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作者： Nicole Rivera University of New Mexico

学位级别：硕士

Borders are created to colonize both land and body. The politically constructed line between the United Stated (U. S.) and Mexico impose physical and emotional trauma through border militarization and immigration policies that consequently separate families and criminalize individuals. Rhetoric centering xenophobic divisions has normalized violence against brown bodies. The relentless effort to continue this divide has led to a genre of art that manifests on the border wall. Artist use the U. S.-Mexico border as a canvas to resist and challenge migratory criminalization by visualizing their opinions to redefine this 1,954-mile line. This research is centered in the study of communication through a borderlands lens and pulls from Gillian Roses' (2001) method for visual analysis. In a five-part phase, I examine the work of three political art activists who rework the aesthetics of the border wall with their art and use of digital photography as a way to communicate that revision to the masses. Specifically, I examined art that was directly created on the U. S.- Mexico border, which creates a facade of the border wall by (1) visually connecting the two physical spaces and (2) giving an illusion of eliminating the border completely.

关键词： Borderlands political art visual discourse photography

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Symbolic capitals: visual discourse and intercultural exchange in the European capital of culture scheme

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Language and Intercultural Communication 2006年第2期6卷 148-162页

作者： Aiello, Giorgia Thurlow, Crispin Department of Communication University of Washington Seattle WA United States

In multilingual Europe, visual discourse may function as a cross-culturally strategic form of communication, thanks in part to its perceptual and iconic availability. In this regard, we offer a social semiotic critique of a range of visual resources deployed in he official promotional texts of 30 of the 43 cities either nominated or competing for he title of European Capital of Culture between 2005 and 2011. In considering the political/cultural/economic ideologies that underpin the production of a supposedly an-European identity, we also show how these branding exercises manage local/global tensions by exploiting the intercultural meaning potentials of visual discourse. © 2006 Taylor & Francis Group, LLC.

关键词： European identity Intercultural exchange Social semiotics visual discourse

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Achieving legitimacy: visual discourses in engineering design and green building code development

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BUILDING RESEARCH AND INFORMATION 2007年第1期35卷 6-17页

作者： Henderson, Kathryn Texas A&M Univ Sociol Dept MS 4351 College Stn TX 77843 USA

This paper examines the processes by which early alternative, green-oriented building codes - namely those for straw bale building - were created. It compares these with the visual processes in industrial design work. The comparison reveals clear parallels in the ways in which tacit and experiential knowledge is conveyed through visual representation. The study examines how straw bale building innovators in Arizona and New Mexico, US, used visual discourse to convey technical knowledge within their own building community, and how they used visual discourse in the form of historical documentation, illustrative sketches, and video footage to make a convincing case for their technique as a viable one for code officials, even though visual representations were not allowed in building standards, per se, at the time. The research methods used are participant observation, in-depth interviews, and discourse analysis.

关键词： alternative technology building codes green building messy practice mixed practices situated knowledge and practice social context visual discourse

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Every House on Langland Road - the production of archival, architectural and artistic spaces

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CULTURAL GEOGRAPHIES 2018年第1期25卷 229-238页

作者： Umney, Darren Open Univ Milton Keynes Bucks England

This article describes an Arts Council England project, undertaken by the author and a photographer, to examine spatial and temporal relations between an art project, its subject and its audience. The project explored and documented the architecture of a modernist 1970s housing estate, Netherfield, designed by a group of four architects for the new city of Milton Keynes. The estate has not aged well and the visual remnants of what had been an ambitious and idiosyncratic housing scheme were to be photographed and juxtaposed with the original architectural drawings. The photographic process contributed to a more complex series of perspectives which included the archival history of the estate and its surrounding new city, the people who live there and my own reflections on a council estate childhood. In turn, these perspectives are set out in this article in terms of the spatial and temporal realms in which they are, and continue to be, produced. Loosely conceived in terms of Lefebvre's production of space triad, these realms are traced through the estate's historical narrative from plans to buildings which then converge in the eventual art work. The gallery is seen as an assemblage of multiple connections drawn between various productions of archival, architectural and artistic spaces.

