objets, events, and people. Modeling of the conversational use of photographic images on SM developed from the exploratory analyses of the historical photographic images of the Manchester, NH group on Facebook. The model was influenced by the typical model of Representation by Agency from O'Connor in O'Connor, Kearns, and Anderson Doing Things with Information: Beyond Indexing and Abstracting, by considerations of how people make and use photographs, and by the notion of functionality from Patrick Wilson's Public Knowledge, Private Ignorance: Toward a Library and Information Policy. The model offers paths for thickening the descriptions of photographs in archives and for enriching the use of photographs on social media.

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Smith, Winslow Mungall. « Visual and literary dialogues ». Thesis, Boston University, 2006. https://hdl.handle.net/2144/27776.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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Puzey, Jacqueline Michelle. « Hybrid dialogues, situational strategies : producing postcolonial visual culture ». Thesis, Bath Spa University, 2014. http://researchspace.bathspa.ac.uk/1887/.

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Hybrid Dialogues, Situation Strategies (hereafter referred to as HDSS) aims to explore the production of a postcolonial visual culture, through action research centered on producing and reflecting on collaborative visual artworks. The aim of the research is to use collaborative creative practice itself as the site of investigation into the way in which visual creative strategies can reflect and redefine the processes of constructing, inhabiting and exchanging complex definitions of postcolonial identities. It is suggested that the reflexive creative processes of art/design methods, can bring productive, transformative and complex re-visibilisations of accepted and contested postcolonial histories, through the application of the 'familiarity' of making clothes as a wider metaphor for exploring the construction of complex, postcolonial identities. In my thesis I set out my understanding of postcolonial visual culture and its histories and their relationship to my practice and the project presented. The research is implemented through Shade, a project situated within postcolonial visual culture and which interrogates the processes of producing that postcolonial culture. As the major practice project for HDSS, Shade is the key site of the generation of new knowledge. Through participation and reflection a new methodology of "fittings" has been developed, combining the principles of participatory action research and the craft process of tailoring, embroidering and fitting, so that the development and performance of the garments and accessories for Shade also become an important space for generation of new postcolonial cultural exchanges. Through this reflective practice, five principles of/for creative engagement with postcolonial cultures are identified. These five principles are; 'shared histories', 'radical familiarities', 'complicit spectacle', 'transgressive crafts', and 'democratic bespoke'. HDSS insists on becoming deeply implicated in acts of collaborative practice and on reflection on the construction of postcolonial identities. This has produced the key contribution to new knowledge, which can be summarised as the theory of 'shared cultural production', which suggests that no act of postcolonial cultural production can be theorised without genuine democratic participation in the conditions of its production.

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Hom, John S. « Making the Invisible Visible : Interrogating social spaces through photovoice ». The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284482097.

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Macedo, Flávia Maria Reis de. « Criar e recriar, viver e escreviver : o encontro de Lygia Bojunga e Tomie Ohtake nos livros de arte para crianças e jovens - de 7 cartas e 2 sonhos a O meu amigo pintor ». Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-19072018-153422/.

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A presente pesquisa tem como objeto duas diferentes versões de narrativa juvenil de Lygia Bojunga; a primeira delas é 7 Cartas e 2 Sonhos, publicada em 1982, contando com reproduções de nove pinturas de Tomie Ohtake e a segunda é O Meu Amigo Pintor, trazido ao público, sem as referidas ilustrações, em 1987, pela Editora José Olympio - republicada em 2006 pela editora Casa Lygia Bojunga, contendo o posfácio Para Você que Me Lê, com informações sobre o processo criativo dessas duas obras. Investiga-se, dessa forma, o contato da escritora com as nove imagens pictóricas ohtakeanas, que inspiraram a criação de um texto literário para o projeto Arte para Crianças e Jovens da Berlendis & Vertecchia Editores, reunindo arte literária e arte pictórica num mesmo suporte o livro com ilustração. Para tanto, se pretende estudar o diálogo entre aspectos verbais e visuais presentes na primeira obra, que, por sua vez, culminaram no refazer literário de Lygia Bojunga, que, ao reescrever a narrativa, transformou-a em outra, sem a presença do suporte artístico de Tomie Ohtake. As histórias de 7 Cartas e 2 Sonhos e O Meu Amigo Pintor são contadas por um narrador que está na passagem da infância para a adolescência, período em que se depara com o suicídio de seu melhor amigo um artista, pintor. Nesse prisma, objetiva-se investigar ainda como se deu o processo de reescrita da primeira para a segunda versão do texto literário bojunguiano, analisando os resultados dessa transformação. Partiremos do pressuposto de que os presentes estudos são importantes para instaurar uma reflexão crítica sobre o papel da literatura destinada às crianças e jovens, na vertente de sua criação e recriação artística, com e sem a dimensão suplementar da arte pictórica.
This research has as study object two different versions of young narrative by Lygia Bojunga: the first one is 7 Cartas e 2 Sonhos, published in 1982, with nine reproductions of paintings by Tomie Ohtake, and the second one is O Meu Amigo Pintor, published, without the illustrations, in 1987, by the publisher José Olympio republished in 2006 by Casa Lygia Bojunga, with the afterstate Para Você que Me Lê (For You Who Read Me), with information about the creative process of these two works. It is investigated, by this way, the writers contact with the nine Ohtakenian pictorial images, that inspired the creation of a literary text for the project Arte para Crianças e Jovens (Art for Children and Young People) by Berlendis & Vertecchia publisher, by gathering literary art and pictorial art in the same support the illustrated book. For that, it is intended to study the dialogue between the verbal aspects and the visual ones in the first work, that, in its turn, culminated in the literary remake by Lygia Bojunga, that, by rewriting the narrative, transformed it in another one, without the presence of Tomie Ohtakes artistic support. The stories of 7 Cartas e 2 Sonhos and O Meu Amigo Pintor are told by a storyteller who is growing from the childhood to adolescence, time that he faces his best friends suicide his fellow is an artist, a painter. In this perspective, the goal is to investigate how occurred the process of rewriting from the first to the second version of the bojungian literary text, by analyzing the results of this transformation. It will start by the assumption that the current studies are important to install a critical reflexion about the role of literature intended to children and young adults, in the aspect of its artistic creation and recreation, with our without the supplementary dimension of pictorial art.

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Guo, Dalu. « Attention Networks in Visual Question Answering and Visual Dialog ». Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25079.

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Attention is a substantial mechanism for human to process massive data. It omits the trivial parts and focuses on the important ones. For example, we only need to remember the keywords in a long sentence and the principal objects in an image for rebuilding the sources. Therefore, it is crucial to building an attention network for artificial intelligence to solve the problem as human. This mechanism has been fully explored in the text-based tasks, such as language translation, reading comprehension, and sentimental analysis, as well as the visual-based tasks, such as image recognition, object detection, and action recognition. In this work, we explore the attention mechanism in the multi-modal tasks, which involve the inputs of both text and image, i.e. visual question answering and visual dialog. It involves three vital components in both tasks, the input question (with history for visual dialog), the given image, and the generated answers. Therefore, three kinds of relationships should be investigated step by step to solve the problem. We first build the attention between words and objects for generating the representation of them, followed by the relationship between the representation and the answers if the general word embedding does not work properly, and the relationship between the representation and the attributes of answers comes last for few-shot learning. First, the bilinear graph networks revisit the relationship between the words from question and objects for image in the visual question answering task from a graph perspective. The classical bilinear attention networks build a bilinear attention map to extract the joint representation of words and objects but lack fully exploring the relationship between words for complex reasoning. In contrast, our networks model the context of the joint embeddings of words and objects. Two kinds of graphs are investigated, namely image-graph and question-graph. The image-graph transfers features of the detected objects to their related query words, enabling the output nodes to have both semantic and factual information. The question-graph exchanges information between these output nodes from image-graph to amplify the implicit yet important relationship between objects. These two kinds of graphs cooperate with each other, and thus our resulting model can model the relationship and dependency between objects, which leads to the realization of multi-step reasoning. Then, our novel image-question-answer synergistic network values the role of the answer for precise visual dialog. We extend the traditional one-stage solution to a two-stage solution. In the first stage, candidate answers are coarsely scored according to their relevance to the image and question pair. Afterward, in the second stage, answers with high probability of being correct are re-ranked by synergizing with image and question. Finally, we propose to learn the representations of attributes from the answers with enough data, which are later composed to constrain the learning of the few-shot ones. We generate the few-shot dataset of VQA with a variety of answers and extract their attributes without any human effort. With this dataset, we build our attribute network to disentangle the attributes by learning their features from parts of the image instead of the whole one.

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Chang, Jonathan. « Neither Here Nor There, But Altogether Elsewhere : A Brief Study of Distance ». Thesis, Konstfack, Grafisk design & ; illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6942.

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Knowing is often framed by language; this moving arrangement of parts helps us make sense of our surround, rendering possible ways of relating, acting, and responding. Situated yet unsettled, the play of language enables us to mediate distances, to make sense of our frames while seeking other ways of being with and for. Through dialogue, these works attempt to reroute and reorient so that we may learn to see each other — and to see ourselves.

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Burger, Idane. « Contemporary jewellery practices and the dialogic interpretation of African material culture ». Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80080.

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Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: In this thesis I examine the extent to which interpretations of African material culture play a role in the creation and visualisation of an ‘African aesthetic style’ in South African contemporary jewellery practices. My investigation of an ‘African aesthetic style’ in this thesis is informed by the production, display and writings on African cultural objects. I demonstrate contemporary jewellery design to derive from a critical methodology, particularly as it facilitates a renegotiation of the relationship and dialogue between the producer and viewer of contemporary jewellery objects.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die wyse waarop interpretasies van Afrika materiële kultuur 'n rol speel in die skepping en die visualisering van 'n 'Afrika estetiese styl' in Suid- Afrikaanse kontemporêre juwelierspraktyke. My ondersoek van so 'n styl is ingelig deur die produksie en uitstalling van, sowel as diskoerse rondom Afrika kulturele objekte. Ek ondersoek kontemporêre juweliersontwerp as 'n kritiese metodologie, veral ten opsigte van die wyse waarop dit 'n nuwe verhouding tussen die vervaardiger en toeskouer van kontemporêre juweliersobjekte fasiliteer.

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Woodward, Margaret. « Overlapping dialogues : the role of interpretation design in communicating Australia’s natural and cultural heritage ». Thesis, Curtin University, 2009. http://hdl.handle.net/20.500.11937/982.

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This research investigates the development of interpretation design in Australia during the period 1980 – 2006, and its role in presenting natural and cultural heritage to audiences in visitor settings. It establishes Australian interpretation design at the intersection of two professional fields, interpretation and design. Where heritage interpretation originates from a background of spoken language, through narrative and storytelling, graphic and communication design have origins in visual language, communicated through images and text. This research positions interpretation design as a new field within design and traces its emergence as a hybrid of spoken and visual traditions of communication.The study gives visibility to this previously undocumented and un-theorised hybrid field of design and creates a thematic conceptual framework within which to locate its historical, conceptual and practical origins. In substantiating interpretation design as a new field, three avenues of enquiry were considered; documentation and analysis of the visual artefacts of interpretation design, locating interpretation design in a wider conceptual and professional context through literature reviews, and consultation with designers in order to understand the challenges and problems in this new mode of design. Further, to facilitate designers to continue to work effectively in highly collaborative, complex and cross-disciplinary professional environments a conceptual collaborative tool was developed for use by interpretation design project teams. The conceptual tool integrates the theoretical and practical findings from this research and is based on a pattern language approach first developed by Christopher Alexander et al (1977).The research is conducted from a design perspective, and integrates theoretical and professional knowledge from related fields into interpretation design practice. Through a progressively widening interrogation of the literature, professional contexts, and designed artefacts of interpretation design, this new area of design is examined from a number of perspectives, building up a multi-faceted framework for understanding its historical, conceptual and practical dimensions. A Grounded Theory methodology was adapted to develop the theoretical framework of this study and to gather a wide range of relevant data. The practical outcome of the research was developed using a Pattern Language methodology originating from a problem-based design approach in architecture (Alexander et al 1977) and underpinned the interpretation of data.Conclusions of the research found that despite invisibility within the discourse of Australian design, designers working in this specialised field of practice have, since the early 1980s, contributed to projects which shape ideas, attitudes and visual representations of natural and cultural heritage in Australia’s most widely visited and valued sites. Designer’s practice is identified as part of an ongoing process of both contributing to Australian cultural narrative and being influenced by the legacy of culture. Contemporary interpretation design is highly cross-disciplinary and collaborative, characterised by a differentiated professional practice with dispersed networks of stakeholders. While interpretation design is located within a larger framework of the professional practice of interpretation, there exists many opportunities to enrich and better inform designers by integrating wider pools of knowledge that intersect the activities of interpretation, including education, tourism, visitor studies and psychology.

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Alfaya, Luiz Mauricio Barreto. « Caixa de guardar solidão : uma poética visual que dialoga com a cultura popular e a mundialização ». Programa de Pós- Graduação em Artes Visuais da UFBA, 2005. http://www.repositorio.ufba.br/ri/handle/ri/9820.

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O presente trabalho descreve todos os processos envolvidos na construção das obras elaboradas, que são o resultado da pesquisa prática e teórica desenvolvida durante o curso de Mestrado em Artes visuais, cuja proposta de pesquisa partiu da percepção e de estudos a respeito das questões que envolvem o local e o global. Este caminho levou a acreditar que, atualmente, sob os paradigmas de um mundo globalizado, as culturas locais se vêem fragilizadas na manutenção da legitimidade de suas tradições. Com base neste pressuposto, que se julga um problema contemporâneo, e que se tornou o condutor deste trabalho, investiga-se e desenvolve-se uma poética visual/sonora, que tem na escultura seu referencial maior.
Salvador

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Kennington, Casey [Verfasser]. « Incrementally resolving references in order to identify visually present objects in a situated dialogue setting / Casey Kennington ». Bielefeld : Universitätsbibliothek Bielefeld, 2016. http://d-nb.info/1098428242/34.

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Ferreira, Sueli. « Parece, mas não e : um estudo do movimento interpretativo da criança no dialogo com o texto visual ». [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251700.

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Orientador : Celia Maria de Castro Almeida
Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Doutorado

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Silveira, Julio Cesar Meira [UNESP]. « Inspiração a dois : a dança em contexto crítico dialogia com artes visuais ». Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/86978.