关键词： archival research artistic practice post-war architecture representation of space social housing visual discourse

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Contrasting (power of) visual and textual discourses in art studies: a critical perspective

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visual COMMUNICATION 2016年第1期15卷 33-53页

作者： Pereira, Anabela Da Conceicao Inst Univ Lisboa ISCTE IUL Lisbon Portugal

This article begins with the assumption that analysing visual discourse is a question of exploring the hermeneutic potentials and epistemological emergence of images as depending on individual perception, ways of seeing and social interaction, strengthening their agency, to ascertain their significance and recognition as aesthetical symbols, as meaning-making processes. The article presents a case study based on two world-renowned Portuguese artists (Helena Almeida and Jorge Molder) in which the authors understand the notion of the agency of image as an original means of interpreting social and cultural experiences, studying how artists transform their visual representations in ambiguous narratives about images. Starting from a critical and phenomenological perspective, the authors developed an image-based analysis, contrasting artists' visual representations with their textual readings and recognizing the central meanings of self-representation in both cases.

关键词： agency Helena Almeida image based analysis Jorge Molder meaning perception textual discourse visual discourse

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"Reading the Image" Modernization and Identity As Reflected in Postcards from Bukovina at the Turn of the 20th Century

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TRANSYLVANIAN REVIEW 2020年第1期29卷 92-111页

作者： Mareci-Sabol, Harieta Purici, Stefan Stefan Cel Mare Univ Fac Hist & Geog 13 Univ St Suceava 720229 Romania

Starting with the second half of the 19th century, the communication through postcards in Western society became not only an "innovation" but a "fashion." It was adopted and spread all over the world, facilitating both the transmission of personal messages, and the official ideology that could shape public attitudes and aspirations. Despite their ephemeral character-which explains, more or less, the low interest of some researchers who underestimate their value-postcards can be interrogated from a cultural and historical perspective, providing information on the specificity of places and identities. This study focuses mainly on postcards produced and circulated in Bukovina, in the late nineteenth century and the first decade of the twentieth century. From the multitude of images that can be examined in relation to this subject, the postcards illustrating "modernization" and "identity" were chosen. The visual narrative of postcards provides reliable historical information, helping to contextualize the symbolic representations of progress and tradition in Bukovina and to better understand the way in which, at the turn of the twentieth century, the modernization of the province and its territorial identity were perceived.

关键词： image symbol progress tradition specificity visual discourse historical meaning

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Comparing Effects of Different Cinematic visualization Strategies on Viewer Comprehension

Comparing Effects of Different Cinematic Visualization Strat...

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2nd Joint International Conference on Interactive Digital Storytelling (ICIDS 2009)

作者： Jhala, Arnav Young, R. Michael Univ Calif Santa Cruz Santa Cruz CA 95064 USA North Carolina State Univ Raleigh NC 27606 USA

ISBN: (纸本)9783642106422

Computational storytelling systems have mainly focused on the construction and evaluation of textual discourse for communicating stories. Few intelligent camera systems have been built in 3D environments for effective visual communication of stories. The evaluation of effectiveness of these systems, if any, has focused mainly on the run-time performance of the camera placement algorithms. The purpose of this paper is to present a systematic cognitive-based evaluation methodology to compare effects of different cinematic visualization strategies on viewer comprehension of stories. In particular, an evaluation of automatically generated visualizations from Darshak, a cinematic planning system, against different hand-generated visualization strategies is presented. The methodology used in the empirical evaluation is based on QUEST, a cognitive framework for question-answering in the context of stories, that provides validated predictors for measuring story coherence in readers. Data collected from viewers, who watch the same story renedered with three different visualization strategies, is compared with QUEST's predictor metrics. Initial data analysis establishes significant effect on choice of visualization strategy on story comprehension. It further shows a significant effect of visualization strategy selected by Darshak on viewers' measured story coherence.