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O tema desta dissertação é a análise crítica da obra de dança Inspiração a Dois uma vez estruturada como linguagem híbrida, entre a dança e a performance, dialoga com a modernidade. Esta fase da história segundo Alain Touraine tem no sujeito o operador das mudanças onde a liberdade individual aciona as mudanças no meio social. A obra Inspiração a dois ao envolver na sua formalização diferentes meios de expressão com seus signos próprios: ora som, ora movimento, ora imagem, ora gestual, ora palavra constrói uma simbologia cênica onde os conteúdos são codificados nas linguagens da dança e da performance, a expressão do sujeito e a materialidade expressiva da obra conversam numa dialogia com a tradição sendo potencializadora da criação. A reflexão sobre pontos da poética do espetáculo que tem os temas: da identidade do intérprete, Neoconcretismo e Tropicália também se baseia nos textos convergentes dos seguintes autores: Celso Favaretto, Antonio Calado, Alain Touraine, Luigi Pareyson, Umberto Eco, Thierry de Duve, Herbert Read, Charles Harrison e Lícia Maria Morais Sanchez que formam o corpo bibliográfico principal deste estudo
The theme of this dissertation is the critical analysis of the work of the dance called ‘Inspiração a Dois’ which is structured with an amalgam of hybrid languages, between dance and performance, dialogue with modernity. During this phase of the 20th century, Alain Touraine in his book Crítica da Modernidade tackled the subject matter that involves the process of changes where one`s own individual liberty gives rise to actions that change in a social environment. The work ‘Inspiração a Dois’ involves the familiarization of different forms of expression with your own senses, sometimes sound, sometimes movement, sometimes image, sometimes gesture and sometimes word building a scientific symbolism where everything is classified as the medium of dance and performance, an expression of the subject content and an expression of the material of the work expressed as dialogue with a tradition having the potential of creation. Themes which are highlighted in the show `s presentation include interpretation of identity, Neoconcretismo and Tropicália, the dissertation is based on the theories, ideas and texts of the following authors; Celso Favaretto, Antonio Calado, Alain Touraine, Luigi Pareyson, Umberto Eco, Thierry de Duve, Herbert Read, Charles Harrison and Lícia Maria Morais Sanchez which form the body of the major bibliographic of this study

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Silveira, Julio Cesar Meira. « Inspiração a dois : a dança em contexto crítico dialogia com artes visuais / ». São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/86978.

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Orientador: Sergio Mauro Romagnolo
Banca: Pelópidas Cypriano de Oliveira
Banca: Verônica Fabrini
Resumo: O tema desta dissertação é a análise crítica da obra de dança Inspiração a Dois uma vez estruturada como linguagem híbrida, entre a dança e a performance, dialoga com a modernidade. Esta fase da história segundo Alain Touraine tem no sujeito o operador das mudanças onde a liberdade individual aciona as mudanças no meio social. A obra Inspiração a dois ao envolver na sua formalização diferentes meios de expressão com seus signos próprios: ora som, ora movimento, ora imagem, ora gestual, ora palavra constrói uma simbologia cênica onde os conteúdos são codificados nas linguagens da dança e da performance, a expressão do sujeito e a materialidade expressiva da obra conversam numa dialogia com a tradição sendo potencializadora da criação. A reflexão sobre pontos da poética do espetáculo que tem os temas: da identidade do intérprete, Neoconcretismo e Tropicália também se baseia nos textos convergentes dos seguintes autores: Celso Favaretto, Antonio Calado, Alain Touraine, Luigi Pareyson, Umberto Eco, Thierry de Duve, Herbert Read, Charles Harrison e Lícia Maria Morais Sanchez que formam o corpo bibliográfico principal deste estudo
Abstract: The theme of this dissertation is the critical analysis of the work of the dance called 'Inspiração a Dois' which is structured with an amalgam of hybrid languages, between dance and performance, dialogue with modernity. During this phase of the 20th century, Alain Touraine in his book Crítica da Modernidade tackled the subject matter that involves the process of changes where one's own individual liberty gives rise to actions that change in a social environment. The work 'Inspiração a Dois' involves the familiarization of different forms of expression with your own senses, sometimes sound, sometimes movement, sometimes image, sometimes gesture and sometimes word building a scientific symbolism where everything is classified as the medium of dance and performance, an expression of the subject content and an expression of the material of the work expressed as dialogue with a tradition having the potential of creation. Themes which are highlighted in the show 's presentation include interpretation of identity, Neoconcretismo and Tropicália, the dissertation is based on the theories, ideas and texts of the following authors; Celso Favaretto, Antonio Calado, Alain Touraine, Luigi Pareyson, Umberto Eco, Thierry de Duve, Herbert Read, Charles Harrison and Lícia Maria Morais Sanchez which form the body of the major bibliographic of this study
Mestre

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Ross, Alexandra C. M. « Continuous curatorial conversations : an exploration of the role of conversation within the writing of a supplementary history of the curatorial ». Thesis, University of Dundee, 2014. https://discovery.dundee.ac.uk/en/studentTheses/af610c50-f15e-43f0-8801-2b07defff126.

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Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.

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Fernandes, Solange Hassan Ahmad Ali. « Uma análise Vygotskiana da apropriação do conceito da simetria por aprendizes sem acuidade visual ». Pontifícia Universidade Católica de São Paulo, 2004. https://tede2.pucsp.br/handle/handle/11142.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The aim of this study was to investigate the processes by which blind learners appropriate mathematical concepts. In the domain of geometry, symmetry and reflection were chosen because of their strong associations with visual experiences. Within a vygotskian perspective, the research was guided by the hypothesis that, given instruments that can act as substitutes for the eye, blind learners have the same potential as their sighted counterparts to appropriate notions related to these concepts. Adopting Vygotsky's method of double stimulation, task-based interviews were realised with two subjects, one blind since birth and one who lost his sight between the ages of 4 and 15 years. The first stimulus was represented by material tools and the second offered in the form of researcher interventions. Three dimensions were chosen for analysis: the stages of geometrical thinking, intra, inter and transfigural (Piaget and Garcia, 1987); the appropriation of mathematical voices (Renshaw, 1996) and the emergence and maintenance of the zone of proximal development (Meira, 2002). Analysis of the transition between the intra and interfigural levels indicated that the evolution of meanings for symmetry and reflection in blind and sighted learners follow similar trajectories. Intrafigural aspects were appropriated more easily than the interfigural, although characteristics of the tasks and tools may well have motivated the initial preference for the intrafigural. In relation to the appropriation of the mathematical voice, the stimuli enabled the articulation of pseudoconcepts, divergences in the meanings attributed by the participants to the mathematical objects. These had an important role in promoting argumentative discourses which together with connections between knowledge learners had acquired in the past, the present situation and new knowledge (for future situations) favoured conceptual change
Este estudo tem como objetivo investigar os processos pelos quais aprendizes cegos apropriam conceitos matemáticos. Do campo da Geometria, foram escolhidos os conceitos de simetria e reflexão por suas fortes associações com experiências visuais. Dentro de uma perspectiva vygotskiana, partiu-se da hipótese que esses aprendizes têm o mesmo potencial que os videntes para apropriar-se de noções ligadas a esses conceitos, desde que seu acesso seja viabilizado por instrumentos que substituam o olho. Optou-se pelo método da dupla estimulação de Vygotsky e o desenvolvimento de entrevistas baseadas em tarefas, realizadas com dois sujeitos, um portador de cegueira congênita e um de cegueira adquirida. O primeiro estímulo foi dado pelas ferramentas materiais e o segundo estímulo oferecido pela pesquisadora através de intervenções. Foram eleitas três dimensões para análises: etapas intra, inter e transfigural do pensamento geométrico (Piaget e Garcia, 1987), a apropriação das vozes matemáticas (Renshaw, 1996) e a emergência e manutenção da zona de desenvolvimento proximal (Meira, 2002). Análises das transições entre os níveis intra e interfigural indicaram que a evolução dos significados associados à simetria e reflexão para aprendizes cegos dá-se de modo similar a dos aprendizes videntes. Aspetos intrafigurais foram apropriados com mais facilidade que os interfigurais, embora, as características das ferramentas e tarefas possam ter motivado a predominância inicial da perspectiva intrafigural. Em relação à apropriação da voz matemática, evidenciou-se como os estímulos possibilitaram a articulação de pseudoconceitos, nas divergências dos significados atribuídos aos objetos matemáticos pelos participantes. Estas divergências assumiram um papel importante na promoção de discursos argumentativos que associadas às conexões entre os conhecimentos adquiridos no passado pelo aprendiz, a situação presente e novos conhecimentos (para futuras situações) favoreceram a produção de mudanças conceituais

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Dutta, Sara, et Viktor§ Hedlund. « ”I’m so goddamn stressed out” : En undersökning av hur stilistiska tekniker inom filmklippning,filmdialog och filmfotografi framkallar känslan av stress i filmen UncutGems (2019) ». Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35754.

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Denna uppsats undersöker vilka stilistiska tekniker inomfilmklippning, filmdialog och filmfotografi som har använts och varför föratt framkalla känslan av stress i filmen Uncut Gems (2019). Uppsatsenförhåller sig till Karen Pearlmans och Walter Murchs filmklippningsteorierom rytm och tempo och David Bordwells kontinuitetsteori. Sarah Kozloffger fördjupning i dialogens betydelse. Edward Branigan och Blain Brownfördjupar teorier inom filmfotografi. Totalt analyseras sex stycken scenerfrån filmen som framkallar känslan av stress hos tittaren. Resultatet visarpå att när de stilistiska teknikerna ”intensifierad” kontinuitet, överlappandedialog och följande kamerarörelser samspelar skapas en situation somefterliknar en realistisk stress som tittaren känner sig närvarande i fysisktoch emotionellt.

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Aguiar, Vania Maria Medeiros de Fazio. « Uma proposta de leitura dialógica da linguagem verbovisual de gêneros opinativos da mídia impressa ». Universidade de Taubaté, 2012. http://www.bdtd.unitau.br/tedesimplificado/tde_busca/arquivo.php?codArquivo=603.

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Tendo observado a complexa função do professor de Língua Portuguesa para orientar os aprendizes a olharem de maneira crítica os diferentes discursos que estão inseridos na esfera jornalística, este trabalho, baseado na teoria bakhtiniana, foi proposto, visando a observar as relações dialógicas entre enunciados opinativos da mídia impressa, o leitor presumido e o contexto sócio-histórico. Através do relacionamento de alguns aspectos do editorial, do artigo de opinião, da charge e da ilustração, pretendeu-se promover um olhar diferenciado na leitura desses discursos, propiciando ao aprendiz o conhecimento das formas contemporâneas de linguagem para fins de seu aprimoramento como pessoa humana, como esperado pelos ditames dos Parâmetros Curriculares Nacionais (2000), assim como capacitá-lo para o progresso de seus estudos. Além da teoria dialógica de Bakhtin e seu Círculo, foram empregadas, pela necessidade analítica, concepções teóricas relacionadas à mídia impressa, baseadas em Charaudeau (2010) e Melo (2003), e à análise da linguagem verbovisual, baseada em Dondis (2007). Entre os enunciados foram observadas a sintonia e a assimetria por meio do cruzamento dos sentidos procedentes da materialidade linguística/verbovisual e pelo tom avaliativo adotado. Nas configurações imagéticas foram examinadas as relações de sentido com o texto escrito, revelando a relação sócio-histórica que os envolve, assim como respondem ao leitor pressuposto do jornal e ao contexto imediato. Para a análise, foram selecionados do jornal Folha de S. Paulo o editorial e a ilustração correspondente de 09 de janeiro de 2011, uma semana após a posse de Dilma Rousseff como presidente do Brasil, cujo discurso conduziu a temas diversos sobre as conquistas femininas. Também foram escolhidos o artigo de opinião e a charge de 18 de março de 2011, sobre a visita de Barack Obama ao Brasil, que direcionou a diferentes temas sobre a relação Brasil e Estados Unidos. Espera-se que esse estudo desenvolvido sob a perspectiva dialógica da linguagem venha a acrescentar ao profissional de educação sugestões de análise das linguagens midiáticas, a fim de auxiliar os aprendizes quanto ao julgamento crítico das opiniões apresentadas pela mídia impressa, além de estimular futuras pesquisas nos estudos da Linguística Aplicada.
Having observed the complex role of the Portuguese Language teacher in guiding the learners to look critically the different discourses inserted into the journalistic sphere, this paper was proposed, based on the Bakhtinian theory, in order to observe the dialogical relations among opinionated statements press media, the presumed reader and the socio-historical context. Through the relationship between some aspects of different enunciations like editorial, opinion article, charge and illustration, this work intends to promote a distinguished look over theses speeches, providing the student the knowledge of contemporary language forms, to improve them as human being, as expected by the PCN (National Curriculum Parameters), as well as enabling their studies progress. Besides Bakhtins dialogical theory and his Circle, due to the analytical needs, several theoretical conceptions were applied, related to the press media production, based on Charaudeau (2010) and Melo (2003), and to the verbal-visual language analysis, according to Dondis (2007). The harmony and asymmetry between the utterances were observed through the cross-evaluation of different points of view and the evaluative tone adopted in each of them. It was also observed in the verbal-visual images the meaning relations with the written text, revealing the social-historical relation that involves them, as well as they respond to the presumed newspaper reader and to the immediate context. For analysis, it were selected editorial and its corresponding illustration from Folha de S. Paulo newspaper, dated January 9th 2011, one week after Dilma Rousseff assumed Brazilian presidency, which speech led to various topics on womens achievements. It was also chosen opinion article and charge from March 18th 2011 about Barack Obamas visit to Brazil, which led to different topics about the relationship among Brazil and the United States of America. It is expected that this study, developed under the dialogic perspective of the language, will provide to the education professional suggestions for media language analysis, in order to enable students critical judgment over the opinions presented by the press media, as well as to stimulate future researches in the Applied Linguistic field.

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Monsell, Alice Jean. « A (des)ordem doméstica : disposições, desvios e diálogos ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/18663.