关键词： Intelligent Camera Control Computational Models of Narrative discourse Comprehension visual discourse

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The Evocative Power of Projective Techniques for the Elicitation of Meaning

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INTERNATIONAL JOURNAL OF QUALITATIVE METHODS 2011年第1期10卷 30-41页

作者： Porr, Caroline Mayan, Maria Graffigna, Guendalina Wall, Sarah Vieira, Edgar Ramos Mem Univ Newfoundland Sch Nursing St John NF Canada Univ Alberta Fac Extens Edmonton AB Canada Univ Cattolica Sacro Cuore Milano Fac Psychol Milan Italy Univ Alberta Dept Sociol Edmonton AB Canada Florida Int Univ Coll Nursing & Hlth Sci Miami FL 33199 USA

A unique project was undertaken by doctoral and postdoctoral students, and their mentor, from diverse backgrounds in health and social sciences to explore their past experiences as participants in a qualitative research training initiative called EQUIPP (Enhancing Qualitative Understanding of Illness Processes and Prevention). The purpose of the project was to create a symbolic representation of the EQUIPP program through the use of projective techniques. The authors examined the meaning of engaging in qualitative research training through images and conceptual metaphors that were subsequently consolidated thematically and then portrayed in the form of a newly constructed logo that was developed with the assistance of a professional graphic designer. Projective techniques proved to be a powerful, evocative tool for eliciting meaning and translating concrete experiences into visual discourse. In this paper, the authors discuss how projective techniques were operationalized and consider their broad implications for qualitative research.

关键词： imagery logo design meaning elicitation projective techniques visual discourse

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The language of luxury fashion advertising: technology of the self and spectacle

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JOURNAL OF FASHION MARKETING AND MANAGEMENT 2021年第2期25卷 257-273页

作者： Kohrs, Kirsten Kings Coll London Culture Media & Creat Ind CMCI London England Univ Greenwich Fac Business London England

Purpose Ubiquitous Internet access and social media make visual consumption possibly the most vital characteristic of the experience economy. A cumulative, integrative framework for the analysis of visual artefacts has thus been called for as existing analytical tools and theoretical frameworks (such as semiotics, discourse analysis, content analysis, iconography, rhetoric and so on) each provide in isolation only a restricted perspective. To advance best practice towards shaping brand perception and consumer engagement, this paper provides a crucial analytical tool to uncover the unique and specific characteristics of identitary luxury fashion brand discourse by introducing and applying such an integrative framework. Design/methodology/approach A rigorous grounded theory approach was applied to a corpus of primary data, print advertising in Vogue (UK and US) and Vanity Fair (UK). Outcomes were distilled to first principles of meaning-making and aggregated in a framework which also integrates long-existing classics from diverse fields of knowledge to present a broad cumulative perspective for the analysis of visual discursive practice. This paper demonstrates the methodological rigour and validity of the framework, that is, its practical adequacy and explanatory power in uncovering the identitary brand discourse of luxury fashion. Findings An application of the integrative framework breaks new ground in uncovering the discreet identitary characteristics of the discursive practice of the luxury brands under investigation, Chanel and Gucci, which can be encapsulated as gendered technology of the confident self (Foucault) and spectacle (Debord), respectively. Research limitations/implications To advance theory that illuminates understanding and shaping of brand perception and consumer engagement with luxury fashion brands, the proposed framework is the first to integrate insight from a rigorous analysis of primary data with long-existing classics from salient fields of

关键词： Experiential marketing Advertising Theoretical framework Luxury fashion visual communication visual discourse

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Images and Spaces of Port Cities in Transition

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SPACE AND CULTURE 2021年第1期24卷 53-65页

作者： Kowalewski, Maciej Univ Szczecin Inst Sociol Ul Krakowska 71-79 PL-71017 Szczecin Poland

The concept of a port city, when narrated by popular visualities, goes through intense transformations of port spaces. Globalization, technological transformations of the maritime industry, and waterfront renewal programs influence a romantic myth of the port town and maritime culture. The aim of the article is to interpret the cultural conventions governing the portrayal of port cities and present a picture postcard as a visual narrative. visual discourse analysis is used for a study of seven European port cities and their visual representations. Three metaphorical dominants of visual discourse have been distinguished: (1) waterfront and the port town tertiary sector;(2) technology, power, and domination;and (3) maritime culture and romanticism. The postcards that are analyzed reflect a tension between the intensely transformed postindustrial areas and the romantic images of a port city.

关键词： port city postcard urban maritime culture visual discourse maritime sociology

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