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A pesquisa de Doutorado em Poéticas Visuais, intitulada “A (des)ordem doméstica: Disposições, desvios e diálogos”, do PPGAV/IA/UFRGS, orientada pelo Prof. Dr. Hélio Fervenza desde 2005, partiu da visita a casas de colaboradoras, que registraram a disposição e o display dos objetos de seu lar. Na minha casa, comecei a desenvolver procedimentos táticos de détournement (desvio) das minhas práticas domésticas e artísticas com base em modelos da vida cotidiana – os registros das visitas, os processos domésticos materiais e sociais, sua efemeridade e seus acasos – notando algumas referências na arte: os Tableaux Piéges (Pinturas Armadilhas, 1960-70) de Daniel Spoerri. Gartenskulptur (1968- 96) de Dieter Roth, Gordon Matta-Clark, Kurt Schwitters, bem como a noção de “arte comoa- vida” em Allan Kaprow. Entre 2005 e 2006, emergem procedimentos de desvio (détournement) de processos de uso e da função de objetos domésticos a pa rtir de sua reconstrução, usando como materiais de trabalho as “sobras, que se referem aos objetos inúteis, guardados e acumulados na minha casa. A operação poética, a “to-pó-grafia”, investiga a disposição pelo desvio de um guardanapo de crochê para a função de matrizestêncil coberta com poeira, embaralhando a ordem cultural deste objeto. O gesto doméstico de varrer sofre o desvio através dos “re-enquadramentos”, quando poeira e detritos do chão são transformados em “quadros” pendurados na parede em cima do sofá, problematizando um modelo da arte, bem como um modelo doméstico de disposição e de display. A partir do final de 2006, experimentei com a inserção da documentação fotográfica das visitas em objetos domésticos reais ou reconstruídos. Esse é um dos procedimentos que elabora questões de apresentação pública. Emerge nesta etapa, a proposta de apresentação e display: a domesticação. Essa se refere à operação de “domesticar um espaço não-doméstico”, pela recontextualização. Por exemplo, de uma garagem, uma sala de aula ou galeria, a partir de modelos de disposição observados em casas. A domesticação de uma galeria faz com que a função estética dos objetos e sua função social oscilem, transformando o espaço em meio para fornecer um contexto para diálogo e trocas. Uma das táticas para potencializar tais interações inclui minha presença no espaço de apresentação, em certos dias e horários, para “receber as visitas”, trocar palavras, compartilhar chá com bolachas... visando a instaurar dúvidas sobre a função e a (des)ordem dos objetos ali dispostos e propor outro modelo social para as relações que podem ocorrer dentro de um espaço íntimo público.
The doctoral research project in Visual Poetics, entitled, “Domestic (dis)order: (dis)placements, detours and dialogues”, at the PPGAV/IA/UFRGS, oriented by Professor Hélio Fervenza, PhD since 2005, initially proposed visiting the houses of collaborators who recorded the placement and display of objects in their homes. In my house, I proceeded to develop tactical procedures of détournement (detour) of my domestic and artistic practices based on quotidian models - the records of visits and observed domestic material and social processes, both ephemeral and random - noting some of my references in art: the “Tableaux Piéges” (Snare Pictures) (1960-70) by Daniel Spoerri; “Gartenskulptur” (1968-96) by Dieter Roth; Gordon Matta-Clark, Kurt Schwitters, as well as the notion of “lifelike art” in Allan Kaprow. Between 2005 and 2006, procedures emerge that detour (deturn) the processes of use and the function of domestic objects through their reconstruction, using as work materials the “leftovers”, which refers to all useless objects that had been stored and were accumulating in my home. The “dust-o-graph” investigates the placement of crochet doilies by detouring their everyday function into a graphic tool for stenciling with household dust, shuffling this object’s cultural order. The household gesture of sweeping suffers a detour through the procedure of “re-picturing” when floor dust and scraps are transformed into “pictures” placed hanging on the wall above the sofa, problematizing a model of art, as well as a model of placement and display in the home. Toward the end of 2006, I began to experiment with insertion of photographic documents from visits into real or reconstructed domestic objects. This is one of the procedures developed to elaborate questions involving public presentation. At this stage, the poetic proposal of public presentation and display “domestication” emerges. This refers to the operation of “domesticating a non-domestic space” by recontextualizing, for example, an art gallery, a classroom or a garage using placement models observed in homes. The “domestication” of a gallery makes the aesthetic function of objects and its social order oscillate, transforming the space into a means to offer a context for dialogue and exchanges. One of the tactics for potentializing interactions is my own presence in the presentation space, at certain times, when I “receive visitors”, converse, offer tea and cookies… aiming to place doubt on the function and order of objects (dis)placed there and at proposing an alternative social model for the relations that may occur within an intimate public space.

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Boscher, Nicolas. « Marcel Achard et le cinéma : dramaturge, critique, producteur, dialoguiste, réalisateur ». Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC012.

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Marcel Achard rencontre d'abord le succès comme dramaturge, à partir des années 1920, avant d'entamer une longue carrière dans l'industrie cinématographique, puis de tomber dans un relatif oubli. Cette thèse retrace son parcours de réalisateur, ambitionnant de participer à la création d'un musical français (La Valse de Paris (1950)), ainsi que la genèse et les enjeux des films à l'écriture desquels il a collaboré. Plusieurs d'entre eux constituent des jalons essentiels dans l'histoire du cinéma : Jean de la Lune (1931), La Veuve joyeuse (1934), L’Étrange Monsieur Victor (1938), Le Déserteur (1939), Félicie Nanteuil (1942-1945) ou Madame de.... (1953). En s'appuyant sur l'exploration de plusieurs fonds d'archives, plus particulièrement le fonds Achard déposé à la BnF, et sur les trente-huit films actuellement disponibles, elle examine le rôle joué par cet auteur-relais occupant le plus souvent une position intermédiaire (critique, co-réalisateur, adaptateur ou dialoguiste) au sein d'un territoire traversé de tensions historiques, génétiques et esthétiques.L'absence de toute étude approfondie de son activité dramatique impose de commencer par un rappel des caractéristiques et de la démarche du dramaturge, dont l'écriture est déjà tournée vers le cinéma, repoussoir ou tentation. Après avoir tenté de cerner le discours du critique cinématographique – le plus souvent instable tant sa conception du cinéma, du dialogue cinématographique ou de l'auctorialité varie en fonction du contexte et des œuvres auxquelles il s'applique –, je retrace le parcours ambitieux d'Achard au sein de l'appareil de production cinématographique, entre la France, Berlin, et Hollywood. Enfin, j'examine la manière dont émergent des représentations nationales, auctoriales et genrées au sein des scénarios et des films, dans le cadre d'un processus complexe et collectif. La part prise par Achard au cours de celui-ci demeure variable, voire difficile à discerner, mais parfois essentielle pour le pire (les inflexions réactionnaires ou un stéréotypage sans nuance) ou pour le meilleur (la complexité des représentations et des sentiments, une connaissance approfondie des potentialités du dialogue cinématographique)
From the 1920s, Marcel Achard produced successfull dramatic works and then established a long cinematographic career, before falling into relative obscurity. This thesis investigates not only his activity as an director ambitious to create a french musical (La Valse de Paris/The Paris Waltz (1950)), but also the genesis and objectives of several films constituting important milestones in the history of cinema : Jean de la Lune (1931), La Veuve joyeuse/The Merry Widow (1934), L’Étrange Monsieur Victor/The Strange Monsieur Victor (1938), Le Déserteur/The Deserter (1939), Félicie Nanteuil/Twilight (1942-1945) ou Madame de..../The Earrings of Madame De... (1953). It is based on the exploration of several archive collections, more particularly the Achard archives deposited at the BnF, and thirty-eight films currently available. It examines the rôle played by this « author-relay », typically occupying an intermediate position (i.e. critic, co-director, adapter or dialoguist) operating within a creative territory shaped by historical, genetic and aesthetic contradictions.The absence of any in-depth study of its dramatic activity makes it necessary to start with a reminder of the playwright's characteristics and approach, in order to envisage the way in which theatrical writing can be adopted by cinema (foil or temptation). In addition, this study tries to define the unstable discourse of the film critic : his conceptions of cinema, cinematographic dialogue and authorship vary according to the context and the works to which it applies. It then retraces the ambitious course of Achard in the film production industry, working in France, Berlin and Hollywood. Finally, it examines the way in which national, authoritative and gendered representations emerge within scenarios and films. This is in the context of a complex and collective process, in which Achard's contribution remains variable and sometimes difficult to discern. However, this variable contribution can be essential for the film ; for the worst (reactionary inflections or stereotyping without nuance), or for the best (the complexity of representations and feelings, a thorough knowledge of the potentialities of cinematographic dialogue)

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Reis, Ivan Domingos Oliveira. « Capa e obra em diálogo : uma proposta de leitura verbo-visual de agosto e o seminarista, de Rubem Fonseca ». Universidade de Taubaté, 2014. http://www.bdtd.unitau.br/tedesimplificado/tde_busca/arquivo.php?codArquivo=737.

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Considerando o não-aproveitamento da linguagem verbo-visual e da produção literária brasileira contemporânea pelo discurso didático utilizado nas aulas de Literatura, esta pesquisa tem como objetivo verificar como a imagem veiculada pela capa do livro consegue dialogar, no sentido bakhtiniano do termo, com o texto literário a que pertence. Assim, nos detemos em analisar a representação visual das capas das obras Agosto (1990) e O Seminarista (2009), de Rubem Fonseca no diálogo com o texto e que sentidos esta materialidade verbo-visual consegue despertar para o leitor. Para tanto, este trabalho tem como aporte teórico as considerações sobre o dialogismo do Círculo de Bakhtin bem como seus conceitos derivados como signo ideológico, enunciado concreto, gêneros discursivos e relações dialógicas, articulando com os estudos sobre os elementos que se integram na perceptividade da imagem. Devido aos objetos de estudo desta pesquisa, a fotografia é considerada como recorte ideológico e, subjacente a ela, a cor em sua dimensão simbólica e psicodinâmica, participando do projeto enunciativo. A análise das capas nos mostrou que imagem e texto, assinados por dois sujeitos: autor e o responsável pela elaboração da imagem, ou capista, conseguem travar uma relação dialógica de sentido no que se refere às informações sobre o contexto da obra literária, bem como informações que se verificam somente no interior da narrativa. Além disso, a capa do livro também consegue resgatar alguns valores já perpetuados pelo autor mencionado, incitando interpretações sobre seu contexto de produção. É nesse sentido que a imagem antecipa, de certo modo, uma maneira de ler a obra. Sugerindo múltiplas leituras através de manifestações de sentido derivadas do texto, o ensino de Literatura no Ensino Médio pode lançar mão dos recursos da linguagem verbo-visual na exploração das multiplicidades de sentidos que podem emergir do texto literário no contexto escolar.
Considering the non-use of verb-visual language and literary contemporary Brazilian didactic discourse used by classes in Literature, this research aims to determine how the image conveyed by the book cover can engage in Bakhtinian sense of the term, with the literary text to which it belongs. Thus, we pause to consider the visual representation of the covers of the works in Agosto (1990) and O Seminarista (2009), de Rubem Fonseca in dialogue with the text and that this materiality verb senses -visual can wake up to the reader. Therefore, this work has as theoretical considerations about the dialogism of Bakhtin Circle as well as their concepts derived as ideological sign, concrete utterance, genres and dialogical relations, articulating with the studies on the elements that integrate the perceptiveness image. Due to the objects of this research, the photograph is considered clipping ideological, and behind it, the color in its symbolic dimension and psychotherapy, participating in the project enunciation. The analysis of the covers has shown that image and text, signed by two subjects: author and the professional responsible for the cover can catch a dialogical relationship of meaning with regard to information about the context of the literary work, as well as information that exist only inside the narrative. In addition, the cover of the book also manages to rescue some values already perpetuated by the author mentioned, urging interpretations of its context of production. It is in this sense that the image anticipates, in a sense, a way of reading the work. Suggesting multiple readings through demonstrations of meaning derived from the text, the teaching of literature in High School can make use of the resources of language in verbal-visual exploration of the multiplicity of meanings that can emerge from the literary text in the school context.

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Lidén, Konrad. « Still-Lifestock ». Thesis, Konstfack, Textil, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7731.

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Howdoyoudo (HDYD): How do you do, Howdy! Howdy (HD): Howdy, Howdoyoudo! HDYD: Vi ser ut att få en fin dag idag, tycker du inte? Synd att den måste befläckas med det vanliga smutsgörat. En efterlysning har kommit in. HD: Det har hänt igen? HDYD: Ja, det är samma visa varje gång. En luststyrd elev som oaktsamt klivit in på högskoleterritorium och inte tänkt på konsekvenserna... men räkenskapens tid kommer till alla: textförklaringen måste fram.

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YEN, LIN-YU, et 顏麟宇. « My Journey ：a record of visual dialogue ». Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bjryjb.

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碩士
國立臺灣藝術大學
廣播電視學系碩士班應用媒體藝術組
106
Photography as a form of writing, photojournalism is the most rigid, restrictive kind of it. Photographers can seldom express their aesthetics in the work. The pressure of News instantaneity and the preferences of Newsroom editors to choose straightforward narrative images have made the image become shallow and superficial. It is unlikely to produce impressive images. As a photographer and journalist, I switch between these two different identities while creating images. With two different needs and standards between the two identities, I will compromise on the journalist’s role. Through image creating, I try to resolve conflict of my two identities. Using images to record the transition of the two identities, I continue to communicate and discover myself. In the journey of creating, I have reviewed the memories of the past few years. From a muddled graduate student to the independent photojournalist, there were not just memories of working. Through the images, I have the opportunity to recall this self-growing course. The recorded images are not disposable, instead they contain emotions and lives. I use cameras to narrate a self-growing course of a image creator.

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Huang, Guo-Qin, et 黃國欽. « Research on Crawler Robot with Dialogue and Visual Identification ». Thesis, 2019. http://ndltd.ncl.edu.tw/handle/46knut.

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Allers, Anneke. « Edge dialogue : reactivating dialogue between the building edges and the public space in an arcade ». Diss., 2009. http://hdl.handle.net/2263/30158.

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This thesis focuses on the active dialogue between the visual storefront/building edge and the adjacent public space. Pretoria's inner city arcades are the public spaces of the city. However, the current design of most of the defining edges presents very few opportunities for lingering. In most cases the dialogue between interior and exterior has died down, causing a loss in commercial activity. The study investigated how specific design features of the visual storefront edge influence the city dweller's experience of the surrounding public space and associated commercial activity. Insights gained through mapping and studying various arcades and thoroughfares were reworked for incorporation into a document - called Edge handbook - that provides guidelines for bringing the storefront edge to its full potential when seen in relation to its surrounding public space. The guidelines were implemented in a detailed design proposal for President Arcade. The reality of the inner city is that the arcades and thoroughfares are city dwellers' main form of public space, which thus calls for a redefinition of the economic retail ideal. It was found that the storefront edge cannot be seen as an entity separate from the surrounding public space and therefore does not justify merely giving the retail tenant as much clear display area as possible. The needs of the urban city dweller - for example, to observe a variety of activities and exert a choice in the level of exposure - must be considered and used to guide the design of the edge within an inner city arcade. The treatment of this edge can re-establish a sense of place, previously lost. A strong sense of identity associated with the edge can furthermore help to orientate the dweller within the urban fabric. This treatment also functions the other way around: a public space where city dwellers feel comfortable and which satisfies their social needs can make them more aware of the edges surrounding them. The design therefore cannot focus only on the public arcade space or the storefront edge, but it is the dialogue between the two that will determine if the space becomes a destination for the city dweller, rather than just another thoroughfare. Copyright
Dissertation (MInt(Prof))--University of Pretoria, 2010.
Architecture
unrestricted

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Hogan, Jan Margaret. « The affective ground : possibilities for cross-cultural dialogue ». Phd thesis, 2009. http://hdl.handle.net/1885/7181.

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The Affective Ground: research into the possibilities for cross-cultural dialogue through the visual arts. The work explores the painting Matawhero by Peter Adsett as a model for a cross-cultural dialogue about space, place and spirituality between artists in Australia and the Asia-Pacific region. A study taking the form of a 30,000 word research essay which comprises the outcome of the Theory component.
Material arts grants and Konica Minolta

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Chou, Pei-Chun, et 周珮君. « The context of situation in a dialogue from“Practical Audio-visual Chinese”and“ Far East Everyday Chinese” ». Thesis, 2011. http://ndltd.ncl.edu.tw/handle/77371027681346743747.

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碩士
國立臺北教育大學
語文與創作學系碩士班
99
This study aimed to research the context of situation in a dialoged from “Practical Audio-visual Chinese” and “ Far East Everyday Chinese”. With language communication theory as the foundation, the Common European Framework of Reference (CEFR) as the backbone, and the Test of Chinese as Foreign Language (TOCFL) as the standard validation, we are commencing a close study of the compositions of the context, through the method of contextual analysis. They are of four make-ups: setting, theme, medium, and approach. In this study we find that the social settings are mostly of personal and public, that the social themes are mainly of everyday routines, the social medium being oral, and that social approach is up to 70% of the context that are none-verbal communications. Gestural communications and amplifies the effect of these language tools, and the sub-language (sub-text?) supplements the complexions of language thereof. In addition, the illustration on the pages incorporates with the text provides precision and pleasant visual effects on the learners, which makes it easier for learners to understand and to grasp a language. Finally, textbook writers and editors should design both an obvious and clear contextual setting, with the aid of illustrations and texts, which appears less artificial, more genuine. The users of these tools are advised to use them interchangeably to multiply the result; and teachers are to simulate and provide extra contexts to fill up missing compositions or small details to complete the course of language learning.

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« Art on the Border : Political Dialogue and the Use of Visual Art in the U.S.-Mexico Border Debate ». Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9089.

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abstract: This thesis seeks to answer the question: "What do artistic representations add to the dialogue about the U.S.-Mexico border and immigration beyond political rhetoric and popular media portrayals?" Drawing on political communications (as put forth by Edelman and Altheide), socio-political construction (particularly the White Racial Frame put forth by Feagin), and collective memory theory (especially those of Halbwachs and Pollak), this thesis uses a dual-coding, content analysis to examine the linguistic and visual messages disseminated through news media. Then, interviews with and the work of six immigrant artists are examined for their contribution to the information put forth in the news media. This study finds that news reporting bias falls along a continuum from pro-immigration to extreme anti-immigration (labeled "fearful" reporting). The news media skew strongly toward anti-immigration to fearful in bias, and there is no opposite pro-immigration bias. Through observations of artists' work, the study concludes that artistic representations of the border can fill this strongly pro-immigration void on this bias continuum.
Dissertation/Thesis
M.A. Interdisciplinary Studies 2011

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Ceronio, Foord. « Presentation precinct : modification of consciousness ». Diss., 2008. http://hdl.handle.net/2263/28375.

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The proposed thesis project consists of an art presentation precinct where art works will be exhibited, presented and performed before being presented to under-exposed communities in outlying areas of Tshwane and beyond. The dissertation responds to certain identified requirements. Its approach will be preservation based, while being sensitive to the distinctiveness of the site. The aim is that the aesthetics will add to the character of the site and that, at completion, visual appropriateness will be prominent. Please note that the text on pages 28-39, 44, 46-64, 71-77, Images and Bibliography is illegible
Dissertation (MArch(Prof))--University of Pretoria, 2008.
Architecture
unrestricted

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Marsden, Scott Kerwin. « Putting the Public in Public Art Galleries : The Insurgent Curator and Visual Art as Critical Form of Creative Inquiry ». Thesis, 2015. http://hdl.handle.net/1828/6965.

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My research explores the concept of visual art as a form of critical inquiry and the gallery as a site for critical dialogue and social change. I argue that art galleries can be spaces of change and can be used to mount a critique of contemporary society’s dominant narrative of neoliberalism that is being incorporated into our public and private lives. Art galleries are public spheres for civil society that offer citizens opportunities to engage in debate on contemporary issues, where we can expose ourselves to new ideas, stimulate our minds, and explore other ways of knowing and becoming agents of change. My investigation takes the form of researching, developing, and presenting an exhibition of selected photographs as part of the exhibition, Open Conversations. This exhibition explored the art practice of Canadian photographers Carole Condé and Karl Beveridge, who have developed an artistic process that involves direct collaboration in the production of art employing a participatory, socially engaged framework. I claim the role of “insurgent curator” (a person who challenges the current state of affairs) through my attempt to locate my inquiry within my current praxis as curator, that is, within a critical form of creative inquiry. As an insurgent curator, I attempt to insert alternative histories and perspectives in a public art gallery as a means of offering different ways of knowing contemporary society. The concept of critical inquiry and the use of dialogical aesthetics underlie my concept of insurgent curatorial practice. I propose that the use of dialogue has important implications in helping to situate art galleries as public spaces that invite participation, dialogue, and community, and thereby have a profound impact on visitors’ meaning making. Through the use of critical creative inquiry, I ask how this research can generate individual transformation and help create progressive forms of social action.
Graduate
scottmarsden@haidagwaii.ca

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Švajková, Monika. « Pohádka jako prostor pro výtvarnou reinterpretaci ». Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-346997.

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Fairy tale as a space for an art reinterpretation Bc. Monika Švajková Abstract The thesis introduces authors view on the evolution of fairy tales in Europe and its transformation since 19th century in literature, visual arts and related field of knowledge. Its purpose was to create an art project that would connect cultures of Czech Republic and Finland through fairy tales and fine art. Resulting didactical tasks develop fairy tales of one country through contemporary art of the other. The tasks apply to several conceptions of teaching as the implementation took place at the primary art school, high school and lappish art gallery. The art project closes with authors art etudes that expand theme of the forest as an area for updating of fairy tales and simultaneously captures the authors view on the theme of fairy tales. The outcomes and benefits of the thesis were verification of the didactical tasks that would in contemporary art update the classic children literature in context of these two countries.

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(12862621), Alan Parr. « A study of instructional techniques used in the teaching of primary school students by means of interactive television : feedback, dialogue and interaction in a visual educational medium ». Thesis, 1994. https://figshare.com/articles/thesis/A_study_of_instructional_techniques_used_in_the_teaching_of_primary_school_students_by_means_of_interactive_television_feedback_dialogue_and_interaction_in_a_visual_educational_medium/20921587.

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The expansion of the teaching of Languages Other Than English to smaller primary schools in country areas of Queensland has been hampered by the lack of suitably qualified teachers. Efforts to teach these languages using distance education technologies such as the teleconference phone have resulted in limited success. The use of live interactive television has been mooted as one possible solution to this problem.

This study investigates the nature and quality of teaching using one-way interactive television with two-way audio to two classes of Japanese in a small primary school in Central Queensland. It pays specific attention to the visual and interactive properties of the media used. The formative research methodology used is based on case study, ethnographic techniques relying on the collection of data through observation, videotape and interview. The analysis provides identification and detailed descriptions of instructional techniques within a theoretical framework encompassing learning theory, instructional design and distance teaching of Languages Other Than English. This study concludes with recommendations for action designed to build on the effective pedagogy identified here.

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« Film and Emotional Contagion : Audiencing, Witnessing, and Performing the Lingua Franca of Compassion ». Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.54824.

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abstract: Utilizing visual semiotics and performance theories as a backdrop to inform a discussion regarding entertainment education and community dialogue, this study explores a unique case of compassionate communication being enacted at the most crucial moment – facing a school shooter at the height of a critical juncture. Through narrative film techniques and dramatism, a recreation of the real-life event was re-framed and distilled into a documentary-style film to showcase to general audiences for the purpose of dialogue catalyzation and elicitation. The film acts as a provocative statement for the process of conducting a Civil Dialogue® with the viewing audience. Qualitative analysis of 12 dialogue groups and 15 individual interviews (primarily college students) explores the impact film has on viewers’ perceptions, their participation in dialogue, and the role of affect when it comes to communicating with others. Findings suggest a positive correlation between film, emotional engagement, and dialogue participation, with significant impact on viewer’s perceptions and indications of influencing anticipated future behavior. Additional findings and analysis reveal a cultural master narrative of “fight or flight” syndrome, and a tendency toward spectacle or doing things “for show.” Novel concepts such as visual capital and performative cognition emerge to inform a new arts-based method and the development of a theory referred to as the Tuff-Hill Phenomenon.
Dissertation/Thesis
Documentary Film - "A Way Out"
Doctoral Dissertation Communication Studies 2019

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Peixoto, Maria Emília Oliveira Ribeiro. « Diálogo com a obra de arte : construção de significados ». Master's thesis, 2018. http://hdl.handle.net/10400.14/27182.

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A arte como espaço privilegiado de criação, liberdade e fruição, é o lugar por excelência da implementação de novos discursos, novas linguagens, novos códigos e novos significados. Formar e educar pela arte é permitir que cada individuo se encontre consigo, com os outros e com o mundo que o rodeia, mas é também favorecer a sua possibilidade de descobrir as suas potencialidades artísticas e despertar em si mesmo sensibilidades estéticas. Partindo deste pressuposto e acreditando que a arte é um precioso auxílio para o processo educativo, na medida em que proporciona experiências promotoras de perceção, criatividade, reflexão crítica, iniciativa e autonomia, desempenhando um papel crucial no desenvolvimento integral dos jovens, este estudo desenvolveu-se no sentido de encontrar alguns caminhos que, a par do fazer artístico, se desenvolvam sensibilidades estéticas e se promova a criatividade. As respostas fornecidas pela amostra selecionada permitiram desenvolver uma proposta de mediação artística assente num conjunto de procedimentos, com a finalidade de melhorar uma situação concreta, inovando e estimulando o processo de ensino e aprendizagem dos alunos. Os dados apurados através dos diferentes instrumentos permitiram-nos concluir que as estratégias de diálogo e contacto com a obra de arte, a realização de exercícios de agilização do pensamento criativo e a abordagem dos conteúdos relacionados com as artes plásticas, proporcionaram o domínio da sintaxe da linguagem visual, assim como o desenvolvimento do potencial criativo.
Art is a privileged space of creation, freedom and enjoyment. When thinking of art we think of a place for the implementation of new discourses, new languages, new codes as well as new meanings. To form and educate by art is to allow each individual to meet with himself, with others and with the world that surrounds him, to discover his artistic potentialities and to awaken aesthetic sensibilities. Based on this assumption and believing that art is a precious aid to the educational process insofar as it provides experiences that foster perception, creativity, critical reflection, initiative and autonomy, playing a crucial role in the development of the young, this study is developed in order to search for ways that allow the development of aesthetic sensibilities (beyond the artistic work itself). This research theme is "Dialogue with the work of art: construction of meanings" and aims to improve a specific educational situation, namely a public school in the city of Fafe. Innovating and stimulating the process teaching in order to bring students closer to art, and contemporary art in particular, giving students an aesthetic and artistic experience. Insofar as the contact with the work of art promotes the enjoymentcontemplation of cultural objects, production -promotes new ways of looking at and perceiving the visual universe and the reflection- interpretation of cultural and aesthetic circumstances when approaching objects. The answers collected from the pre-selected sample allowed to develop a proposal based upon a set of procedures, with the purpose of improving a concrete situation, innovating and stimulating the teaching process of the students. The data obtained through the different instruments allowed us to conclude that strategies of dialogue and contact with the work of art; exercises for speeding creative thinking and the approach to contents related to the plastic arts, provide the mastery of the syntax of visual language, as well as the development of creative potential.

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Miller, Gwenneth. « Modelling an innovative approach to intermediality within visual art practice in South Africa ». Thesis, 2015. http://hdl.handle.net/10500/22002.

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The study is practice-led in visual art and it explores the impact of intermediality to validate that new knowledge emerges via processes that lead to possibilities of transformative hybridity. Intermediality was established and generated through a productive reciprocity between practice and theory as well as between analogue and digital art. The research created a community of enquiry through an exhibition entitled TRANSCODE: dialogues around intermedia practice (2011) in order to model innovative approaches towards improvement of transmedial artistic practice. The diversity of work by artists involved in this exhibition allowed exploration of a range of creative processes to investigate and understand characteristics of productive intermediality. The concept of transcoding in this study was derived from Deleuze and Guattari, which describes how one milieu functions as a foundation for another, implying an intermedial tension. TRANSCODE alludes to the mediation that transcribes meanings across boundaries and within complexity. Selected characteristics of narratives, space, embodiment and visual systems were researched through the lens of mediamatic thinking, which refers to thinking via media. The study proposes that intermediality is best seen as a construct of the tensional differences that become enriched within the grey areas. In applying Deleuze and Guattari‘s metaphor of the rhizome and Tim Ingold‘s concept of the mycelial mesh, the research project not only prompted structured collective thinking through practice, but also captured various case studies relevant to practice-led methodology.
Art History, Visual Arts and Musicology
D. Litt. et Phil. (Art History)

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Thèses sur le sujet « Visual Dialogue »

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